1) I shot 16 mm film, slogging through the mud. My camera captured the true brutality of World War II, but the War Department cut out a good deal of my footage. My other work, first as a screenwriter, then as a director, can be described as having a simple visual style. I have directed Humphrey Bogart more than once. Who am I?For 1 Point(s)Answer: A) Billy Wilder B) John Huston C) John Ford D) Preston Sturges2) Director Alfred Hitchcock __________.For 1 Point(s)Answer: A) knew that a scene's dialogue -– not its visuals -– was most crucial to communicate its true power B) required in every scene that the audience have the same information as the character, in order to place the viewer directly into the hero's shoes C) in order to manipulate the audience, strategically pulled the viewer in and out of the light, withholding information at one moment, then giving it the next D) knew that weaving changes into a film's tone were simply not necessary; if a director's objective is to keep the audience in suspense, then tone should be constant throughout3) I am a film movement. It could be said that I lean towards the visual look and techniques of the French new wave while having a good deal in common with the sociopolitical outlook of the Italian neorealists. I tend to often take place in bars and factories, show fights amongst working class, and stress a more realistic, guttural way of speaking. Which film movement am I?For 1 Point(s)Answer: A) film noir B) problem pictures C) British kitchen sink realism D) Russian montage4) I am a type of character. Director Sydney Lumet enjoyed working with me. I am always conflicted, usually quirky, and often contradict myself. I'm not completely likeable, yet I am just endearing or righteous enough to earn your empathy and I do not fit into the traditional "movie star" persona. I am a(n) __________.For 1 Point(s)Answer: A) antagonist B) villain C) antihero D) protagonist5) I am a style of filmmaking. I've been referred to as having a prevailing mood of pessimism. Films that fall under my category have a visual influence derived largely from German films. A large number of the directors who used my style had to flee Hitler's Germany for Hollywood. After World War II the moviegoing public seemed to be a bit disillusioned with the world and to crave films with more of a darker side. I delivered. My films often contain harshly contrasting shadows, alleys at night, and deceptive female characters. What style of filmmaking am I?For 1 Point(s)Answer: A) Italian neorealism B) film noir C) French new wave D) blaxploitation6) One of the groundbreaking notions running through the new spirit of American cinema during the early 1970s was the emergence of a seamless, invisible storytelling style where audiences were now not supposed to notice or admire things like camera work, editing, or sound. The director's personal vision lost importance during this time and escapism reigned on all screens.For 1 Point(s)Answer: True False7) Which of the following eras was deeply motivated by politics, race relations, sex, drugs, and French new wave?For 1 Point(s)Answer: A) American cinema of the mid-1980s B) American cinema of the early 1950s C) American cinema of the late 1960s D) Italian cinema of the 1940s8) I am a decade. Many important films were made during me, most of which happened during my last few years. A social revolution began to take root and I saw Hollywood experience somewhat of a metamorphosis. The decline and revisionist treatment of the classic Hollywood Western symbolized the death of the American suburban dream. American filmmakers began to adapt camera and editing techniques that were blossoming in the work of the young French auteurs and audience attendance began to rise for the first time in many years. When am I?For 1 Point(s)Answer: A) 1960s B) 1950s C) 1940s D) 1980s9) European film in the 1960s saw the __________.For 1 Point(s)Answer: A) birth of the semi-documentary style of Italian neorealism, where the auteur theory was born and where a director-as-artist movement changed filmmaking forever B) coming of the experimental, often semi-documentary style of the Czech new wave, where young directors made an aesthetic revolt against the old, domineering way of thinking within the halls of government C) launch of the "angry young man" films from England, which were aesthetically and politically identical to those of the French new wave and Italian neorealism D) start of McCarthyism, television, and method acting, all of which influenced and changed filmmaking style and technique for generations to come10) I believe highly in letting the audience decide what to look at in the frames I compose instead of telling them what to look at via too much reliance on editing. Keeping everything in focus, aiming for realistic, overlapping dialogue and achieving exotic camera angles and shot compositions to emphasize a visual subtext in the scene is very important to me. My name is synonymous with greatness in cinema. Who am I?For 1 Point(s)Answer: A) D.W. Griffith B) Charlie Chaplin C) Orson Welles D) John Ford11) I am a group of filmmakers during a certain time and place. Some of my members started off as actors. Some as film students. What they all have in common is that they broke down borders. They infiltrated the hallowed halls of the studios and convinced the old Moguls to invest in their small films. What resulted was a financially beneficial relationship -- the filmmakers got to make their small pictures while the moguls had little to risk. The films that came out of this group were raw, often employed rock-and-roll soundtracks, depictions of drug taking, and a free spirit that emphasized bucking a sociopolitical system that was increasingly becoming exposed as corrupt.For 1 Point(s)Answer: A) American directors in the 1970s B) Russian directors in the 1920s C) French directors in the 1960s D) Italian directors in the 194012) I am a cinematic movement. I began as a result of young film lovers growing tired of the boring plot-driven cinema that had been coming out of my country for years. These young film lovers denounced that kind of cinema, relegating it to the past, and instead championed a new approach. Through critical writing and then through actually making their own films, these young artists thought that the director was to the film just as the poet was to a poem. Visually, the films they made in my style tend to employ the use of jump cuts, freeze-frames, and self-reflexively looking into the camera, making the audience aware they are watching a movie. I am?For 1 Point(s)Answer: A) French new wave B) Italian neorealism C) social realism D) Russian montage theory13) I have been called the original "art house" director. My visions of a cold, bleak, barren, godless world is said to have emanated from my joyless youth. My films tend to echo themes of loneliness and alienation and usually ask questions about deeper metaphysical meanings of things in the world, such as being human in face of death. I am?For 1 Point(s)Answer: A) Billy Wilder B) Ingmar Bergman C) Sergei Eisenstein D) Federico Fellini14) I am a country and an era. When the Nazis invaded me, my director ordered my filmmakers to produce as many films showing the power of my history and historical leaders as possible. I felt that all films should be easy to understand by the working masses and anyone making art or "formalist" films has no place in me. I am?For 1 Point(s)Answer: A) Italy in the 1910s B) Russia in the 1940s C) Japan in the 1940s D) France in the 1940s15) I am a film movement. I finally began to deal with the horrors of WWII in my country. Films under my umbrella often deal with lost, troubled, wandering souls who are somehow spiritually or physically dislocated and trying to find their way. The influence that American culture has had on my country has been all-consuming and this issue is often an underlying topic for me. I am?For 1 Point(s)Answer: A) New German Cinema B) UFA C) German expressionism D) French new wave16) Subtext, Kazan, Brando, Stanislavsky, The Actor's Studio, and Strasberg can be most closely associated with __________.For 1 Point(s)Answer: A) McCarthyism B) method acting C) neorealism D) Citizen Kane17) In Italy during the 1940s, __________.For 1 Point(s)Answer: A) young filmmakers showed great admiration towards the government for its leadership and sought to produce plot-oriented films, where suspense and action were the most important elements B) the harsh realism of the "white telephone" films depicted the severe conditions of life on the streets. These were escapist, romantic comedies that the neorealists sought to emulate C) neorealist filmmakers sought to show the individual's plight in a seemingly uncaring society via an audiovisually realistic style D) it was escapist films that harkened back to the glory days of Italy's past, which found the most popularity among young critics and mass audiences alike18) I am the work of a specific director. After World War II, I continued to display a contemplative, reduced, and quiet approach to story and technique. My director's films tended to show a style that was restrained and minimal and emphasized the quiet desperation of everyday, contemporary characters. Plot was not as important in me and the camera that depicted my stories was often motionless, sitting helplessly focused on long hallways or doorways. I am the work of?For 1 Point(s)Answer: A) Ozu B) Kurosawa C) Billy Wilder D) Stanley Kubrick19) I am a movement. I started out as a theoretical and political stance on the way things were in the towns and cities of the country I originated in. Through necessity, the events filmmakers depict in my films came to embody a certain physical and visual look. I tended to be mostly shot on location and employ the use of amateur actors to attain a sense of realism, of journalistic immediacy. My shots are often handheld and one theme I usually stress is the plight of the individual against a seemingly uncaring society. I am?For 1 Point(s)Answer: A) French new wave B) Italian neorealism C) British kitchen sink realism D) Russian montage20) I am a time and place in filmmaking. During me, directors often explored metaphysical themes, symbolism, and ponderances about life. Rather than strive for realism, styles often gave way to more dreamlike atmospheres and a uniquely personal and poetic nature was created by directors who were favored more in "art house" cinemas rather than mainstream movie theaters.For 1 Point(s)Answer: A) European films of the 1950s B) Alfred Hitchcock's films of the 1950s C) the "angry young man" films of British kitchen sink realism in 1960s England D) neorealistic films made during the 1940s in Italy21) I am a country. During World War II, my cities were bombed by the Germans and morale was down. The cinema industry inside my borders during the 1940s generally steered clear of films that were about the war. Instead, what was more often produced were period pieces and literary and theatrical adaptations from our renowned national heritage of world-famous writers in order to take citizens' minds off the blunt realities of living inside me. I am?For 1 Point(s)Answer: A) Italy B) England C) Germany D) United States22) I am a type of filmmaking. I began to be noticed after World War II and grew into the 1950s. I tended to deal with serious social themes in stories that revolved around contemporary problems. I didn't like glossy or slick-looking compositions, but did enjoy authenticity and realism. Unlike a genre per se, I am more of an aesthetic or set of values that cross over time periods and borders. I encompass neorealism and kitchen sink realism and method acting fits right in with me as well. I am?For 1 Point(s)Answer: A) McCarthyism B) social realism C) French new wave D) studio escapism23) I am a phase that genres go through. I am symbolic, ambiguous, ironic, and often question the traditional conventions and tropes of the genre I am made in. A good example of me would be The Wild Bunch. I am the __________ phase.For 1 Point(s)Answer: A) classical B) revisionist C) primitive D) parody24) Films of the French new wave __________.For 1 Point(s)Answer: A) always included the use of jump cuts because of the inability of the long take and a shot's mise-en-scene to communicate narrative B) made sure never to include intrusions to the realism of the narrative and thus techniques like freeze-frames, jump cuts, or direct address to camera were strictly avoided C) downplayed the importance of film history and avoided any kind of salutes or homages to older films and always made sure to follow standard film language to make their work understandable to audiences D) emphasized that the filmmaker is the author of a work and audiovisual poetic license should be taken wherever necessary in order to make a film something uniquely by the director25) I've been called a prime example of a journalist turned filmmaker. I began my career as a writer and quickly moved to directing as well. I was fortunate enough to be able to write and direct most of my work. I am known both for exploring the sleazy side of my characters in some films whose style came to be known as "noir." I enjoy writing biting, sarcastic dialogue and am known for how morbidly intense and funny my depiction of humanity can be. Who am I?For 1 Point(s)Answer: A) William Wyler B) Billy Wilder C) Ernst Lubitsch D) George Cukor