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1 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) The term genre is useful to critical analysis of films because
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | it refers to a group of films categorized by subject matter and not rhetorical intentions or formal elements.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | most films seem to fit one generic profile rather neatly.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | it allows viewers to raise questions about the stylistic and narrative affinities that films share.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | the formulae for certain genres are essentially immutable, and not subject to experimentation or revision.
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2 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) Of all of the generic categories, this form has probably received the most scholarly attention, emerging in the cinema’s earliest days and produced on a regular basis by the 1910s:
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | the film noir.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | the western.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | the domestic melodrama.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | the musical.
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3 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) The narrative structure, scene compositions, cinematography, and editing of Mildred Pierce contain elements of these two genres, one ostensibly the mirror image of the other:
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | film noir and romantic comedy.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | film noir and domestic melodrama.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | domestic melodrama and costume epic.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | romantic comedy and domestic melodrama.
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4 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) The western genre often focuses on a central dichotomy between
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | good and evil, with shadows and expressive lighting created by chiaroscuro effects and sharp contrasts.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | male and female, with the conquest of the frontier implying a patriarchal rape of depriviliged “other.”
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | civilization and wilderness, typically manifested in a contrast between male protagonists.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | progressivism and populism, as implied by the film’s treatment of indigenous populations.
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5 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) The “disguised westerns” of the 1970s and 1980s
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | featured protagonists who shared characteristics with the classical western hero but operated in contemporary milieu.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | took archetypal characters typically featured in other genres and transported them to western settings.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | operated on a cause and effect logic that withheld the causes of certain events from the central protagonist.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | reordered the plot patterns of the traditional western by abbreviating and resorting events into an achronological order.
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6 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) Although the style and subject matter of Schindler’s List may be far afield from the classical western, the film shares one key trait with the classical western:
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | it articulates a pattern of opposition between civilization and wilderness, with each main protagonist representing one of the two opposed constructs.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | its central protagonist resembles the classical western archetype: the self-reliant loner who reluctantly shifts from selfish isolation to social responsibility.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | it sets its protagonist on his quest in a setting in which the natural landscape is dominant, bleak, and intimidating.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | it requires its protagonist eventually to succumb to the dictates of the community in power.
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7 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) Moviemakers generally adhere to underlying design patterns with roots in classical drama and literature, the central driving force of which is
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | violence.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | conflict.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | stasis.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | denouement.
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8 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) The central concern or focus around which a film is structured is its
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | motif.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | theme.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | conflict.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | denouement.
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9 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) The interrogatory pattern of movies like Casablanca and Citizen Kane often hinges on what director Alfred Hitchcock called the device that sets the events of the plot in motion:
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | the motif.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | the intention.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | the MacGuffin.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | the Rosebud.
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10 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) While most films operate on an underlying structure of cause-and-effect logic, detective films like Chinatown |
| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | present events that are not revealed to be part of a pattern of logical cause and effect.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | withhold the causes of events from the viewers and the detective both, who must determine the causes as the investigation proceeds.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | offer protagonists who know the cause of plot events before the viewers do.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | usually operate in a world in which there exists little causal logic underlying the events of the plot.
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11 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) One survey of movies from 1930 to 1980 suggests that theme in the Hollywood film often turns on the incompatible values and beliefs associated with two opposed constructs:
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | men and women.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | good and evil.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | civilization and the frontier.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | the individual and the community.
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12 | ![](/olcweb/styles/shared/spacer.gif) | ![](/olcweb/styles/shared/spacer.gif) To sort out the way that events are confused in an unconventionally structured film like Pulp Fiction, it can be useful to distinguish between these two concepts, adapted by the early-20th century Russian formalists to discern between the way events occur in the story’s diegesis and are ordered in the film’s presentation:
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| ![](/olcweb/styles/shared/spacer.gif) | A)![](/olcweb/styles/shared/spacer.gif) | cause and effect.
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| ![](/olcweb/styles/shared/spacer.gif) | B)![](/olcweb/styles/shared/spacer.gif) | plot and story.
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| ![](/olcweb/styles/shared/spacer.gif) | C)![](/olcweb/styles/shared/spacer.gif) | conflict and resolution.
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| ![](/olcweb/styles/shared/spacer.gif) | D)![](/olcweb/styles/shared/spacer.gif) | intention and opposition.
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