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1 | |
Which of the following best characterizes the situation of the French film industry in the 1920s? |
| | A) | A few large, vertically integrated companies dominated |
| | B) | A few large companies dominated film production, but not distribution and exhibition |
| | C) | Many small, vertically integrated companies dominated |
| | D) | Many small, non-vertically-integrated companies dominated |
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2 | |
How did the French cinema's production output compare to other that of other countries in the 1920s? |
| | A) | France produced fewer films than both the U.S. and Germany |
| | B) | France produced more films than Germany, but fewer than the U.S. |
| | C) | France produced more films than the U.S., but fewer than Germany |
| | D) | France produced more films than both the U.S. and Germany |
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3 | |
Which of the following was not a major genre of French filmmaking in the 1920s? |
| | A) | serials |
| | B) | historical epics |
| | C) | horror films |
| | D) | comedies |
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4 | |
Which of the following best describes the Impressionists' relation to the French film industry? |
| | A) | Impressionist filmmakers always tried to distance themselves from the commercially-minded mainstream industry, on which they always relied for support |
| | B) | No French producer would support Impressionist filmmaking, so the Impressionist directors were constantly seeking foreign funding for their avant-garde projects |
| | C) | Impressionist filmmakers went back and forth between making avant-garde films and more conventional films within the French film industry; some started their own production companies and worked independently |
| | D) | The Impressionist directors were wealthy enough never to need to rely on the film industry for support, and virtually all of their films were made by their own production companies |
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5 | |
Why did the French avant-garde filmmakers call themselves "Impressionists"? |
| | A) | They aimed to create fleeting feelings, or impressions, in the spectator |
| | B) | They wanted to pay homage to French Impressionist painters such as Monet and Degas |
| | C) | They offered brief, incomplete impressions of actions and events instead of showing them in their entirety |
| | D) | They believed that cinema creates an impression of the world on film |
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6 | |
Which of the following refers to that quality which distinguishes a film shot from the original object photographed? |
| | A) | cinéma pur |
| | B) | photogénie |
| | C) | Impressionism |
| | D) | visual rhythm |
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7 | |
What is the most important function of film techniques in French Impressionist cinema? |
| | A) | manipulating time |
| | B) | social commentary |
| | C) | distorting reality |
| | D) | conveying character subjectivity |
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8 | |
Which of the following best describes Impressionist camera devices? |
| | A) | Impressionist films avoid using elaborate camera devices, emphasizing instead editing and mise-en-scene |
| | B) | Impressionist films use some optical devices, such as superimpositions and filters, but avoid other camera devices, such as camera movements |
| | C) | Impressionist films use many elaborate camera movements but tend to avoid manipulation of the image by optical devices such as superimpositions and filters |
| | D) | Impressionist films use a wide variety of camera devices, including camera movements, optical devices, manipulation of focus, and shooting into mirrors and through gauzes |
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9 | |
Which film released in 1923 pioneered Impressionist editing devices? |
| | A) | Napoléon |
| | B) | The Smiling Madame Beudet |
| | C) | La Roue |
| | D) | El Dorado |
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10 | |
Which of the following is not a typical characteristic of Impressionist narratives? |
| | A) | conventional stories |
| | B) | emphasis on comedy |
| | C) | representations of a character's memories or desires |
| | D) | emphasis on psychological motivation |
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11 | |
Which of the following was not a factor in bringing about the end of the Impressionist movement? |
| | A) | Small production companies were unreliable sources of funding |
| | B) | Impressionist directors took up new interests in other kinds of filmmaking |
| | C) | Many of the Impressionist directors left France for jobs in Hollywood |
| | D) | The coming of sound made film production too expensive for independents |
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2002 McGraw-Hill Higher Education