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1 | |
Why was vertical integration of production, distribution, and exhibition a successful industrial strategy for the major Hollywood studios?
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| | A) | they could avoid having to show their competitors' films in their theaters
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| | B) | they controlled the vast majority of theaters in the U.S., effectively shutting out competition from independent theater owners
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| | C) | by controlling the largest and most profitable first-run "picture palace" theaters, the major producers and distributors were able to cooperate with each other by showing each others' films
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| | D) | none of the above
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2 | |
What was the most important difference between the Big Three and Little Five Hollywood studios?
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| | A) | the Big Three made many more films than the Little Five
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| | B) | the Big Three were fully vertically integrated; the Little Five were not
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| | C) | the Big Three made bigger-budget films
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| | D) | the Little Five did not export their films abroad
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3 | |
Which firms made up the Little Five?
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| | A) | Warner Bros., M-G-M, Paramount, First National, and Universal
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| | B) | Warner Bros., M-G-M, Paramount, Producers Distributing Corp., and Film Booking Office
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| | C) | Warner Bros., Fox, United Artists, Universal, Producers Distributing Corp.
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| | D) | Warner Bros., Fox, Universal, Producers Distributing Corp., Film Booking Office
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4 | |
What was the purpose of the Motion Picture Producers and Distributors of America, the trade organization of the Hollywood studios?
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| | A) | protection of Hollywood's image from scandal
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| | B) | regulation of film production to avoid government censorship
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| | C) | representation of the American film industry abroad
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| | D) | all of the above
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5 | |
Which of the following was not a significant change in Hollywood film style in the 1920s?
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| | A) | the introduction of the "soft style" of cinematography
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| | B) | replacement of orthochromatic with panchromatic film stock
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| | C) | a new kind of editing
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| | D) | none of the above
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6 | |
Which American director was famous in the 1920s for making risqué sex comedies? |
| | A) | Rudolph Valentino |
| | B) | Cecil B. DeMille |
| | C) | D.W. Griffith |
| | D) | Erich von Stroheim |
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7 | |
Which ambitious American actor-director's 1920s career was marked by increasing problems with film studios to do with film lengths and budgets?
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| | A) | Cecil B. DeMille
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| | B) | D.W. Griffith
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| | C) | Erich von Stroheim
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| | D) | John Ford
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8 | |
What 1920s Hollywood trend did films such as The Big Parade and Wings exemplify?
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| | A) | cheaply made romantic comedies with Jazz Age settings
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| | B) | historical epics shot in Europe
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| | C) | big-budget films mixing romantic and spectacular elements
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| | D) | none of the above
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9 | |
Which of the following was not a notable Hollywood genre in the late 1920s?
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| | A) | science-fiction
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| | B) | western
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| | C) | horror
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| | D) | gangster
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10 | |
What silent film comedian was known as "the Great Stone Face"?
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| | A) | Charlie Chaplin
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| | B) | Harold Lloyd
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| | C) | Harry Langdon
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| | D) | Buster Keaton
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11 | |
Which Hollywood director became known in the late 1920s for the dazzling cinematography and atmospheric lighting of his romantic melodramas?
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| | A) | Tod Browning
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| | B) | Frank Borzage
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| | C) | Ernst Lubitsch
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| | D) | Joseph von Sternberg
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12 | |
Which of these prominent European directors did not make films in Hollywood in the 1920s?
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| | A) | F.W. Murnau
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| | B) | Fritz Lang
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| | C) | Victor Sjöström
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| | D) | Paul Leni
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13 | |
Who was the most prolific African-American producer and director of films in the 1920s?
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| | A) | Paul Robeson
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| | B) | Frank Peregini
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| | C) | Oscar Micheaux
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| | D) | King Vidor
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14 | |
What technique innovated by the Fleischer brothers allowed animators to trace over live-action frames to create drawn animated films?
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| | A) | rotoscoping
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| | B) | cel animation
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| | C) | slash animation
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| | D) | "out of the inkwell"
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15 | |
What was the most popular animated series in 1920s American cinema?
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| | A) | Betty Boop |
| | B) | Mickey Mouse |
| | C) | Mutt and Jeff |
| | D) | Felix the Cat |
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2002 McGraw-Hill Higher Education