FILM 2700 FINAL EXAM QUESTIONS AND VERIFIED
ANSWERS
Hollywood's objective in Europe following the end of World War II was to - Answers -
Make each country's domestic industry strong enough to support the large-scale
distribution of American films
West Germany's "economic miracle" of the early 1950s did not help reestablish an
internationally competitive German cinema, primarily because: - Answers - Hollywood
controlled a large part of German distribution and was permitted to
use blind- and block-booking tactics already outlawed in the U.S.
The Italian Neorealist filmmakers often used non-actors in central roles, in the
manner of: - Answers - Soviet Montage.
Faithfulness to objective reality was reflected in the style of Italian Neorealist
films in all of the following ways except: - Answers - Using point-of-view shots to
represent what characters actually see.
The influence of French Impressionism and German Expressionism was often
evident in Italian Neorealist films' representations of: - Answers - Subjective reality.
The phrase "Italian Spring" refers to: - Answers - The rebirth of Italy based on ideas
implemented by a coalition government of leftliberal
Italian parties.
The Bicycle Thief, perhaps the most influential film of the Neorealist trend, was
directed by: - Answers - Vittorio De Sica
Italy's Andreotti Law of 1949 effectively created preproduction film censorship
by: - Answers - Providing loans to production firms that submitted film scripts with an
apolitical
slant.
The term "rosy Neorealism" refers to films that melded working-class characters
with: - Answers - The populist comedy.
Italian Neorealist films were typically edited in a manner based on: - Answers - The
norms of the classical Hollywood style.
The plot structure of Italian Neorealist films is perhaps best described as:
A) Rhetorical - Answers - Episodic
, The death of Pina in Open City was unsettling for many viewers in 1945 for all of
the following reasons except: - Answers - Up to that point the film appeared to be a
documentary.
Audiences in Europe and America in the 1950s developed a taste for Italy's
peplum films, or: - Answers - Muscleman sagas.
Which Italian postwar director was known for punctuating his films, such as
Voyage in Italy, with empty intervals of characters simply sitting or walking and
thinking? - Answers - Roberto Rossellini
In many Italian films of the early 1950s, directors used slowly paced tracking
shots to: - Answers - Explore characters' relations within a concrete environment.
Low-budget, "realistic" films exploring social problems began to appear in Spain
in the early 1950s, in part because: - Answers - Its biggest production company had
overinvested in high-budget productions and
collapsed.
Import quotas established by European governments during the postwar decade
became rather insignificant because they coincided with a downturn in American
production. - Answers - t
Postwar European modernist films favored open-ended narratives, in which
central plot lines were left unresolved. - Answers - t
Since the Italian film industry had long mastered postsynchronization for dubbing
foreign movies, crews on Neorealist films could shoot on location and dub in dialogue
later. - Answers - t
Most scenes in Italian Neorealist films, even those set in interiors, were shot on
location - Answers - f
As economic recovery moved Italy to greater prosperity in the late 1940s, Italian
audiences became more receptive to Neorealism's focus on poverty and suffering. -
Answers - f
Which of the following was not a technological advance of the late 1950s and 1960s
taken advantage of by "young cinema" directors? - Answers - Portable cameras
French New Wave filmmaker Eric Rohmer was best known for: - Answers - Wry studies
of men and women struggling to balance intelligence with emotional
impulses
Which French New Wave filmmaker is credited with innovating the design of
shots that seem astonishingly flat? - Answers - Jean-Luc Godard
ANSWERS
Hollywood's objective in Europe following the end of World War II was to - Answers -
Make each country's domestic industry strong enough to support the large-scale
distribution of American films
West Germany's "economic miracle" of the early 1950s did not help reestablish an
internationally competitive German cinema, primarily because: - Answers - Hollywood
controlled a large part of German distribution and was permitted to
use blind- and block-booking tactics already outlawed in the U.S.
The Italian Neorealist filmmakers often used non-actors in central roles, in the
manner of: - Answers - Soviet Montage.
Faithfulness to objective reality was reflected in the style of Italian Neorealist
films in all of the following ways except: - Answers - Using point-of-view shots to
represent what characters actually see.
The influence of French Impressionism and German Expressionism was often
evident in Italian Neorealist films' representations of: - Answers - Subjective reality.
The phrase "Italian Spring" refers to: - Answers - The rebirth of Italy based on ideas
implemented by a coalition government of leftliberal
Italian parties.
The Bicycle Thief, perhaps the most influential film of the Neorealist trend, was
directed by: - Answers - Vittorio De Sica
Italy's Andreotti Law of 1949 effectively created preproduction film censorship
by: - Answers - Providing loans to production firms that submitted film scripts with an
apolitical
slant.
The term "rosy Neorealism" refers to films that melded working-class characters
with: - Answers - The populist comedy.
Italian Neorealist films were typically edited in a manner based on: - Answers - The
norms of the classical Hollywood style.
The plot structure of Italian Neorealist films is perhaps best described as:
A) Rhetorical - Answers - Episodic
, The death of Pina in Open City was unsettling for many viewers in 1945 for all of
the following reasons except: - Answers - Up to that point the film appeared to be a
documentary.
Audiences in Europe and America in the 1950s developed a taste for Italy's
peplum films, or: - Answers - Muscleman sagas.
Which Italian postwar director was known for punctuating his films, such as
Voyage in Italy, with empty intervals of characters simply sitting or walking and
thinking? - Answers - Roberto Rossellini
In many Italian films of the early 1950s, directors used slowly paced tracking
shots to: - Answers - Explore characters' relations within a concrete environment.
Low-budget, "realistic" films exploring social problems began to appear in Spain
in the early 1950s, in part because: - Answers - Its biggest production company had
overinvested in high-budget productions and
collapsed.
Import quotas established by European governments during the postwar decade
became rather insignificant because they coincided with a downturn in American
production. - Answers - t
Postwar European modernist films favored open-ended narratives, in which
central plot lines were left unresolved. - Answers - t
Since the Italian film industry had long mastered postsynchronization for dubbing
foreign movies, crews on Neorealist films could shoot on location and dub in dialogue
later. - Answers - t
Most scenes in Italian Neorealist films, even those set in interiors, were shot on
location - Answers - f
As economic recovery moved Italy to greater prosperity in the late 1940s, Italian
audiences became more receptive to Neorealism's focus on poverty and suffering. -
Answers - f
Which of the following was not a technological advance of the late 1950s and 1960s
taken advantage of by "young cinema" directors? - Answers - Portable cameras
French New Wave filmmaker Eric Rohmer was best known for: - Answers - Wry studies
of men and women struggling to balance intelligence with emotional
impulses
Which French New Wave filmmaker is credited with innovating the design of
shots that seem astonishingly flat? - Answers - Jean-Luc Godard
