LA 382 Academy of Art University Art Contemporary Cinema Questions

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LA 382

Academy of Art University

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LA 382 - Film History 3: CONTEMPORARY CINEMA

20 QUESTIONS FOR 20 POINTS 

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● 1) I am a film. On one hand, I had all the ingredients of the spirit of the 1970s. I was shot in a gritty, on-location style by a writer-actor, and I tell the story of a down-and-out boxer who loses his match in a split decision. Yet in a way he wins, because he accomplishes his goal. On the surface, I seemed like a typical 1970s film, with my seemingly somber ending. However, the ending is filled with an air of inspiration that would typify much cinema in the 1980s. Which film am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● 2) I am a film. As audiences craved a dose of escape from problems drummed up on screen in the earlier part of the 1970s, I seemed to have just the right mix of what the viewers needed at the time. Unlike director Spielberg's escapist blockbusters which took place in the present day, my director's vision transported audiences away from any possible connections with real life. Which film am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) the 1970s B) the 1980s C) the 1990s D) the 2000s 4) I am a genre. Having lain quiet for several years, I began experiencing a revival with classic-style sheriffs, outlaws, and showdowns being recreated in films during the 1980s. Director Clint Eastwood helped cement his status as an acting and directing legend with his now classic film in my genre, which won the Best Picture Academy Award in 1992. What genre am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) Rocky B) Jaws C) Close Encounters of the Third Kind D) Star Wars 3) I am a decade. During my years, directors were becoming mindful of the fact that, with the birth of VCRs and cable television, the large theater screen was no longer the only place where a film would be seen. Wide shots that played well on large 50-foot theater screens no longer came across on TV sets. As a result, and to compete with viewers ability to jump back and forth in a film with the remote control, we saw an increase in the use of close-ups and the pace of editing. What decade am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) The French Connection B) One Flew Over the Cuckoo's Nest C) Rocky D) On the Waterfront A) the horror film B) the musical C) the Western D) the gangster film 5) I am a filmmaker. I gained fame in the New German Cinema during the 1970s. The "road film" form served my purposes well, as I sought to explore the cultural and spiritual alienation of wandering characters in my work. Oftentimes, my heroes just sit quietly, contemplating unhurried moments or meandering aimlessly through cities crowded with American influences. Who am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● 6) I am a filmmaker. I got my start in the independent film scene in the early 1980s. The notion of seeing America through the eyes of an outsider or immigrant is typical of my directorial style. The pace of my films is normally quite slow, and I often employ the use of long takes. As I explore small details about my characters via minimal editing, it is their in-between moments that I enjoy exploring most. Who am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) The United Kingdom in the 1980s B) The United States in the 1970s C) Germany in the 1980s D) Spain in the 1970s 8) I am a country in a particular decade. When a new leader came to power and initiated a much more open form of government, censorship began to lessen and offer citizens a less intrusive, more progressive form of leadership. A film like director Tengiz Abuladze's Repentance is indicative of the type of movie which would begin to be allowed to be made here, after so many decades of the strict suppression of material that was anything but flattering to the state. When and where am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) John Cassavetes B) Steven Soderbergh C) Jim Jarmusch D) David Lynch 7) I am a country in a particular decade. With the sparkle of my royal couple's engagement and wedding dominating the media, many of my country's popular films tended to ignore the discord and friction brewing in the working class as a result of many people being out of work. However, running counter to this trend was a more progressive, independent-minded cinema with films by directors like Mike Leigh, Steven Frears, and Ken Loach. Normally set in the present day and in cities (rather than amid the picturesque countryside of bygone eras), these films had an ethos of rebellion, stood up for the rights of the working class, and explored intimate, often harsh personal stories. Where and when am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) Alexander Kluge B) Werner Herzog C) Rainer Fassbinder D) Wim Wenders A) Germany in the 1970s B) The Soviet Union in the 1980s C) Spain in the 1980s D) Poland in the 1970s 9) I am a director. I was concerned with political issues during the dark days of the 1970s and 1980s in my country. My early films were documentaries, but they verged on narrative fiction as well. This approach would come to help me achieve a sense of realism when I turned to fiction later on in my career. The acclaimed television series I directed consisted of ten parts, each based on one of the Ten Commandments. It takes place in a forlorn apartment building and has a harsh, austere visual style that reflects the gloomy subject matter. Who am I? For 1 Point(s) Answer: ○ ○ ○ ○ A) Wim Wenders B) Pedro Almodovar C) Ingmar Bergman D) Krzysztof Kieslowski ● 10) I am a filmmaker. In the 1990s I was known for an innovative, slapdash use of jumbled timelines, narrative, and kitsch, a style that was a product of changing times for film viewers. Because viewing at home in the 1990s was full of potential distractions, I tended to supply not only the film but also the distractions which would otherwise cause the viewer to lose interest. One of my best-known films of the 1990s features visually prominent references to cinema, television, and music icons like James Dean, Buddy Holly, Ed Sullivan, Zorro, and Marilyn Monroe. Who am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● 11) I am a film. I broke new ground with the use of some of the very first computer-generated, or "CG," effects on screen. Viewers of the day were amazed with the sophistication of the conjured images playing out alongside live-action characters. Even though to viewers' eyes today the action I depicted in outer space does not appear realistic, I was responsible for laying the groundwork for future, more believable digital effects What film am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) Hollywood in the early 1970s B) Hollywood in the 1990s C) England in the 1980s D) Spain in the 1990s 13) I am a filmmaker. My films exude an acclaimed sense of reality. Having started off as an actor myself, I realized the importance of researching the characters I write via improvisation. My now famous method has always been to bat around ideas for characters and situations with my actors and have them take notes while improvising in character in real life. We then boil down all of their experiences into films that are incredibly rich in realistic detail, thanks largely not to what audiences see but to what they sense. Who am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) Star Trek II: The Wrath of Khan B) Jurassic Park C) Toy Story D) Twister 12) I am a particular place and time during which viewers were experiencing their media more and more as a visual browse. As the Internet rose to popularity, people jumped and meandered from one scene or website to the next, spending hours on end being entertained without any narrative progression or story. Viewers were able to access old films and television shows, and popular storylines and characters from decades past re-entered the public consciousness. Producers recognized the profitability of remaking already proven titles, and old TV staples like The Brady Bunch and The Fugitive were made into films to capitalize on audiences' desire to re-experience yesteryear on the big screen. Where and when am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) Kevin Smith B) Richard Linklater C) Quentin Tarantino D) Robert Rodriguez A) Tom Tykwer B) Lars Von Trier C) Mike Figgis D) Mike Leigh 14) I am a film. My director used an unreliable narrator and a puzzle-film style to lead my story to three different endings, with a narrative structure similar to that of a video game. Each time my lead character encountered a problem or made a mistake, the problem could be corrected the next time, much like a player learning new tricks to adjust and make it through a video game world. Furthermore, whenever an adjustment was made, different fates awaited random passersby in strings of flash-forward snapshots. What film am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● 15) 15. I am a film. My production design is stunning, and my slow-moving camera captures everything the audience needs to know in long, slow takes. Instead of cut-aways, my mise-en-scène tells the story in slow panning shots that reveal plush, rich colors and a visually loaded production design. My shots push the viewer to luxuriate in the extended time my director provides in order to soak up the incredibly rich, vibrant, and intricate sets and the vulgar, nasty rants of the violent, bullying lead villain. What film am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) Japan B) Germany C) England D) Poland 17) I am a filmmaker. In my country, filmmakers experienced a liberalization of governmental restrictions as a feeling of freedom slowly began to take hold. I rose to lead something of a film revolution in the late 1950s and 1960s, as I made films which explored topics such as politics, courage, and loss in the extended aftermath of World War II. My work, although probing for clarity amid socio-political confusion, also tended to reflect on the nature of life and art. In one of my films, an intense lead character lines up glasses of vodka along a bar and lights them all, in salute to fallen comrades. One of my most famous films, made in 1981, is blunt in its attitude towards governmental control. Its message of the need for citizens to stand united made it one of the bravest cinematic efforts of the times. I also became a senator in the parliament of my country during the 1980s, where I felt I could create even more sweeping change. Who am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) Breaking the Waves B) The Cook, the Thief, His Wife, and Her Lover C) Women on the Verge of a Nervous Breakdown D) Top Gun 16) I am a country. Despite a turn by modern, younger filmmakers in the 1980s towards an examination of contemporary society with a comedic flair, the more traditional, seasoned work of a legendary master filmmaker continued to look back at my culture and history through a certain popular genre. When this master attempted to make a new film in that genre, the studios—wary of competition from television—did not want to risk the production costs associated with the scale this master had become accustomed to. In a stroke of luck, big-name American filmmakers decided to help finance the rest of the film. Which country am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) Timecode B) Trainspotting C) Run Lola Run D) Delicatessen A) Wim Wenders B) Ingmar Bergman C) Werner Herzog D) Andrzej Wajda 18) I am a filmmaking technique. When directors have used me, a near-documentary visual aesthetic is usually achieved. The Italian Neorealists pioneered me in the 1940s, and the here-and-now quality I communicate gained particular popularity during the 1970s. Often used in conjunction with long takes, I have a built-in knack for creating an effective, truthful story moment or stirring up feelings of realism in viewers. What technique am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● 19) I am a filmmaking technique. I started appearing during the 1980s as directors started shortening scenes and cutting more often to close-ups. With screen time freed up, studios started to capitalize on the opportunity to fill scenes in. With so much screen realism prevalent during the 1960s and 1970s, I all but disappeared from films, until the 1980s when MTV was born. Indeed, I was something that had been sorely lacking on the big screens for many years. What technique am I? For 1 Point(s) Answer: ○ ○ ○ ○ ● A) rapid-fire editing B) hand-held camerawork C) steadicam D) CGI A) film noir B) close-up C) the musical sequence D) the genre system 20) I am a filmmaker. My breakout hit in the late 1980s utilized an over-the-top, often outrageous approach to style, action, and dialog, and its storyline played like a soap opera gone wild. It was also the highest grossing film in North America in 1989. Although my later work turned to a more serious, dramatic style, my films of the 1980s tended to follow off-beat, sexually adventurous characters and employ an often erotic yet fantastical approach to story. Many critics have compared my work in this era to the "screwball" comedies of the 1930s Golden Age, as my characters often deliver lines in an overly-dramatic, almost comedic style. Who am I? For 1 Point(s) Answer: ○ ○ ○ ○ A) Pedro Almodovar B) John Cassavetes C) Lars Von Trier D) Peter Greenaway
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