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GSU / Film and Media Studies / FMS 108 / which 1961 "off-hollywood" film, directed by john cassavetes, ended wi

which 1961 "off-hollywood" film, directed by john cassavetes, ended wi

which 1961 "off-hollywood" film, directed by john cassavetes, ended wi

Description

School: Georgia State University
Department: Film and Media Studies
Course: History of Motion Pictures
Professor: Zuk
Term: Fall 2016
Tags:
Cost: 50
Description: Study Guide for Final Exam Film 2700 1
Uploaded: 06/19/2017
8 Pages 186 Views 0 Unlocks
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What made independent film production active in Hollywood in the 1990s?




What kind of "deal" brokered between agent and studio paid the agent's client (a star or a director) to develop "vanity projects" for the studio?




What was the brand name of a lightweight handheld camera introduced at the beginning of the 1970s and used for wide-angle compositions in films like Chinatown (1974)?



Study Guide for Final Exam  Film 2700  1. Which of the following was not a tIf you want to learn more check out irene foster gwu
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echnological advance of the late 1950s and 1960s  taken advantage of by "young cinema" directors? A) Direct sound recording B) Greater depth of field C) Portable cameras D) Film stocks that needed less light to create acceptable exposures 2. Which of the following is NOT an example of a French “New Wave” film?: A) Jules and Jim B) Hiroshima Mon Amour C) Breathless  D) Umberto D. 3. Which of the following statements is NOT true about Cahiers du Cinéma.  A) It is a French film magazine founded in 1951 by André Bazin, Jacques Doniol Valcroze and Joseph-Marie Lo Duca B) French filmmakers and theorists like François Truffaut developed a new style of  cinema that would be French New Wave  C) It argued for cinema not as an art but as an entertainment form  D) It developed the Auteur theory  4. French New Wave filmmaker Eric Rohmer was best known for: A) Films of abnormal lengths with plots about intricate, sinister conspiracies. B) Offhand, affectionately parodic treatments of crime stories. C) Wry studies of men and women struggling to balance intelligence with emotional  impulses. D) Juxtaposing staged scenes with documentary material, often with little connection to  the narrative. 5. Which French New Wave filmmaker is credited with innovating the design of shots  that seem astonishingly flat? A) François Truffaut B) Jacques Rivette C) Jacques Demy D) Jean-Luc Godard 6. Alain Resnais's use of flashbacks in Hiroshima Mon Amour was particularly jarring to  spectators of the time because: A) He frequently presented flashbacks within flashbacks. B) After a single flashback, the narrative never returned to the story's present. C) His flashbacks were false representations of character subjectivity. D) The shifts between objective and subjective realities were sudden and fragmentary.7. Which novelist and Left Bank director broke into the French cinema as the  screenwriter for Alain Resnais's Last Year at Marienbad? A) Marguerite Duras B) Alain Robbe-Grillet C) Jacques Rozier D) Agnès Varda 8. French New Wave filmmakers were heavily influenced by the Italian neorealist  movement. A) True B) False 9. Which of the following is NOT a characteristic commonly associated with French New Wave cinema? A) Improvised dialogue B) Low budget for high production values  C) Jerky camera movement and jump cuts  D) Continuity editing  10. The Nouvelle Vague trend died out when its films proved less exportable than many  bigger French productions. A) True B) False 11. By 1963 it was as difficult for a young director in France to get started in the industry  as it would have been ten years earlier. A) True B) False 12. Few of the New Waves of the 1960s can be considered unified stylistic movements  like German Expressionism or Soviet Montage. A) True B) False 13. Which of the following statements is true about Postwar Japanese cinema?  A) Since Japan was devastated by the nuclear bomb attack, it could not produce domestic films by 1960 B) Since the US was an enemy of Japan during WWII, American films were not popular  in Japan after the war C) Post Japanese cinema is divided into two categories, historical epics and  comtemporary modern drama  D) All of the above E) None of the above  14. Which of the following statements is NOT true about Yasjiro Ozu’s films?  A) Ozu was interested in the ordinary Japanese people’s everyday life B) Ozu often made family drama  C) Ozu was likely to employ the same actors and the same stories in his films  D) Ozu preferred grand narratives and political issues  15. Which of the followings is NOT a characteristic of Yasjiro Ozu’s film style?  A) Ozu’s camera always followed the actors’ movements B) Ozu often broke the typical convention of conversation shots by using frontal image  shot  C) Ozu’s camera placement, so-called “Tatami-mat-high point of view,” was set at the  eye level of a traditional Japanese posture  D) Ozu’s still-life cutaway and geometric composition created time and space of the  silent surrounding the action 16. Candid documentary cinema was prevalent in the 1960s and 70s. The new  documentary approach was called in many different ways depending on the country.  Which of the followings is NOT a word for the candid documentary cinema?  A) Direct Cinema  B) Free Cinema  C) Real Cinema  D) cinéma vérité 17. What factors influenced the new trend of candid and uncontrolled documentary  cinema. Choose all possible answers.  a. German Expressionism b. Italian Neorealism c. French New Wave d. Portable shooting equipment  e. Needs of television news f. Needs of wartime newsreels  A) a. d.  B) b. d. e  C) c. d. e. f D) b. c. d. e. f E) All of the above  18. Which of the followings is NOT included in the technological innovations that led the emergence of candid cinema?  A) 70mm camera using a tripod  B) Sound-on-tape recording  C) Smaller microphones D) Cheap and flexible film stocks  E) Portable lighting equipment  19. In the early 1960s, each Hollywood studio's output stabilized at between: A) 5 and 10 feature releases per year. B) 12 and 20 feature releases per year. C) 25 and 40 feature releases per year. D) 70 and 90 feature releases per year.20. Twentieth Century-Fox saw a loss of over $40 million on the production of which  early 1960s blockbuster? A) Tora! Tora! Tora! B) Cleopatra C) The Sound of Music D) How the West Was Won 21. In the late 1960s and early 1970s, banks forced the beleaguered Majors to do all of  the following except: A) Divest themselves of their distribution companies. B) Partner with other studios in coproductions. C) Trim their number of releases. D) Avoid big-budget productions. 22. The long lens, which became fashionable for American cinematographers in the 1960s, tends to flatten the shot's space and: A) Make warm colors appear to recede into the background. B) Make lines at the edges of the frame appear curved. C) Overexpose the image. D) Soften focus. 23. Which American film, directed by Arthur Penn, popularized the use of slow motion to render extreme violence? A) Straw Dogs B) Alice's Restaurant C) Bonnie and Clyde D) Easy Rider 24. In the original MPAA rating system, implemented in the mid-1960s, an "M" rating  designated: A) Recommended for all ages. B) No one under sixteen admitted. C) Viewers under sixteen to be accompanied by parent or guardian. D) Recommended for viewers over sixteen. 25. In the late 1960s, half of all American moviegoers were aged: A) 12 to 16 B) 16 to 24 C) 25 to 39 D) 49 to 64 26. Hollywood committed itself to almost entirely color film production by the late 1960s, primarily because: A) The television networks, having converted to color broadcasting, required color films. B) Of the decline of wide-angle, deep focus filming. C) Eastman discontinued its black and white film stock, the longtime industry standard.D) Many of the industry's veteran directors were retiring. 27. What was the brand name of a lightweight handheld camera introduced at the  beginning of the 1970s and used for wide-angle compositions in films like Chinatown (1974)? A) Louma B) Arriflex C) Steadicam D) Panaflex 28. Which of the following is not a characteristic of the 1970s style of director Robert Altman? A) Multiple-camera shooting B) Semi-improvised performances C) Static camerawork D) Overlapping dialogue 29. The visual style developed by director Francis Ford Coppola and cinematographer Gordon Willis for The Godfather emphasized: A) Actors moving through rich, often gloomy, interiors B) Slow, hallucinatory dissolves C) Flattened compositions with strong horizontals D) A constantly panning and zooming camera 30. Which of the following directors was (arguably) New Hollywood’s most-celebrated  “movie brat,” and has directed a number of celebrated films including: The Godfather (1972), The Conversation (1974), Apocalypse Now (1979), and The Outsiders (1983)? A) Steven Spielberg B) George Lucas  C) Francis Ford Coppola D) Brian De Palma 31. Steven Spielberg’s Jaws (1975) changed the way Hollywood made movies and  ushered in the:  A) New Hollywood Cinema B) Independent cinema  C) New Wave cinema  D) Neorealism cinema  32. In promoting its summer blockbuster film Jaws, Universal followed the lead of  exploitation companies like American International Pictures and: A) Built word-of-mouth through a staggered, platform release. B) Filled stores with Jaws-related merchandise. C) Premiered a ten-minute segment of the film at the Cannes film festival. D) Saturated television with ads for the film.33. Which American director-producer tried and failed with Zoetrope Studios to create a  production center for personal film projects? A) Steven Spielberg B) Francis Ford Coppola C) Jeffrey Katzenberg D) George Lucas 34. What kind of "deal" brokered between agent and studio paid the agent's client (a star  or a director) to develop "vanity projects" for the studio? A) Sweetheart deal B) Housekeeping deal C) Development deal D) Overall deal 35. United Artists collapsed as a Major in the early 1980s largely because of cost  overruns on director Michael Cimino's: A) Heaven's Gate B) Raging Bull C) 1941 D) Superman 36. Because each 1970s studio could only afford to make two or three big-budget pictures per year, the rest of its annual slate was typically filled out with: A) Imported European art films. B) Genre fare revamped for young audiences. C) Hong Kong martial arts pictures. D) Action films targeted at minority audiences. 37. Director Brian De Palma became famous (or infamous) for his pastiches of the films  of which classic Hollywood filmmaker? A) Orson Welles B) Howard Hawks C) Alfred Hitchcock D) Steven Spielberg 38. Which classic Hollywood film genre was not successfully revived by New  Hollywood directors in the 1970s? A) The musical B) The horror film C) The gangster film D) Science fiction 39. Which of the following was NOT a factor in the rise of opportunities for independent  motion picture firms in the 1960s and 1970s? A) The rise of the "midnight movie" phenomenon. B) Increases in major studio production.C) The relaxing of the Production Code. D) The rise of the teenage market. 40. Which 1961 "off-Hollywood" film, directed by John Cassavetes, ended with a title  reading: "The film you have just seen was an improvisation"? A) A Woman Under the Influence B) The Cool World C) Pull My Daisy D) Shadows 41. With independent productions comprising the bulk of the Majors' release schedules in the 1960s, more and more of the films financed and produced by the Majors on their own were roadshow movies. A) True B) False 42. The rating system devised in the late 1960s by the MPPA allowed the industry to  present itself as being sensitive to public concern while giving filmmakers license to treat violence, sexuality, or unorthodox ideas. A) True B) False 43. Most films produced in Hollywood in the 1970s were shot in anamorphic widescreen  using either the Cinema Scope or Panavision systems. A) True B) False 44. Most of the directors associated with the New Hollywood—the "movie brats"— were in fact in their thirties and early forties. A) True B) False 45. During the boom of the early and mid-1970s, most top hits were concentrated among  three studios, resulting in the near-bankruptcies of several major production companies. A) True B) False 46. In making Star Wars, director George Lucas directly modeled his space dogfight  scenes on air battle sequences from old Hollywood combat pictures. A) True B) False 47. At one point in the early 1980s, George Lucas and Steven Spielberg were responsible  for the six top-grossing films of the postwar period. A) True B) False48. Which of the followings is NOT true about the new Hollywood studio production in  the 80s and 90s?  A) Major studios made only blockbuster films to gain more profits  B) Studios often sold and split production costs and distribution territories with other  investors to avoid financial risks.  C) The studios were just part of entertainment businesses of big conglomerates  D) Big studios tried to find overseas studios in Prague, Berlin, Toronto, etc. as budget friendly alternatives to Los Angeles.  E) None of the above  49. Which of the following statements is not a characteristic of the specialty (niche)  films?  A) Niche films have smaller and clearly defined audiences.  B) Niche films have more personal and intimate stories.  C) Niche films are often released through special screenings like film festivals.  D) Niche films usually rely on talk and performance rather than special effects or showy  action. E) None of the above.  50. What made independent film production active in Hollywood in the 1990s?  A) Studios permitted union technicians and actors to work with the indie filmmakers. B) Big studios sponsored awards and special screenings to promote the indie films.  C) Big studios provided a huge amount of funds to the indie directors.  D) All of the above  E) None of the above  * 35 questions among the questions above will be presented. There will also be 15  questions from the lectures and/or in-class screenings, so study your notes. Good luck!

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