1. From the beginning, the paradox of the cinema has been the inherent incompatibility between ______.
a. directors and actors
b. art and technology
c. art and commerce
d. drama and comedy
2. The ______ approach to film history might look at the way that a particular film deals withsocial class or labor conditions.
a. aesthetic
b. technological
c. economic
d. social history
3. 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
4. Thomas Edison's motion-picture camera was called the ______; his peephole viewer was called the ______.
a. Kinetoscope; Kinetograph
b. Kinetograph; Kinetoscope
c. Cinematographe; Vitascope
d. Vitascope; Cinematographe
5. Early narrative (fictional) storytelling in the cinema was pioneered by ______ in the U.S. and ______ in France ______.
a. D.W. Griffith; Cecil B. DeMille
b. Charlie Chaplin; Max Linder
c. W.K.L. Dickson; Louis Lumière
d. Edwin S. Porter; Georges Méliès
6. 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. of its racist account of the role of African Americans in the post-Civil War South
d. its multiple stories were intercut in a manner all but incomprehensible to contemporary audiences
7. The main trend in the American film industry from 1905-1907 was the rapid expansion in the number of movie theaters. These small storefront theaters were called ___________________ because of the price of their tickets.
8. Classical Hollywood style refers to a system of formal principles that were established during the silent era and have become standard in the U.S. film industry.
a. True
b. False
9. Which European avant-garde movement of the silent era did not arise within a commercial film industry? (In other words, it was experimental.)
a. Soviet Montage
b. German Expressionism
c. French Expressionism
d. French Surrealism
10. Of the European avant-garde film movements of the 1920s, which one was primarily noted for its distinctive use of mise-en-scène, which continues to influence dark-themed films today?
a. French Surrealism
b. French Impressionism
c. German Expressionism
d. Soviet Montage
11. The director of The Battleship Potemkin (1925) was ______.
a. Lev Kuleshov
b. Sergei Eisenstein
c. DzigaVertov
d. Vsevolod Pudovkin
12. The Hollywood studio system (1925-1955) was a way of turning out large numbers of films on an "assembly-line" system patterned after Henry Ford's method for building cars.
a. True
b. False
13. By 1916, the U.S. had become the major supplier of films to the world, a position it has held ever since. The main reason that Hollywood was able to assume its position of dominance early on was ______.
a. World War I and the devastation it caused in Europe
b. a better film product
c. more money to spend on advertising
d. an influx of émigré filmmakers who were lured to the U.S. by money
14. Edwin S. Porter's early silent film _________________________________________is noted for its use of parallel editing to show a second line of action occurring at a different location AND as the first Western.
15. Name a woman filmmaker, woman screenwriter, or woman star of the silent U.S. cinema. ___________________________________
16. The three types of film are ____________________, ____________________, and ____________________.
17. Film communicates meaning, mood, and information through a combination of elements that function as a sort of language that is based on the shot. Name two elements of this cinematic language. ____________________________________________________________________.