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1
As reported in "Hall on Hall," cinematographer Conrad Hall won his first Oscar for:
A)The Professionals.
B)Jennifer Eight.
C)Butch Cassidy and the Sundance Kid.
D)In Cold Blood.
2
As noted in "Hall on Hall," Conrad Hall contends that beauty in film comes from:
A)color.
B)contrast.
C)light.
D)harmony.
3
According to "Hall on Hall," Conrad Hall contends that more light is better than less light in most films.
A)True
B)False
4
As discussed in "The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era," the profound impact of the shift to digital video will lie in:
A)the special effects it will enable.
B)changes in the quality of sound.
C)the perceptual registration of light information.
D)the warmer tones it offers.
5
As noted in "The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era," the first time that an entire major feature film was subjected to digital color correction as an ordinary part of post production was in:
A)The Phantom Menace.
B)Blade.
C)O Brother, Where Art Thou?.
D)Minority Report.
6
According to "The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era," digital video does not have motion blur.
A)True
B)False
7
In discussing the limitations and advantages of intensified continuity, the author of "Intensified Continuity: Visual Style in Contemporary American Film" notes that it:
A)has eliminated the long shot in mainstream films.
B)endows films with overt narration.
C)increases the importance of ensemble staging.
D)allows performers full use of their bodies for expression.
8
As reported in "Intensified Continuity: Visual Style in Contemporary American Film," the fastest cut movie the author found was:
A)Ordinary People.
B)Fallen Angel.
C)Dark City.
D)Lethal Weapon.
9
According to "Intensified Continuity: Visual Style in Contemporary American Film," intensified continuity has not been widely adopted for international mass-market cinema.
A)True
B)False
10
According to "Sound Doctrine: An Interview with Walter Murch," Walter Murch's first stereo film was
A)Touch of Evil.
B)Apocalypse Now.
C)The Conversation.
D)American Graffiti.
11
As noted in "Sound Doctrine: An Interview with Walter Murch," more than any director before him, the one who employed sound to evoke cinematic worlds was:
A)Cecil B. DeMille.
B)Alfred Hitchcock.
C)Howard hawks.
D)Orson Welles.
12
As stated in "Sound Doctrine: An Interview with Walter Murch," Walter Murch contends that too much music is used in movies.
A)True
B)False
13
According to "The Sound of Film Acting," in The Audible Past: Cultural Origins of Sound Reproduction Jonathan Sterne argues that:
A)sound fidelity is more about faith in the social function than about the relation of sound to its source.
B)analog recordings are ontologically closer to reality than digital.
C)recording is always a form of mediation.
D)reproduced sounds are mediated versions of unmediated sounds.
14
As reported in "The Sound of Film Acting," Mary Ann Doane has held that:
A)classical Hollywood cinema encouraged the heterogeneity of all sound.
B)psychological realism prohibits the consideration of all sound except dialogue within characterization.
C)techniques of sound recording tend to confirm the cinema's function as a mis-en-scene of bodies.
D)the lack of sound in early motion pictures increases their psychological impact.
15
As pointed out in "The Sound of Film Acting," James Lastra argues that sound recording is better thought of as sound representation than as sound reproduction.
A)True
B)False
16
As reported in "Yes, It's Been an Auteur's World. But Writers May Yet Get Their `Film by' Due," the basic tenet of auteur theory is that:
A)films are always the product of committees.
B)the director is the principal author of the film.
C)directors must mature and change to remain relevant.
D)screenplays should reflect no single person's personality.
17
As noted in "Yes, It's Been an Auteur's World. But Writers May Yet Get Their `Film by' Due," the word "schreiber" means writer in:
A)German.
B)Polish.
C)Yiddish.
D)Russian.
18
As pointed out in "Yes, It's Been an Auteur's World. But Writers May Yet Get Their `Film by' Due," Ben Hecht's trademarks were a knack for sprightly banter and an obsession with varieties of lying.
A)True
B)False
19
As reported in "Screenwriting with Your Eyes: An Interview with Suso Cecchi d'Amico," at the beginning of its film industry, Italy was different from other countries such as England and America in that:
A)there was no great love of cinema there.
B)it had a long tradition of literary realism.
C)it had no rich narrative tradition.
D)artists were more highly esteemed there.
20
As noted in "Screenwriting with Your Eyes: An Interview with Suso Cecchi d'Amico," the film Salvatore Giuliano is about:
A)internal migration to urban areas.
B)the separatist movement in Sicily.
C)the demise of the rural Italian aristocracy.
D)Renaissance art.
21
As pointed out in "Screenwriting with Your Eyes: An Interview with Suso Cecchi d'Amico," at the time Suso Cecchi D'Amico began, she was the only female screenwriter in Italy.
A)True
B)False
22
As reported in "Text, Lies and Celluloid," the filmmaker's or producer's most-cited reason for mounting an adaptation of a literary work is:
A)ease of transformation.
B)passion for the text.
C)built-in audience.
D)name recognition.
23
As noted in "Text, Lies and Celluloid," if there was one person who entrenched the adaptation as a film business tradition it was:
A)John Huston.
B)David O. Selznick.
C)Billy Wilder.
D)Orson Welles.
24
As related in "Text, Lies and Celluloid," Vancouver author Michael Turner contends that audiences should expect a film adaptation to look very much like the book that was its source.
A)True
B)False
25
According to "Men with Swords and Men with Suits: The Cinema of Akira Kurosawa," Akira Kurosawa's signature visual device was the:
A)use of slow motion.
B)iris in.
C)wipe cut.
D)panorama.
26
As reported in "Men with Swords and Men with Suits: The Cinema of Akira Kurosawa," Stuart Galbraith's biography The Emperor and the Wolf is about Akira Kurosawa and:
A)Hiro Hito.
B)Reizaburo.
C)Takashi Shimura.
D)Toshiro Mifune.
27
As pointed out in "Men with Swords and Men with Suits: The Cinema of Akira Kurosawa," the reference to Akira Kurosawa's films as Japanese westerns is accurate on most counts.
A)True
B)False
28
As reported in "Lost Horizons," what is known for sure about Chris Marker includes that he:
A)shuns the spotlight.
B)was born in Ulan Bator.
C)has never worked in television.
D)first published when he was in his forties.
29
As noted in "Lost Horizons," Chris Marker's good luck charms are:
A)dinosaurs.
B)clocks.
C)cats.
D)roses.
30
As stated in "Lost Horizons," One Day in the Life of Andre Arsenevich is an elemental panegyric to Fidel Castro.
A)True
B)False
31
According to "The Doyen of Direct Cinema," the subject Frederick Wiseman identifies that links all of his films is:
A)the passage of time.
B)the waste of human potential.
C)experiences that are common to many people.
D)abuses of government and bureaucracy.
32
As pointed out in "The Doyen of Direct Cinema," Frederick Wiseman's first film was:
A)Law and Order.
B)The Titicut Follies.
C)Ballet.
D)High School.
33
As stated in"The Doyen of Direct Cinema," Frederick Wiseman has found it increasingly difficult to find people willing to be filmed.
A)True
B)False
34
As reported in "Stylistic Crossings: Cyberpunk Impulses in Anime," Japanese cyberpunk fiction deviates from its U.S. predecessor in that it:
A)takes place in alien settings such as outer space.
B)transforms the hero into a transgender female.
C)glorifies the individual.
D)is heavy-handedly moralistic.
35
According to "Stylistic Crossings: Cyberpunk Impulses in Anime," the father of cyberpunk is:
A)Ridley Scott.
B)Bruce Sterling.
C)Guellermo del Toro.
D)William Gibson.
36
As pointed out in "Stylistic Crossings: Cyberpunk Impulses in Anime," the cyberpunk hero or heroine is always impervious to fear.
A)True
B)False
37
As reported in "Pixar Perfect: Does the Computer Make Cinema More Real?" what makes computer-animated films so appealing is their:
A)seamlessness.
B)creation of believable characters.
C)virtual weightlessness.
D)grounding in a different reality.
38
As pointed out in "Pixar Perfect: Does the Computer Make Cinema More Real?" the first full-length picture produced by Pixar was:
A)Luxor Junior.
B)A Bug's Life.
C)Finding Nemo.
D)Toy Story.
39
According to "Pixar Perfect: Does the Computer Make Cinema More Real?" no studio making mainstream movies today is as obsessively story-driven as Pixar.
A)True
B)False
40
As reported in "Feel the Pain," the most successful offering in the genre of the first-person documentary thus far has been:
A)My Architect.
B)Tarnation.
C)My Father the Genius.
D)Family Secret.
41
As noted in "Feel the Pain," the reason first-person documentary filmmakers embrace the rigors of movie production is:
A)hopes to establish a professional career.
B)desire to expose abusive relatives.
C)desire for redemption.
D)therapy intended to help the filmmakers resolve their problems.
42
As stated in "Feel the Pain," the majority of first-person documentaries are by Americans.
A)True
B)False
43
As identified in "The Real Deal," the grandfather of documentaries is:
A)Michael Moore.
B)Martin Scorsese.
C)John Grierson.
D)Jehane Noujaim.
44
As pointed out in "The Real Deal," the clear box-office frontrunner among documentaries in 2005 was:
A)Super Size Me.
B)Winged Migration.
C)Control Room.
D)March of the Penguins.
45
As stated in "The Real Deal," Wikipedia's daily hit average exceeds that of the New York Times site.
A)True
B)False
46
According to "We Will Not Go Quietly: Some Thoughts on the Avant-Garde, Then and Now," evidence that suggests that the avant-garde film is not obsolete includes that:
A)there is increasing funding for such work from the National Endowment for the Arts.
B)the number of publications with articles devoted to the subject remains steady.
C)there is an increased number of showcases for avant-garde/independent films.
D)avant-garde films have had an obvious impact on the Dream factory.
47
As pointed out in "We Will Not Go Quietly: Some Thoughts on the Avant-Garde, Then and Now," the University of Colorado at Boulder has proposed a center for the study of the work of:
A)Michael Snow.
B)Gunvor Nelson.
C)Maya Deren.
D)Stan Brakhage.
48
As stated in "We Will Not Go Quietly: Some Thoughts on the Avant-Garde, Then and Now," Visionary Film is a complete history of avant-garde filmmaking written by P. Adams Sitney.
A)True
B)False
49
As reported in "African Cinemas," all of the following are true of the films made by African directors coming from the francophone regions of Africa except that:
A)they do not begin production until a distribution contract is in place.
B)their films usually circulate in international or alternative circuits.
C)their films are often marketed in national or regional ways.
D)they are highly dependent on the recognition gained at international film festivals.
50
As noted in "African Cinemas," African countries that are exceptional because of the prolific videofilm industry include:
A)Ethiopia.
B)Ghana.
C)Sudan.
D)Kenya.
51
As pointed out in "African Cinemas," cinema with an industrial basis and popular spectatorship does not yet exist in Africa.
A)True
B)False
52
During the silent-film era in Brazil, as described in "Brazilian Cinema: Film in the Land of Black Orpheus," a number of films were made starring Carmen Miranda that offered light, escapist fare for those suffering from:
A)civil unrest in the country.
B)the world-wide economic depression.
C)drought and a series of natural disasters.
D)the repressive colonial regime.
53
The rapid distribution of Hollywood films in Brazil and elsewhere in the 1950s, as put forth in "Brazilian Cinema: Film in the Land of Black Orpheus," placed limitations on:
A)the number of screens available for domestic films.
B)funding available to produce local films.
C)what audiences were willing to accept from films.
D)the unique stories available for local creations.
54
Cinema in Brazil, as noted in "Brazilian Cinema: Film in the Land of Black Orpheus," arrived significantly later than it did in other parts of the world.
A)True
B)False
55
According to "Bollywood Spectaculars," in comparison with Hollywood films, mainstream Hindi films are distinctive for their:
A)enormous casts.
B)numerous subplots.
C)high emotionalism.
D)chasteness.
56
Emphasis on the antiquity of the theatrical form Indian films drew on heavily in the early years of the industry, as explained in "Bollywood Spectaculars," helped to distinguish them from:
A)films from the United States.
B)colonial traditions in art.
C)previous art forms.
D)Western lifestyles.
57
In recent years, as described in "Bollywood Spectaculars," Hollywood films have overtaken Bollywood films in popularity with Indian audiences.
A)True
B)False
58
In Japanese horror films, as reported in "Spirit Levels," a unique position is granted to the role of:
A)blood spilling.
B)innocent bystanders.
C)the supernatural.
D)law enforcement.
59
In the U.S. remake of Dark Water, as described in "Spirit Levels," most of the film focuses on the psychological breakdown of:
A)two romantic couples.
B)a single mother.
C)a young child.
D)a group of strangers.
60
The Japanese, as explained in "Spirit Levels," tend to regard spirits as beings that co-exist in the world with them, rather than as certain enemies.
A)True
B)False
61
After early screenings of new movies, as noted in "Horror Show," movie marketers find that their best chance of listening in on the comments of the audience can be found in the:
A)entrance lobby.
B)parking lot.
C)nearby bar.
D)restroom.
62
According to "Horror Show," it has now become a cliche that through watching its horror movies, a generation will reveal its:
A)ambitions.
B)break with the past.
C)unconscious fears.
D)understanding of mortality.
63
Horror films, as explained in "Horror Show," are no longer guaranteed to be successful as they once were.
A)True
B)False
64
Both Star Trek and Star Wars, as put forth in "Creating and Comparing Myth in Twentieth-Century Science Fiction: Star Trek and Star Wars," make extensive use of myth and its connections to:
A)longing.
B)patriotism.
C)spirituality.
D)history.
65
The most popular of the Star Trek films, Star Trek II: The Wrath of Khan, as described in "Creating and Comparing Myth in Twentieth-Century Science Fiction: Star Trek and Star Wars," plays out the mythic qualities of the:
A)founding of a civilization.
B)cycle of death and rebirth.
C)lone conqueror or hero.
D)impossible challenge.
66
The Star Trek canon as a shared fan mythology, as maintained in "Creating and Comparing Myth in Twentieth-Century Science Fiction: Star Trek and Star Wars," is susceptible to the same flaws as the United States' own canon and mythology.
A)True
B)False
67
An in-depth analysis of The Godfather films as a trilogy, as pointed out in "The Corleone Chronicles," has not been undertaken previously because:
A)each film was intended to stand alone.
B)there are very few common characters throughout the film.
C)Godfather III was unpopular with critics.
D)as a series, the films have yet to reach classic status.
68
According to "The Corleone Chronicles," typical gangster films present the leading characters as symbols representing the:
A)corruption of government.
B)contradictions within the optimistic American belief in success.
C)power of sin and redemption.
D)easy descent into chaos and anarchy outside the confines of democracy.
69
As noted in "The Corleone Chronicles," both the novel on which it was based and The Godfather have become known as classics of their form.
A)True
B)False
70
The most celebrated part of cinema's history, as described in "The Death of Film/The Decay of Cinema," has generally been equated with the excellence of:
A)unique screenwriters.
B)top actors.
C)individual directors.
D)sets and cinematography.
71
The most immediate of the changes that will soon overtake cinema, as maintained in "The Death of Film/The Decay of Cinema," will be the:
A)expansion of theaters to include cafes and small shops.
B)replacement of film by digital technology in theaters.
C)shorter length of most feature films.
D)creation of films with additional endings for DVD sales.
72
Movie attendance is at an all-time high, as stated in "The Death of Film/The Decay of Cinema," and it appears that audiences want movies to retain the particular visual textures associated with film.
A)True
B)False
73
Along with the movie industry, as reported in "The Big Picture: In a Losing Race with the Zeitgeist," changing technologies have had a devastating effect on all of the following except:
A)live theater.
B)network television.
C)newspapers.
D)the music industry.
74
The biggest crack in the traditional film system, as pointed out in "The Big Picture: In a Losing Race with the Zeitgeist," is that:
A)copyright violations are rampant.
B)budgets have gotten too big to justify.
C)most movies do not deserve a theatrical release.
D)few stars can guarantee an audience.
75
Warner Brothers, as mentioned in "The Big Picture: In a Losing Race with the Zeitgeist," is the only one of the major studios not to be suffering from the industry slump.
A)True
B)False
76
In the past, as explained in "Distribution Options Blossom for Indies," the most effective way for independent filmmakers to find distribution for their work was to:
A)solicit distributors directly.
B)participate in film festivals.
C)attend conferences and workshops given by experts in the film industry.
D)attract the attention of a well-regarded Hollywood actor.
77
For most filmmakers, as noted in "Distribution Options Blossom for Indies," theatrical exhibition of their work is mainly important in that it can increase:
A)outside funding for their next projects.
B)interest in the cast and screenwriter behind the project.
C)later DVD sales.
D)the potential audience for the film.
78
As described in "Distribution Options Blossom for Indies," the cost of the 35mm prints the directors of The Blair Witch Project needed for its screening at the Sundance Film Festival was greater than the cost of making the movie.
A)True
B)False
79
The past year's Cannes Film Festival, as described in "Cannes 2006: American Decadence and Other Tales," seemed above all to:
A)enhance existing reputations.
B)dash hopes for the future.
C)promote U.S. films.
D)descend into backbiting among the critics and judges.
80
One of the common themes shared by several movies presented at Cannes, as reported in "Cannes 2006: American Decadence and Other Tales," involved issues of:
A)loss.
B)passion.
C)food.
D)aging.
81
One of the greatest successes at the Cannes Film Festival, as mentioned in "Cannes 2006: American Decadence and Other Tales," was the performance of Kirsten Dunst in a film about Marie Antoinette.
A)True
B)False
82
The objectives of most film festivals, as explained in "Report on the First Ramallah International Film Festival," is to confer prestige on a locality and to:
A)return a profit to the organizers.
B)celebrate well-established members of the film community.
C)support emerging filmmakers.
D)attract tourists.
83
The Ramallah International Film Festival (RIFF), as reported in "Report on the First Ramallah International Film Festival," got off to a difficult start after the Israeli Mossad:
A)arrested a number of participants.
B)insisted on inspecting the tickets of all attendees.
C)appropriated the film projector.
D)imposed a stricter curfew.
84
Although it might seem unusual now, as pointed out in "Report on the First Ramallah International Film Festival," the West Bank city of Ramallah used to have a reputation for bringing tourism and film culture together.
A)True
B)False
85
As presented in "The British Film Debate: Introduction," the "debate" concerns how to:
A)work closely with the American industry.
B)foster a sustainable British film industry.
C)prevent French and Italian films from flooding the British market.
D)globally promote British films.
86
Much of the friction between the funding authorities for film in Great Britain and filmmakers, as described in "Images on the Move: Reframing the Cinemas of Europe," arises from the filmmakers' tendency to relate British film production to:
A)U.S.-made films.
B)films from other countries in Western Europe.
C)the staging of live theater.
D)television productions.
87
The only European countries in which Jurassic Park was not the top grossing film in 1993-1994, as put forth in "Images on the Move: Reframing the Cinemas of Europe," were all of the following except:
A)France.
B)Switzerland.
C)Sweden.
D)Austria.
88
Prior to World War I, as mentioned in "Images on the Move: Reframing the Cinemas of Europe," European films were so dominant that a single studio in France was responsible for one third of the world's entire film output.
A)True
B)False
89
In general, as maintained in "The Lost Picture Show," the publicly funded films made in English Canada appear:
A)smaller than life.
B)cheaply made.
C)to be knockoffs of U.S. hits.
D)to capture the distinctiveness of Canadian culture.
90
According to "The Lost Picture Show," English Canadian cinema is fixed on an auteur model based on past successes:
A)in the United States.
B)in Quebec.
C)at film festivals.
D)in European countries.
91
While English Canada's movie industry is floundering, as pointed out in "The Lost Picture Show," French Quebec has a thriving and self-sufficient cinema industry.
A)True
B)False
92
In the video game industry, as put forth in "Chip Off the Old Block," there is now a Hollywood-like trend toward "safer" titles, which include all of the following except:
A)annual revised editions.
B)sequels.
C)games derived from reality television.
D)licensed products.
93
The annual E3 event showcasing new video games, as explained in "Chip Off the Old Block," is held in Los Angeles each:
A)February.
B)May.
C)August.
D)November.
94
The video-game industry, as cited in "Chip Off the Old Block," has now edged past the film industry in terms of industry revenues.
A)True
B)False
95
Eyes on the Prize, as explained in "Bleary Days for Eyes on the Prize/Cash Rescues Eyes on the Prize," was a landmark documentary about the:
A)Civil War.
B)American Revolution.
C)Roe v. Wade decision.
D)American civil rights movement.
96
Extending distribution rights for some of the material contained in Eyes on the Prize, as put forth in "Bleary Days for Eyes on the Prize/Cash Rescues Eyes on the Prize," has been made even more complicated because:
A)it has been difficult to track down some of the creators of specific images.
B)a competing film has been granted permission to use some of the same material.
C)the original director has died and his film company is now run by non-filmmakers.
D)there have been some financial irregularities on the part of the production company.
97
Over the past two decades, as reported in "Bleary Days for Eyes on the Prize/Cash Rescues Eyes on the Prize," the cost of obtaining rights to copyrighted materials has remained fairly steady.
A)True
B)False
98
As presented in "International Film Criticism Today: A Critical Symposium," much of the pressure on film critics working in today's mainstream publications comes from:
A)readers who want their favorite films to be praised.
B)competition with amateur reviewers on the Internet.
C)publicists and film distributors who want to use critics as a marketing aid.
D)editors who want more in-depth, critical reviews.
99
As claimed in "International Film Criticism Today: A Critical Symposium," those film critics who choose to work for independent publications rather than corporate media must be willing to sacrifice the:
A)monetary rewards that come from working for corporate media.
B)generous column space that is allotted for film criticism in major publications.
C)integrity that comes from being honest in their critique of a film.
D)freedom that corporate media has from film-industry meddling and expectations.
100
As noted in "International Film Criticism Today: A Critical Symposium," there is a serious shortage of female film critics today, both in America and internationally.
A)True
B)False
101
As claimed in "Everyone's Always Been a Critic--but the Net Makes Their Voices Count," modern culture is now being driven by:
A)expert opinion.
B)peer recommendations.
C)mainstream media.
D)professional critics.
102
As noted in "Everyone's Always Been a Critic--but the Net Makes Their Voices Count," to effectively promote their products, today's filmmakers and book publishers are beginning to rely on:
A)advance screenings and review copies for professional critics.
B)advertisements in major media.
C)Web sites specifically devoted to a film or book.
D)online and blogger reviews.
103
As stated in "Everyone's Always Been a Critic--but the Net Makes Their Voices Count," online reviews tend to be more influential among younger readers than older ones.
A)True
B)False
104
According to "Domesticated Violence," the "baggage" we take with us when we go to see a well-known director's film is:
A)our feelings about the actors in the film.
B)our expectations for the film based on the director's past work.
C)the reviews we have read about the particular film we are going to see.
D)the quality of the book or play on which the film is based.
105
As profiled in "Domesticated Violence," director Osmane Sembene became a filmmaker because he:
A)loved watching films when he was growing up.
B)wanted to tell stories, but could not write.
C)found limited career opportunities in his native Senegal.
D)was unable to communicate in writing with the illiterate population of Senegal.
106
As noted in "Domesticated Violence," the power of Sembene's films stems from their portrayal of African people rather than from their technical innovations.
A)True
B)False
107
As presented in "Grizzly Man," it appears from the tapes left behind by Timothy Treadwell that his reason for filming his exploits in Alaska was to:
A)bring public attention to the plight of the Alaskan grizzly bear.
B)portray the beauty of the Alaskan wilderness.
C)present his own opinions on a variety of subjects.
D)capture his suicide on film.
108
According to "Grizzly Man," Alaskan grizzlies tend to be tolerant of humans because:
A)they are protected and used to being viewed.
B)there are very few of them, so they have not become violent and competitive.
C)many people have lived among the Alaskan grizzlies.
D)bears form natural affections for any person or animal they encounter.
109
As noted in "Grizzly Man," one of the most curious things about Treadwell's obsession with living among and filming the Alaskan grizzly is that Alaskan grizzlies are not an endangered species.
A)True
B)False
110
According to "2046: A Matter of Time, A Labour of Love," Wong Kar-wai's films, including his latest, 2046, all reflect the director's obsession with:
A)sex.
B)Hong Kong.
C)relationships.
D)time.
111
As stated in "2046: A Matter of Time, A Labour of Love," with the making of 2046 as a continuation of the themes and characters of two previous films, Wong has produced a trilogy about:
A)time travel.
B)love in the 1960s.
C)sex work in Hong Kong.
D)the role of women in Asia.
112
As noted in "2046: A Matter of Time, A Labour of Love," Wong has invited ridicule from the film community due to the drawn-out production times that are one hallmark of his filmmaking.
A)True
B)False
113
According to "Fear of a Black Cinema," director Spike Lee's third film, Do the Right Thing, established his place in the Hollywood film world as a:
A)black director.
B)resistance fighter.
C)role model for young people.
D)rebellious outsider.
114
As stated in "Fear of a Black Cinema," Do the Right Thing is Lee's first movie that deals with the:
A)civil rights movement.
B)relationship between women and men.
C)lives of black people in the United States.
D)relationship between black and white characters.
115
As noted in "Fear of a Black Cinema," Do the Right Thing was inspired by real-life events taking place in the United States at the time.
A)True
B)False
116
As presented in "Where Are the Female Directors?" a recent Hollywood billboard arranged by female art-world activists announced to the city that no:
A)women have ever been judges for the Academy Awards.
B)female-directed film has ever been nominated for an Oscar.
C)woman of color has ever won an Oscar.
D)woman has ever won an Oscar for best directing.
117
As noted in "Where Are the Female Directors?" it is more difficult for women to network with male film executives than it is for men because women are:
A)seen as flirting rather than doing business when they talk to male film executives.
B)rarely invited to venues where they might meet male film executives.
C)poor at networking and talking about serious business with men.
D)expected to meet with the film executive's wife or girlfriend rather than the executive himself.
118
As claimed in "Where Are the Female Directors?" there is no evidence to suggest that films made by women earn less in the United States than films made by men.
A)True
B)False
119
For the author of "Not Quitting Brokeback," Brokeback Mountain is:
A)one of the rare movies that crossed over into real life.
B)primarily an objective rendering of the Old West.
C)an exploitation of gay men.
D)out of touch with current American culture.
120
According to "G Movies Give Boys a D: Portraying Males as Dominant, Disconnected and Dangerous," most G-rated movies give children the message that being white and male is:
A)one of many ways to be.
B)a precursor to violent behavior.
C)preferable to other ways of being.
D)a precursor to commitment and stability.
121
As claimed in "G Movies Give Boys a D: Portraying Males as Dominant, Disconnected and Dangerous," when compared to white male characters, male characters of color in G-rated movies are more likely to be:
A)in lead roles.
B)violent and disconnected.
C)in committed relationships.
D)fathers or father figures.
122
As noted in "G Movies Give Boys a D: Portraying Males as Dominant, Disconnected and Dangerous," gender imbalance and gender stereotyping in G-rated films has improved significantly in the last 15 years.
A)True
B)False
123
According to "Inventing Historical Truth on the Silver Screen," the history that is taught in colleges and universities is:
A)usually wrong.
B)factual, accurate, and complete.
C)only one view of the past.
D)generally disregarded by the larger culture.
124
As claimed in "Inventing Historical Truth on the Silver Screen," one of the major flaws with many historical films is that they:
A)attempt to fit into the mold of the culture's traditional history.
B)fictionalize history to the point that it is unrecognizable as fact.
C)are produced by filmmakers who have little knowledge of history.
D)portray a different view of the past from what is written in history books.
125
As asserted in "Inventing Historical Truth on the Silver Screen," "inventing" historical facts and characters for the sake of making a good film is not appropriate and will weaken the overall effect of the film.
A)True
B)False
126
As explained in "Digging Deepa," filmmaker Deepa Mehta's latest offering, Water, is based on a:
A)misinterpretation of Hindu gospel.
B)set of religious tenets followed by all Hindus.
C)series of incidents that happened in the filmmaker's life.
D)factual account of Nazi concentration camp survivors.
127
As set forth in "Digging Deepa," the "degradation" that reflects the underlying theme of Water is:
A)the death of a spouse.
B)child prostitution.
C)a haircut.
D)dismemberment.
128
As claimed in "Digging Deepa," the Hindu religion mandates that widowed women be segregated from the rest of society.
A)True
B)False
129
According to "Invaded by Memories of Germany's Past: An Interview with Margarethe von Trotta," in the 1970s and 1980s in West Germany, Margarethe Von Trotta was possibly the leading filmmaker who explored the:
A)history of German politics.
B)hardships of women's experiences.
C)consequences of ideology and political action.
D)friction between German Jews and Gentiles.
130
As explained in "Invaded by Memories of Germany's Past: An Interview with Margarethe von Trotta," Rosenstrasse, the title of Von Trotta's latest film, reflects the:
A)German word that means "Final Solution."
B)name of a Nazi concentration camp.
C)name of a traditional Jewish religious observance for the dead.
D)location of a protest against the Nazis.
131
As noted in "Invaded by Memories of Germany's Past: An Interview with Margarethe von Trotta," Von Trotta was originally denied funding for Rosenstrasse because the German film world wanted comedies.
A)True
B)False
132
As presented in "Did Al Get the Science Right?" the loudest critics of An Inconvenient Truth, Al Gore's film about global warming, are:
A)scientists who study climate change.
B)the moviegoing public.
C)those with ties to the oil industry.
D)mainstream media pundits.
133
As noted in "Did Al Get the Science Right?" one of the biggest challenges for An Inconvenient Truth is:
A)accurately presenting the vast disagreement among scientists on the topic of global warming.
B)visually portraying the possible future repercussions of global warming.
C)turning limited and speculative research into an immediate call for action.
D)proving that global warming actually exists.
134
As claimed in "Did Al Get the Science Right?" the increase in invasive plant and animal species around the world is primarily due to global warming.
A)True
B)False
135
As presented in "Auditioning Betty in Mulholland Drive," David Lynch's Mulholland Drive provides the audience with a chance to witness "star acting" with:
A)Naomi Watts' portrayal of two separate characters.
B)Betty's audition for a movie part.
C)leading man Woody's reactions to Betty.
D)Laura Elena Harring's portrayal of Rita.
136
As described in "Auditioning Betty in Mulholland Drive," the viewer's potential response in the aftermath of Betty's audition scene can be compared to:
A)waking from a vivid dream.
B)receiving disappointing news.
C)being lied to or tricked.
D)denying what actually took place.
137
As set forth in "Auditioning Betty in Mulholland Drive," Naomi Watts' relative anonymity as an actress prior to Mulholland Drive makes it difficult to separate the actress from the character she portrays.
A)True
B)False
138
As claimed in "In Search of a Star: Kinuyo Tanaka," one of the hallmarks of Kinuyo Tanaka's talent that differentiates her from the great Hollywood stars is that she:
A)rarely appears to be acting.
B)brings beauty and glamour to every role she is assigned.
C)makes every character she portrays appear to be her natural self.
D)can portray English-speaking and Japanese-speaking characters with equal skill.
139
As noted in "In Search of a Star: Kinuyo Tanaka," Tanaka's early popularity in Japan was reflected by the fact that:
A)parents named their children after her.
B)producers named their films after her.
C)she received several awards equivalent to America's Oscar.
D)several films were made about her life story.
140
As asserted in "In Search of a Star: Kinuyo Tanaka," no matter how unattractive or undignified the role, Tanaka did not try to "improve" the character.
A)True
B)False
141
According to "Censorship and Indian Cinema," the film War and Peace was stifled by the Indian Censor Board while other reactionary films were allowed to be shown uncut because War and Peace:
A)incited audience prejudice toward Pakistan when it was shown to focus groups.
B)depicts indiscriminate killing and other violent acts.
C)is critical of India's ideology of violence.
D)promotes war with Muslim countries.
142
As claimed in "Censorship and Indian Cinema," the Indian government's view of how sex should be portrayed in film indicates its:
A)openness toward sexual diversity and freedom.
B)desire to control the private lives of its citizens.
C)old-fashioned prudishness.
D)acceptance of women as sex objects.
143
As asserted in "Censorship and Indian Cinema," discussions of sexuality belong in the Indian household and not in the public domain.
A)True
B)False
144
According to "Three Decades of Film Censorship...Right Before Your Eyes," the stated purpose of the U.S. film-rating system is to:
A)inform adult moviegoers about the content of movies that they might want to see.
B)enforce local and national obscenity laws.
C)help parents decide what movies their children should and should not see.
D)determine the artistic value of various movies.
145
As described in "Three Decades of Film Censorship...Right Before Your Eyes," the U.S. Supreme Court rulings in the cases of Ginsberg and Dallas involved:
A)determining what types of sexual activity could be shown in films.
B)establishing the current film-rating law.
C)establishing an X rating for adult films.
D)eliminating minors' access to certain types of films.
146
As claimed in "Three Decades of Film Censorship...Right Before Your Eyes," once a film has received a certain rating, that rating cannot be challenged or changed.
A)True
B)False
147
As presented in "Lights, Camera, Action. Marxism, Semiotics, Narratology," film theorists at UC Santa Barbara, where the author's daughter attends school, state that film theory deals with:
A)basic principles of film.
B)specific films and specific genres.
C)the nuts and bolts of filmmaking.
D)the politics of Hollywood.
148
As defined in "Lights, Camera, Action. Marxism, Semiotics, Narratology," the "auteur theory" of filmmaking holds the view that:
A)the intended audience determines how a film is made.
B)special editing and camera work are essential for evoking certain emotions in the viewer.
C)film directors create a body of work with recurrent themes and consistent views.
D)films are created by a complex collaboration of hundreds of craftspeople.
149
As stated in "Lights, Camera, Action. Marxism, Semiotics, Narratology," the intention of a film's director or a book's author is the central focus of New Left theory.
A)True
B)False
150
As given in "Is a Cinema Studies Degree the New M.B.A.?" many film students have begun to see their cinematic skills as:
A)a waste of tuition.
B)a guaranteed road to riches.
C)a new form of literacy.
D)old-fashioned and outmoded.





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