Film History An Introduction 4th Edition By Kristin Thompson – Test Bank

Chapter 11 Other Studio Systems

1) The 1927 Quota Act passed by the British government required in part that:
A) theaters devote a minimum portion of screen time to British films.
B) producers continue making silent films to serve theaters outside the major urban centers.
C) British films receive high budgets to compete with Hollywood imports.
D) Gaumont-British and British International Pictures be broken up into smaller production and distribution firms.

Answer: A
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2) The international success of the British film The Private Life of Henry VIII led to a sixteen-picture distribution contract between United Artists and producer:
A) Herbert Wilcox.
B) Emeric Pressburger.
C) Michael Balcon.
D) Alexander Korda.

Answer: D
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3) British producer Michael Balcon achieved success at Gaumont-British through a policy of:
A) producing quota quickies.
B) making films with specifically British subject matter.
C) adapting Shakespeare’s classics.
D) tailoring films for overseas audiences.

Answer: B
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4) The dinner scene in Sabotage demonstrates director Alfred Hitchcock’s ability to:
A) manipulate the volume of spoken dialogues to suggest character subjectivity.
B) stage complex actions in depth on several planes during an unbroken long take.
C) merely hint at the emotions of characters by turning their faces away from the camera especially at dramatic moments.
D) frame and edit shots in such a way as to allow spectators to grasp characters’ thoughts.

Answer: D
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5) Quota quickies were important for the British film industry during the 1930s because:
A) some achieved moderate success as exports.
B) they kept employment in the film industry high, despite the Depression.
C) they provided “A” level studio directors with occasional forums for formal experimentation.
D) they kept stars working, thus maximizing a studio’s return on investment in creative personnel.

Answer: B
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6) In the context of styles of filmmaking, unlike the Japanese director Yasujiro Ozu, the Japanese director Kenji Mizoguchi:
A) proved to be a master of static.
B) preferred short takes.
C) maintained an everyday humor in all of his films.
D) cultivated a style of long-shot framings.

Answer: D
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7) During the 1930s, which of the following genres of Indian films used a plot derived from legend and the literary epics?
A) the stunt film
B) the mythological film
C) the social film
D) the devotional film

Answer: B
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8) Identify an Indian film genre of the 1930s that was a romantic melodrama set in contemporary times.
A) the mythological film
B) the social film
C) the devotional film
D) the stunt film

Answer: B
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9) The shomin-geki, as exemplified by the films of director Heinosuke Gosho, was a Japanese film genre based on:
A) lower-class Japanese life.
B) mothers and daughters.
C) masterless samurai.
D) actors.

Answer: A
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10) Which of the following statements is NOT true about the Toho company’s activities in the 1930s?
A) It was vertically integrated.
B) It initially built up attendance at its theaters by using imported films.
C) Its films had a glossy, mass-manufactured look.
D) It cultivated a system in which the director and screenwriter had considerable control over their projects.

Answer: D
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