Term
| What best characterizes the situation of the French film industry in the 1920s? |
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Definition
| Many small, non-vertically-integrated companies dominated |
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Term
| How did the French cinema's production output compare to other that of other countries in the 1920s? |
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Definition
| France produced fewer films than both the U.S. and Germany |
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Term
| What was not a major genre of French filmmaking in the 1920s? |
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Definition
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Term
| Why did the French avant-garde filmmakers call themselves "Impressionists"? |
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Definition
They aimed to create fleeting feelings, or impressions, in the spectator
Koothan and the site disagree. The site says the first answer, he says this one.
They wanted to pay homage to French Impressionist painters such as Monet and Degas |
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Term
| What is the most important function of film techniques in French Impressionist cinema? |
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Definition
| conveying character subjectivity |
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Term
| What is not a typical characteristic of Impressionist narratives? |
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Definition
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Term
| What was not a factor in bringing about the end of the Impressionist movement? |
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Definition
| Many of the Impressionist directors left France for jobs in Hollywood |
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Term
| Why did the German film industry prosper during World War I and in the years immediately following the war? |
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Definition
| Germany's import ban created demand for domestic film production |
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Term
| Who was the most prominent German director of Post-War historical spectacle films? |
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Definition
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Term
| What best characterizes the aims of the German Expressionist movement? |
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Definition
| distorting reality to express inner emotional experience |
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Term
| What aspect of its style is the main defining trait of German Expressionist cinema? |
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Definition
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Term
| What best describes German Expressionist performance? |
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Definition
| German Expressionist actors carefully exaggerated their movements and gestures to fit in with overall shot compositions Koothan once again wrote a different answer than the book German Expressionist performance was not especially distinctive or unusual |
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Term
| What genre(s) did Expressionist films often draw from? |
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Definition
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Term
| What was not a factor in the decline of German Expressionism? |
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Definition
| Expressionist films were never very successful at the box office |
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Term
| What best characterizes Soviet cinema from 1918 to 1920? |
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Definition
| During this period, Soviet cinema was disorganized and production was low, though many short films made their way to troops and villagers in the countryside and many old films were shown in theaters |
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Term
| What is the Kuleshov effect? |
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Definition
| the impression of a continuous space and time that viewers get from images edited together in the absence of an establishing shot |
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Term
| What was a main principle of Constructivist artists? |
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Definition
| an artwork is like a machine assembled out of different parts |
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Term
| How does Eisenstein conceive of editing in his theoretical writings? |
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Definition
| as the collision of conflicting forces that create the maximum emotional and intellectual impact |
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Term
| What was most Montage directors' approach to narrative? |
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Definition
| they preferred not to emphasize individual characters and made social forces the source of causes and effects in the narrative |
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Term
| What innovative function did Soviet Montage editors achieve by using intercutting? |
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Definition
| making a thematic or metaphorical point |
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Term
| What was not a factor in bringing about the end of the Montage movement? |
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Definition
| many Montage directors grew tired of the style, which had become passé |
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Term
| Why was vertical integration of production, distribution, and exhibition a successful industrial strategy for the major Hollywood studios? |
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Definition
| by controlling the largest and most profitable first-run "picture palace" theaters, the major producers and distributors were able to cooperate with each other by showing each others' films |
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Term
| What was the purpose of the Motion Picture Producers and Distributors of America, the trade organization of the Hollywood studios? |
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Definition
protection of Hollywood's image from scandal
regulation of film production to avoid government censorship
representation of the American film industry abroad
Answer is all of the above |
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Term
| What was not a significant change in Hollywood film style in the 1920s? |
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Definition
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Term
| Which American director was famous in the 1920s for making risqué sex comedies? |
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Definition
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Term
| What was not a notable Hollywood genre in the late 1920s? |
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Definition
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Term
| Who was the most prolific African-American producer and director of films in the 1920s? |
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Definition
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Term
| What technique innovated by the Fleischer brothers allowed animators to trace over live-action frames to create drawn animated films? |
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Definition
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Term
| What was the motivation behind the formation of "Film Europe"? |
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Definition
| to create a system of co-operation among European nations to expand film distribution within Europe |
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Term
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Definition
| a film made by producers from more than one country |
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Term
| What was the "International Style"? |
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Definition
a trend in international avant-garde cinema that combined elements of Impressionism, Expressionism, and Montage
Koothan once again disagrees with the text
the European term for Hollywood-style filmmaking |
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Term
| Which film directed by Danish director Carl Dreyer blended influences from the German, French and Soviet avant-garde movements, and came to be seen as one of the greatest silent film masterpieces? |
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Definition
| The Passion of Joan of Arc |
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Term
| Which avant-garde movement made films that attempted to represent the incoherent narratives of dreams? |
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Definition
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Term
| What 1920s genre combined experimental and documentary forms? |
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Definition
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Term
| What genre of Japanese cinema is characterized by historical subjects with much action? |
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Definition
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