Which form of entertainment was NOT a staple of American popular culture immediately prior to the invention of the cinema?
Hello I have my exam right now and I’ll post questions one by one so you’ll have to give the answer directly one by one. so please ensure that you have knowledge about this course and film! And also I won’t be able to go back to the previous question so please ensure about that. And also I’m posting the chapter highlights and the exam study guide incase you want to refer to that, also please make sure to give your best and an A.
Requirements: N/A
FLME 2700
Exam 1 – Study Guide
Chapter 1 Review
1. Which form of entertainment was NOT a staple of American popular culture immediately prior to the invention of the cinema?
a. freak shows
b. music hall entertainment
c. historical theater
d. radio
2. Which of the following is a George Eastman invention that was used in designing machines to take and project motion pictures?
a. celluloid roll film
b. metal slide
c. paper roll film
d. glass lantern slide
3. Which of the following was NOT a necessary precondition for the invention of cinema?
a. a photographic base flexible enough to pass through a camera rapidly
b. the capacity to project a rapid series of images on a surface
c. the ability to encode an optical soundtrack directly on a filmstrip
d. the existence of an intermittent mechanism for both cameras and projectors
4. Étienne Jules Marey provided an important precursor of motion pictures with his invention of _____, which exposed twelve images around the edge of a circular glass plate that made a single revolution in one second.
a. a photographic gun
b. a colored zoopraxiscope
c. the Kinetoscope
d. the Cinématographe
5. The Zoetrope was:
a. the theater that exhibited projected films for the first time in the United States.
b. the camera-projector developed by the Lumière brothers.
c. a nineteenth-century optical toy.
d. the studio in which the earliest Edison films were shot.
6. Which of the following early cameras also doubled as a projector?
a. the Cinématographe
b. the Biograph
c. the Bioscop
d. the Praxinoscope
7. Around 1895, the Lumière brothers decided to shoot their films at _____, which became the most commonly used international film speed for about twenty years.
a. sixteen frames per second
b. forty-six frames per second
c. twenty-four frames per second
d. sixty frames per second
8. Short travelogue films offering views of distant lands were originally known as: a. panoramas.
b. scenics.
c. tropicals.
d. actualities.
9. Which of the following nations was NOT one of the three primary film-producing countries during the first decade of cinema?
a. the United States b. France
c. Germany
d. England
10. What cinematographic innovation is Lumière camera operator Eugène Promio credited with?
a. superimposition
b. slow motion
c. the close-up
d. the moving camera
11. Early English cinema became famous for its:
a. special-effects cinematography.
b. primitive star system.
c. literary adaptations.
d. religious spectacles.
12. What type of motion picture did NOT have a role in reviving audience interest in
American films around 1898?
a. prizefight films
b. Passion Plays
c. Spanish-American War actualities
d. exotic dance films
13. Which Edwin S. Porter film is known to be the first to use printed intertitles in American cinema history?
a. Jack and the Beanstalk
b. Life of an American Fireman
c. Uncle Tom’s Cabin
d. The Great Train Robbery
14. Edwin S. Porter’s Life of an American Fireman (1903) is notable for:
a. its extensive use of intercutting and sophisticated stop-motion effects.
b. the successive shots that show the same action from two vantage points.
c. the release of each of its shots as a separate film.
d. its adaptation of a best-selling novel.
15. Which of the following was NOT a factor in the increased concentration by motion
picture producers on fiction filmmaking in the middle 1900s?
a. the difficulty of planning nonfiction films in advance
b. the proliferation of source material in newspapers and periodicals
c. the rise in popularity of fiction films
d. the cost of sending camera operators off to shoot actuality footage in distant locales
16. The cinema was one of the first significant technologies pioneered during the industrial revolution, later followed by the telephone and the automobile.
a. True b. False
17. There is no single inventor of motion pictures; the cinema instead came about through an accumulation of contributions from inventors worldwide.
a. True b. False
18. The 35mm film gauge pioneered by W. K. L. Dickson in the 1890s remained the standard gauge for motion pictures for over a hundred years.
a. True b. False
19. The fiction film was the most well received type of motion picture until 1900, when it was supplanted in popularity by actualities.
a. True b. False
20. Most films created during the 1890s contain between five and ten shots.
a. True b. False
21. The first exhibitions of projected motion pictures in many countries were put on by
Lumière representatives.
a. True b. False
22. Georges Méliès was an early master of sophisticated stop-motion effects.
a. True b. False
23. Copyright laws passed in the late 1890s helped curb the illegal duplication of film prints and enabled the top U.S. film producers to gain control over the circulation of their movies.
a. True b. False
Chapter 2 Review
24. Which of the following was NOT a significant factor in the expansion of the French film industry in the mid-1900s?
a. the expansion of the largest motion picture firms
b. the popularity of imported American films
c. the targeting of more affluent audiences
d. increased leisure time for French citizens
25. Which of the following early cameras also doubled as a projector?
a. the Cinématographe
b. the Biograph
c. the Bioscop
d. the Praxinoscope
26. Around 1895, the Lumière brothers decided to shoot their films at _____, which became
the most commonly used international film speed for about twenty years.
a. sixteen frames per second
b. forty-six frames per second
c. twenty-four frames per second
d. sixty frames per second
27. Around 1895, the Lumière brothers decided to shoot their films at _____, which became the most commonly used international film speed for about twenty years.
a. sixteen frames per second
b. forty-six frames per second
c. twenty-four frames per second
d. sixty frames per second
28. Short travelogue films offering views of distant lands were originally known as: a. panoramas.
b. scenics.
c. tropicals.
d. actualities.
29. Which of the following nations was NOT one of the three primary film-producing
countries during the first decade of cinema?
a. the United States
b. France
c. Germany
d. England
30. The French screen comic Max Linder was important to early film history because:
a. he was the most successful of the Chaplin imitators.
b. he started the trend of French comics working in Italian films.
c. his caricature appeared in the first French animated picture.
d. his films reflected the French film industry’s bid for middle-class respectability.
31. Which French director supervised Gaumont’s film production until 1908?
a. Louis Feuillade
b. Ferdinand Zecca
c. Alice Guy
d. Émile Cohl
32. In Italy, cinema won respect as a new art form earlier than in other European countries primarily because of:
a. the opening of many permanent movie theaters.
b. the ubiquity of films projected at traveling fairs.
c. the publication of serious film journals.
d. tariffs imposed by the Italian government on exported films.
33. Which type of film was NOT characteristic of Italian cinema of the 1910s?
a. the multireel picture
b. the historical spectacle
c. the neorealist film
d. the comic series
34. Which European production company specialized in crime thrillers and somewhat sensationalistic melodramas?
a. Film d’Art
b. Nordisk
c. Itala
d. Ambrosio
35. Which of the following is true of nickelodeons that spread in the United States between 1905 and 1907?
a. They were seasonal.
b. They were open only to select audience.
c. They were more expensive than vaudeville houses.
d. They were more regularly available than traveling exhibitions.
36. Since 1897, the Edison company tried to force its competitors out of business by:
a. importing multireel foreign films.
b. suing them for patent infringement.
c. producing films with more risque or salacious content.
d. hiring away their biggest stars.
37. In December of 1908, the Edison company and American Mutoscope & Biograph (AM&B) created the Motion Picture Patents Company (MPPC) to:
a. gain a larger share of the U.S. market.
b. encourage independent filmmakers in the United States.
c. expand the distribution of American films abroad.
d. encourage the production of feature-length motion pictures.
38. The first distributor to effectively defy the Motion Picture Patents Company (MPPC) and start his own production firm—the Independent Motion Picture Company—was:
a. William Fox.
b. J. Stuart Blackton.
c. Carl Laemmle.
d. Harry Warner.
39. Multireel films were uncommon in the United States in the nickelodeon era because:
a. exorbitant production costs made them unprofitable.
b. the Motion Picture Patents Company’s (MPPC’s) rigid release system allowed for
only single reels.
c. audiences could not follow the plots of many longer pictures.
d. studios could not convince seasoned playwrights to work in Hollywood.
40. The first American film companies were located in: a. Chicago.
b. Southern California.
c. Florida.
d. New York and New Jersey.
41. By the late nickelodeon era, every aspect of silent film style came to be used to:
a. enhance narrative clarity.
b. beautify a film’s female lead.
c. showcase the talent of the actors.
d. emphasize spectacle.
42. Which of the following is NOT true of the use of expository intertitles in films circa
1914?
a. They were used to set up the situation.
b. They suggested characters’ thoughts more precisely than did gestures.
c. They summarized the upcoming action.
d. They were often written in the third person.
43. The term “reframing” refers to:
a. building a new lighting setup following the completion of a scene.
b. the act of moving a camera toward an actor, from a long shot to a close-up.
c. a slight readjustment used by the camera operator to keep an actor in the frame
when he or she moves about.
d. a return to a static shot of a character after he or she has had a dream or a flashback.
44. In the silent era, what color tint was commonly used to signify an interior space at night?
a. blue b. sepia c. amber d. violet
45. An “insert” is a specific type of cut used in:
a. parallel editing.
b. contiguity editing.
c. crosscutting.
d. analytical editing.
46. Which of following is one of the earliest animation techniques that made use of frame-
by-frame animation of objects?
a. pixilation
b. cel shading
c. rotoscoping
d. skeletal animation
47. Pathé developed a hand-stencil coloring system and was using it to add color to all its releases by 1905.
a. True b. False
48. During the U.S. nickelodeon boom, most films shown in nickelodeons came from abroad.
a. True b. False
49. The Motion Picture Patents Company (MPPC) was an oligopoly because its member firms cooperated to control the U.S. market and block the entry of new companies.
a. True b. False
50. By 1905, film companies began to give screen credit to actors and exploited their popular actors for publicity.
a. True b. False
51. In or around 1909, filmmakers began to put the camera slightly closer to the actors so that their facial expressions would be more visible.
a. True b. False
52. Surviving footage from the earliest known Indian feature film, Raja Harishchandra, reveals that its director understood and employed contemporaneous principles of western filmmaking.
a. True b. False
Chapter 5 Review
53. Which of the following is NOT a reason for the growth of the German film industry after World War I?
a. the diminishing of anti-German sentiment in enemy countries
b. a government ban on imported films
c. a robust post-war economy
d. exchange rates unfavorable to the German mark
54. Directly after World War I, the leftist political climate in Germany led to:
a. a brief abolition of censorship.
b. the liberal government’s nationalization of the film industry.
c. the introduction of street films.
d. a talent and technology exchange with the Soviet Union.
55. Which of the following is NOT true of The Cabinet of Dr. Caligari, the first German Expressionist film?
a. The actors exhibited jerky or dancelike movements.
b. The film used stylized sets, with strange, distorted buildings painted on canvas
backdrops and flats in a theatrical manner.
c. The actors made little attempt at realistic performance.
d. The film exploited the Kuleshov effect by combining newsreel and staged footage.
56. Which of the following is true of the characteristics of German Expressionist films?
a. Expressionist acting was deliberately exaggerated to match the style of the settings.
b. Performances in Expressionist films consisted of carefully controlled physical
movements rather than the expression of emotions.
c. They downplayed individual characters as central causal agents and often made
social forces the source of causes and effects.
d. They used camera movements to convey character subjectivity and enhance
photogénie.
57. Which narrative technique of German Expressionist literature was adopted by
scriptwriters for Expressionist films?
a. the alienation effect
b. the frame story
c. the dangling cause
d. the lying flashback
58. During the 1920s, descriptions of German Expressionist films often referred to the sets
as:
a. “invisible.”
b. “threadbare.” c. “acting.”
d. “fake.”
59. In German Expressionist films, the narrative often pauses or slows briefly when:
a. sets are torn down and assembled in real time, as in the theater.
b. elements of mise-en-scène align into eye-catching compositions.
c. characters tell stories or describe troubling dreams.
d. an unfastened moving camera replicates the perceptual subjectivity of characters.
60. Which was NOT a common tactic for blending the elements of mise-en-scène in a
German Expressionist film?
a. the use of elaborate tracking shots
b. the juxtaposition of similar shapes
c. the use of stylized surfaces
d. the use of symmetry
61. German Expressionism is distinctive primarily for its:
a. montage cutting.
b. camerawork.
c. use of mise-en-scène.
d. use of natural lighting.
62. Camera movements and high or low angles were relatively rare in German
Expressionist films because:
a. most German studios were not technically equipped to handle these demands.
b. many directors had started their careers in German Expressionist theater and were
accustomed to arranging the action in a single location.
c. during the war, German filmmakers had access only to Swedish and Danish movies
and they were influenced by the static compositions that dominated the style of
those films.
d. many Expressionist sets used false perspective to form an ideal composition when
seen from a specific vantage point.
63. Which of the following was NOT typically true of German Expressionist narratives?
a. They were set in exotic locales.
b. They were told from the viewpoint of a mad narrator.
c. They involved elements of horror or fantasy.
d. They were set in the past.
64. German scenarist Carl Mayer is considered the main force behind:
a. the Kammerspiel genre.
b. the “New Objectivity” trend.
c. the German historical spectacle. d. the street film.
65. Which of the following traits is NOT typically found in Kammerspiel films?
a. a limited number of settings
b. a heavy reliance on intertitles
c. an unhappy ending
d. a story that takes place in a short span of time
66. One of the significant factors in the decline of German Expressionist cinema was:
a. the onset of World War II.
b. the departure of Expressionist filmmakers to Hollywood.
c. an unofficial ban on German imports by exhibitors in England and France.
d. the failure of Expressionist filmmakers to keep pace with the increased budgets of mainstream German cinema.
67. The German avant-garde theater of the mid-1920s became less concerned with the
depiction of extreme emotions (as exemplified by German Expressionism) and more interested in:
a. the ironies of the social situation.
b. the purely pictorial quality of artworks.
c. American popular culture.
d. theories of human perception.
68. In order to export their films to major markets outside Germany, the big German production companies made films in the mid- to late 1920s that:
a. featured performers who looked and acted like certain American movie stars such as Charlie Chaplin and William S. Hart.
b. contained no intertitles.
c. emphasized their “Germanness” via the adaptation of classic German literature and
the use of famed German monuments and landmarks as settings.
d. were stylistically indistinguishable from Hollywood pictures.
69. Over the course of World War I, the number of active German film production companies decreased by almost 80 percent.
a. True b. False
70. During the inflationary period of the early 1920s, the larger German production companies found it relatively easy to finance historical epics.
a. True b. False
71. German Expressionists favored extreme distortion to express an inner emotional reality rather than surface appearances.
a. True b. False
72. German Expressionist films emphasize the composition of individual shots to an exceptional degree.
a. True b. False
73. The return to a stable German currency in 1924 made it cheaper for companies to finance a new film in Germany than to buy a film from abroad.
a. True b. False
74. The coming of sound combined with greater control over the film industry by conservative forces created an emphasis on light entertainment in German cinema during the late 1920s.
a. True b. False
Chapter 3 Review
75. World War I severely curtailed filmmaking in which two important movie-producing nations?
a. Australia and New Zealand
b. France and Italy
c. Germany and the United States
d. Russia and Germany
76. The Student of Prague (1913) was influential within the German cinema partly for its:
a. highly exaggerated acting style.
b. opulent set decoration.
c. slow tracking shots.
d. photographic special effects.
77. Which European film of the mid-1910s was renowned for its slow tracking shots, so much so that similar types of camera movement subsequently were described using this film’s title?
a. Homunculus b. Atlantis
c. Fantômas
d. Cabiria
78. Which of the following was NOT a distinctively Italian film genre of the silent era?
a. diva films
b. white telephone films
c. strongman films
d. frock-coat films
79. Which nation’s cinema was well-known in the 1910s for its tragic endings? a. Russia
b. Canada c. Italy
d. Germany
80. Which of the following is NOT true of Pathé Frères’s response to World War I?
a. It focused on its American distribution wing, releasing films made by independent
producers in the United States.
b. It helped American films gain a greater share of the French market through its
distribution.
c. It provided stable leadership for French film production by creating competitive
alternatives to Hollywood cinema.
d. It backed away from vertical integration by concentrating on the distribution and
exhibition of films.
81. Upon its formation in 1914, Paramount was instantly notable as:
a. the exclusive distributor of Italian historical epics in the United States.
b. the first new firm invited to join the Motion Picture Patents Company since its
inception in 1908.
c. the home studio of three of the world’s most popular movie stars: Charlie Chaplin,
Mary Pickford, and Douglas Fairbanks.
d. the first national distributor in the United States devoted solely to features.
82. Around 1917, Paramount was releasing about 100 feature films per year and requiring
theaters to show all of them to get any. This was an early instance of the practice known as:
a. run-zone-clearance.
b. full slate scheduling.
c. block booking.
d. featherbedding.
83. Which of the following was NOT a reason for the use of the continuity script by the Hollywood studios in the 1910s?
a. to allow a producer to estimate how much a given film would cost
b. to settle the matter of which writers received screen credit on a film and under what
designation
c. to guide editors in putting a film together
d. to allow film practitioners working in separate departments to coordinate their
efforts
84. During the mid-1910s, filmmakers experimented with _____, lighting on part of the scene, motivated as coming from a specific source.
a. three-point lighting
b. effects lighting
c. soft lighting
d. low-key lighting
85. Which of the following is NOT a characteristic of European cinematic style during the 1910s?
a. frequent cut-ins
b. framing action in windows
c. moving actors slightly to block and reveal key details
d. reliance on deep sets
86. D. W. Griffith’s The Birth of a Nation (1915) was extremely controversial because:
a. it was rented to exhibitors at exorbitant rates, ensuring a loss for theaters that did
not book it for a run of several months.
b. it was released without a National Board of Review seal of approval.
c. its multiple stories were intercut in a manner all but incomprehensible to
contemporary audiences.
d. of its racist account of the role of African Americans in the post-Civil War South.
87. Cecil B. De Mille is often thought of today primarily for his:
a. historical epics of the sound era.
b. low-budget Westerns.
c. slapstick comedies.
d. sophisticated romantic comedies.
88. Keystone, the studio famous for its slapstick comedies and for introducing movie
audiences to Charlie Chaplin, was headed by:
a. Thomas H. Ince.
b. Mack Sennett.
c. Ben Turpin.
d. Hal Roach.
89. The system of animation in which a figure is drawn on paper, then a portion of its body is cut away and redrawn on a sheet of paper below the figure’s remaining portion was commonly known as:
a. the slash system.
b. pixilation.
c. the peg system.
d. cel animation.
90. During the 1910s, Paris was the center for the international circulation of U.S. films.
a. True b. False
91. Following World War I, film industries in other countries found that it was usually
cheaper to buy an American film than to finance a local production.
a. True b. False
92. Russian film acting during the 1910s was known for being intense and highly internalized.
a. True b. False
93. The German blockade of film imports to several northern European countries during World War I helped boost Swedish production.
a. True b. False
94. During the 1910s, Hollywood studios favored staging within a single shot and refined their approach by creating a complex choreography not seen in earlier years.
a. True b. False
95. In the classical Hollywood cinema, the chain of cause and effect is rooted equally in social forces and character psychology.
a. True b. False
Aesthetics & Analysis
96. What are the elements of mise-en-scène?
a. objects, actors, make-up, and lights
b. objects, setting, actors, and make-up
c. objects, actors, costumes, and lights
d. setting, costumes/make-up, lights and blocking
97. What is editing that shifts back and forth between two or more lines of action called?
a. action and reaction
b. parallel
c. plotline
d. flipping
98. Which is not a major aspect of mise-en-scène? a. setting
b. composition
c. the director
d. subjects
99. The range or distance before and behind the main focus in which objects remain
relatively sharp and clear is called:
a. point of view
b. perspective
c. depth of field
d. gauge
100. Which type of transition changes from dark to light?
a. wipe
b. fade in
c. jump cut
d. dissolve
Bonus
Who is the President of Georgia State University?
a. Jazmine R. Hudson
b. M. Brian Blake
c. Greg M. Smith
d. Jermaine Dupri
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