Description
Ten multiple choice questions about moviesLA 382 – FILM HISTORY 3: CONTEMPORARY CINEMA10 QUESTIONS FOR 10 POINTSThe specific assignments are in the PDF file
1 attachmentsSlide 1 of 1attachment_1attachment_1
Unformatted Attachment Preview
●
1) Which of the following statements is true?
For 1 Point(s)
Answer:
○
○
○
○
●
2) Which of the following statements is true?
For 1 Point(s)
Answer:
○
○
○
○
●
○
○
○
A) Director Peter Jackson’s Weta Digital studios were first formed in the early 2000s to create
the digital effects necessary to bring the Lord of the Rings trilogy to life.
B) Director Alfonso Cuaron employed a light-hearted visual style in his Children of Men in
order to stay level with the story’s upbeat mood and comical characters.
C) Relying on the power of his actors’ eyes and body language to tell his story, director Michel
Hazanavicius used visual language masterfully in The Artist.
D) Because the Lord of the Rings story is fictional, director Peter Jackson was sure to keep all
of the three films’ costumes, weapons, and imagery as unrealistic as possible.
4) Which of the following statements is true?
For 1 Point(s)
Answer:
○
○
○
○
●
A) Pedro Almodovar’s films in the 2000s, like Talk to Her, Bad Education, and Broken
Embraces, kept the same flamboyant, unrealistic approach to character and story as his earlier
work.
B) Director Peter Greenaway was known during the 2000s for his production design, which
was always visually bare, sparse, and void of color.
C) Weta Digital blossomed during the 2000s to rival George Lucas’ ILM in conjuring special
effects for blockbuster films like Avatar, The Avengers, Prometheus, and The Hunger Games.
D) Michel Gondry’s films brought with them a frank, realistic, Kitchen Sink style that strove for
a documentary effect yet also used all the latest digital effects of the day.
3) Which of the following statements is true?
For 1 Point(s)
Answer:
○
●
A) In Pan’s Labyrinth, director Guillermo Del Toro relied on a German Expressionist-inspired
visual style to take viewers into a shadowy journey through a magic porthole.
B) Staying away from long takes and sweeping panoramas, Atonement used only close ups
and quick cuts to tell its story.
C) Alfonso Cuaron’s direction in Harry Potter and the Prisoner of Azkaban kept the same
visual approach as the earlier films, using an always light-hearted, cheerful style.
D) In Vera Drake, director Mike Leigh strayed from his usual frank, realistic style to give
viewers the character of Vera, who is funny, bubbly, and delightful throughout the entire film.
A) During the 2000s, British films were produced only in the Kitchen Sink, realistic style of
filmmaking. They showed only stories taking place in the present, not the past.
B) In his Tulse Luper Suitcases trilogy, Peter Greenaway showcased not only what was in the
film frame but also the possibilities of what he could have put in the film frame.
C) Australian director Baz Luhrmann’s visual style could best be described as subdued, quiet,
and sparse. A prime example was the drab, documentary style of his Moulin Rouge.
D) Unlike the gritty realism which Hollywood brought to classic comic-book heroes like Batman
or Superman, Jackson kept his Lord of the Rings fairy tale-like and unrealistic.
5) Which of the following statements is true?
For 1 Point(s)
Answer:
○
A) Sticking to a slow-paced editing style, Luhrmann’s Moulin Rouge was not eclectic or
postmodern in its story or audio-visual approach.
○
○
○
●
6) Which of the following statements is true?
For 1 Point(s)
Answer:
○
○
○
○
●
○
○
○
A) Peter Jackson’s Lord of the Rings trilogy was successful partially due to Jackson’s ability to
recast the animated images viewers knew so well as tangibly and physically realistic.
B) Most of the storylines and images in the films of French director Michel Gondry tended to
possess a generic sleekness which makes them feel clichéd.
C) British films like Pride and Prejudice, Atonement, and The Queen followed characters’
personal struggles and were set strictly in the United Kingdom’s distant past.
D) Guillermo Del Toro’s approach to his Hellboy films was decidedly different from that of his
other work. He used a much brighter, happier visual style to reflect the character’s comic-book
origins.
8) Which of the following statements is true?
For 1 Point(s)
Answer:
○
○
○
○
●
A) In the 2000s, British director Mike Leigh made larger-than-life, extravagant films involving
far-fetched conversations. These films were much like the ones he made in the 1990s.
B) In Amelie, director Jean-Pierre Jeunet self-reflexively introduces on-screen titles which
point out character quirks to viewers. He also has the lead character address the camera
directly.
C) In Tulse Luper Suitcases, Peter Greenaway took careful steps to not confuse viewers. He
concentrated on showing one important detail in the frame at a time.
D) In the 2000s, legendary German director Werner Herzog made films only in his native
Germany, never dealing with American characters or working in the United States.
7) Which of the following statements is true?
For 1 Point(s)
Answer:
○
●
B) Part of the success of the Kitchen Sink, realistic style of director Mike Leigh has been that
he purposely does not rehearse with his actors at all prior to filming.
C) During the 2000s, small, realistic, Kitchen Sink contemporary films by directors like Mike
Leigh appealed much more to American audiences than British ones.
D) In the 2000s, Pedro Almodovar’s writing—which had grown somber, as compared with his
earlier work—was treated with longer camera takes and fewer edits.
A) Director Peter Greenaway was known for his strict, near-documentary realism and his raw,
unplanned production design which stayed out of the way of his actors’ performances.
B) In the 2000s, director Jean-Pierre Jeunet ceased using CG-generated imagery while art
direction and production design became less and less important in his work.
C) Peter Jackson’s attempt to treat the classic Lord of the Rings story with a believable realism
fizzled at the box office, as viewers tended to prefer the original, animated 1978 version of the
story.
D) Romanian filmmakers in the 2000s often displayed a contemporary documentary visual
style. They offered long camera takes, plain lighting and sets, and understated acting.
9) Which of the following statements is true?
For 1 Point(s)
Answer:
○
○
○
○
A) Making only serious, independent, hard-hitting films which catered to small audiences in the
2000s, Egypt was one of the least prolific film producing countries in the world.
B) Many elements in Michel Gondry’s films felt as if they were made from cardboard, paint,
and glue. They gave off a child-made quality that matched his characters naivety.
C) Jackson’s Lord of the Rings films were created purely from the filmmakers’ imagination.
They were not inspired by any previously existing illustrations.
D) Recent Latin American cinema has been much more stridently left wing and “in-your-face”
than it was during the 1960s or 1970s.
●
10) Which of the following statements is true?
For 1 Point(s)
Answer:
○
○
○
○
●
A) In the 2000s, Spanish director Pedro Almodovar began using many more fast-paced
camera takes and rapid editing in order to keep with the high-energy style of his characters.
B) One central message that viewers could easily deduce from Iñárritu’s Babel was the ease
with which people can communicate in various countries and languages around the world.
C) For Moulin Rouge, Baz Luhrmann paid great attention to production design. The approach
enabled vibrantly colored sets and costumes to help tell the story’s fantastical tale.
D) Director Fernando Meirelles’s City of God, showed no unique narrative visual style because
it was a complete documentary exposing the city’s homeless street children.
Purchase answer to see full
attachment
Tags:
Guillermo Del Toro
visual style
contemporary cinema
shadowy journey
magic porthole
User generated content is uploaded by users for the purposes of learning and should be used following Studypool’s honor code & terms of service.
Reviews, comments, and love from our customers and community: