Chapter 13: The French New Wave, or Nouvelle Vague, and Its Native Context
MULTIPLE CHOICE
1. During the German Occupation of France
a. a new generation of filmmakers emerged.
b. film production stopped almost completely.
c. the major prewar directors continued to work steadily but there was little room in the French
industry for new talent.
d. the legacy of Poetic Realism died out completely.
e. all of the above
f. none of the above
2. Which of the following films is a product of the collaboration between Claude Autant-Lara and Pierre
Bost?
a. Golden Helmet
b. The Devil in the Flesh
c. Forbidden Games
d. Wages of Fear
e. Beauty and the Beast
f. All of the above are Autant-Lara/Bost collaborations.
3. Jean Cocteau
a. directed several important films during the German Occupation.
b. was known for his extremely realistic films.
c. was opposed to the literary tendency in French films and embraced a purely cinematic style.
d. only wrote the screenplays for the films he directed.
e. fled France during the German Occupation.
f. none of the above
4. The French director who began as an assistant to Renoir before making several outstanding gangster
films, including his acknowledged masterpiece Casque d’or in 1952, is
a. Jacques Becker. d. Jean Cocteau.
b. René Clément. e. Henri-Georges Clouzot.
c. Claude Autant-Lara. f. none of the above
5. Henri-Georges Clouzot was known for making films in which genre?
a. comedies d. fantasy films
b. thrillers e. highly intellectual literary adaptations
c. gangster films f. none of the above
6. The most prevalent genre of film in postwar France was
a. comedy. d. the fantasy film.
b. poetic realism. e. the art film.
c. the literary adaptation. f. none of the above
7. Which of the following would NOT be characteristic of Robert Bresson’s cinematic style?
a. psychological realism
b. the moral struggle of the individual
c. based on literary source material
d. richness of dialogue and mise-en-scène
e. austere acting style
f. All of the above are characteristic of Bresson’s work.
8. Jour de Fête
a. is Jacques Tati’s first feature film and won him international acclaim.
b. like all Tati’s films has almost no dialogue, relying instead on a series of sight gags.
c. features visual humor that required scrupulous planning.
d. is about a village postman who attempts to implement American-style efficiency with disastrous
results.
e. all of the above
f. none of the above
9. Jacques Tati
a. did not act in the films he wrote and directed.
b. made over a dozen feature films in his career.
c. had his biggest international hit with Playtime.
d. shot in a very fast, improvised style with little advance planning.
e. worked in a variety of genres.
f. none of the above
10. Max Ophüls
a. was German but made his most significant films in France.
b. came to the United States later in his career but failed to make any films.
c. was born in France but spent the majority of his career in Germany.
d. regularly went back and forth between France and the United States to make films.
e. came to prominence in France during the German Occupation.
f. none of the above
11. Lola Montès
a. features a static camera throughout the film.
b. features extremely sophisticated widescreen composition.
c. was shot in black-and-white and academy ratio because Ophüls disliked color and widescreen.
d. was a great popular success because of the film’s melodramatic plot and finely drawn lead
character.
e. features a naturalistic color scheme and chronological narrative structure.
f. none of the above
12. Max Ophüls’s style is characterized by all of the following EXCEPT
a. a mobile camera.
b. meticulous and meaningful composition.
c. a strong sense of narrative, dialogue, and character.
d. cynicism and wit.
e. a great emphasis on mise-en-scène and decor.
f. All of the above are characteristic of Ophüls’s style.
13. The greatest stylistic influence on the filmmakers of the French New Wave was
a. the generation of directors that emerged during the German Occupation.
b. French Impressionism.
c. poetic realism.
d. the French documentary movement of the 1950s.
e. American film noir.
f. none of the above
14. The great director of the French documentary cinema during the 1950s was
a. Jean Grémillon. d. Jean Cocteau.
b. Max Ophüls. e. Georges Franju.
c. Robert Bresson. f. none of the above
15. Which of the following is a feature-length fiction film directed by Georges Franju as opposed to a
short documentary?
a. Le Sang des bêtes (Blood of the Beasts)
b. En Passant par la Lorraine (Passing by Lorraine)
c. Hôtel des invalides
d. Night and Fog
e. And God Created Woman
f. none of the above
16. Before becoming one of the first filmmakers of the French New Wave, Alain Resnais began his career
as
a. a documentary filmmaker. d. the founder of the Cinematheque.
b. a film critic for Cahiers du cinéma. e. a fashion photographer.
c. a film professor at IDHEC. f. none of the above.
17. Melville’s Bob le flambeur was a model for the New Wave in all of the following ways EXCEPT
a. location shooting.
b. using major stars in the lead roles but real people in supporting roles.
c. small crews.
d. independent production.
e. it was based on American gangster films.
f. all of the above
18. Roger Vadim’s And God Created Woman contributed to the development of the New Wave
a. stylistically, with its daring formal advances in camera movement and editing.
b. thematically, by presenting a highly intellectualized treatment of psychological malaise.
c. economically, by demonstrating that films by young directors with new themes could be
profitable.
d. narratively, by utilizing a nonlinear temporal structure that jumps around from past to future.
e. economically, by showing that films could be made for almost no money.
f. none of the above
19. Alexandre Astruc’s concept of the caméra-stylo
a. called for a more literary approach to the cinema with subtle dialogue and acting.
b. was so far ahead of its time that it had no practical influence on French filmmaking or film
criticism.
c. argued for the dominance of classical montage editing over long take and the importance of the
screenwriter and editor.
d. saw cinema as an audio-visual language “written” by the director with the camera.
e. was first published in Cahiers du cinéma.
f. all of the above
20. Which of the following New Wave directors was NOT a writer for Cahiers du cinéma?
a. Truffaut
b. Godard
c. Chabrol
d. Rohmer
e. Resnais
f. All of the above were critics for Cahiers.
21. The Cinémathèque Français was
a. the French national film school.
b. the magazine Truffaut and Godard wrote for as critics.
c. the leading film studio of the French New Wave.
d. the magazine that first published Alexandre Astruc.
e. the French governmental agency created to promote the export of French films.
f. none of the above
22. Henri Langlois
a. amassed what has become the largest public film archive in the world.
b. was a well-known director of the French New Wave.
c. ran the French national film school.
d. was the editor of Cahiers du cinéma.
e. was the codirector of Godard’s later films.
f. none of the above
23. All of the following were editorial positions of Cahiers du cinéma EXCEPT
a. a rejection of the montage aesthetic in favor of long take.
b. the superiority of the French “tradition of quality.”
c. the film as a product of the director’s authorship.
d. the celebration of the commercial American cinema.
e. the notion that films should be emotional and psychological as well as intellectual experiences.
f. all of the above
24. The critic/filmmaker whose article “A Certain Tendency in the French Cinema” set forth the ideas that
would become known as “the auteur theory” is
a. Jean-Luc Godard. d. Claude Chabrol.
b. André Bazin. e. Alexandre Astruc.
c. François Truffaut. f. none of the above
25. Which of the following directors was condemned rather than celebrated by the critics of Cahiers du
cinéma?
a. Renoir
b. Hitchcock
c. Roger Corman
d. Autant-Lara
e. Bresson
f. All of the above were favorites of Cahiers’s critics.
26. The key year for the French New Wave in which the three main figures of the movement all released
their first feature films was
a. 1953. d. 1960.
b. 1955. e. 1962.
c. 1958. f. none of the above
27. The first feature-length film of the New Wave to be a success was
a. Truffaut’s Le quatre cents coups (The 400 Blows).
b. Godard’s Á bout de souffle (Breathless).
c. Resnais’s Hiroshima, mon amour.
d. Malle’s Zazie dans le Métro.
e. Chabrol’s Le Beau Serge.
f. none of the above
28. Alain Resnais’s first narrative feature film, which examines the relationship between time and
memory, is
a. Breathless. d. Les Cousins.
b. Hiroshima, mon amour. e. Night and Fog.
c. Black Orpheus. f. none of the above
29. Le quatre cents coups (The 400 Blows)
a. was an enormous commercial success.
b. was the first feature film of Jean-Luc Godard.
c. was completely ignored by critics and the public when it was first released.
d. was modeled after American gangster films.
e. was photographed by Raoul Coutard in academy ratio but in color.
f. none of the above
30. Which of the following characteristics of the French New Wave is NOT seen in Breathless?
a. handheld camera.
b. location shooting.
c. features an unorthodox sexual relationship.
d. natural lighting.
e. direct sound recording.
f. all of the above
31. The aesthetic strategy pioneered by Godard in Breathless that became the most important technical
characteristic of the French New Wave was
a. long, fluid tracking shots.
b. Soviet style intellectual montage.
c. deep focus, widescreen composition.
d. the jump cut and elliptical editing.
e. studio shooting with highly expressive decor.
f. none of the above
32. Which of the following is NOT characteristic of the editing of Breathless?
a. the elimination of establishing shots
b. mismatches between scenes
c. opening scenes with spatially disorienting close–ups
d. removing sections from the middle of shots then splicing the ends back together
e. “invisible” editing style
f. All of the above are characteristic of Breathless.
33. The French New Wave filmmakers
a. were the first filmmakers in history to be “film–educated.”
b. had very little technical experience prior to directing their first films.
c. knew more about the medium as an art form than they did about production practice.
d. worked on very small budgets.
e. shot on location with handheld cameras.
f. all of the above
34. All of the following are stylistic characteristics of the French New Wave EXCEPT
a. allusions to films of the past. d. documentary production techniques.
b. continuity editing. e. self-conscious cinematic tricks.
c. violent camera movements. f. all of the above
35. The psychological effect of the conventions of the French New Wave was
a. to create a reflexive awareness in the audience that they are watching a film.
b. to completely absorb the audience in the fictional world of the film.
c. to amaze the audience with the spectacle of cinematic effects.
d. to create a closer identification with the characters than in more conventional films.
e. to make the technical workings of the cinema invisible to the audience.
f. none of the above
36. The number of new directors to make first feature films in France between 1960 and 1962 was
a. between fifty and sixty.
b. around twenty-five.
c. over one hundred.
d. less than ten.
e. No new directors debuted during those years.
f. none of the above
37. The creative explosion of the French New Wave
a. continued unabated until the 1970s then tapered off slowly.
b. lasted until the end of the 1960s then ended abruptly when the political climate in France changed.
c. was over by 1960 when the established New Wave filmmakers assumed prominence in the French
industry.
d. ended around 1964 when production funds for new filmmakers dried up.
e. is still going on, as it has for the past forty years.
f. none of the above
38. The most commercially successful of all the French New Wave filmmakers was
a. Jean-Luc Godard. d. Jacques Rivette.
b. Alain Resnais. e. François Truffaut.
c. Claude Chabrol. f. none of the above
39. Who or which of the following was NOT a significant influence on the work of François Truffaut?
a. Alfred Hitchcock
b. film noir
c. Jean Renoir
d. American B-films
e. André Bazin
f. All of the above were influences on Truffaut.
40. The Truffaut film about a love triangle and the impossibility of achieving true freedom in love that is a
tribute to Renoir and the French lyrical tradition is
a. Jules and Jim. d. Stolen Kisses.
b. Shoot the Piano Player. e. Day for Night.
c. The Bride Wore Black. f. none of the above
41. The director with whom Truffaut published a book-length interview before paying him homage in his
next two films was
a. Jean Renoir. d. Howard Hawks.
b. Alfred Hitchcock. e. Jean-Luc Godard.
c. John Ford. f. none of the above
42. Antoine Doinel was
a. one of the leading cinematographers of the French New Wave.
b. an important New Wave director.
c. the autobiographical main character of four Truffaut feature films.
d. an actor known for his work with Jean-Luc Godard.
e. the cofounder with André Bazin of Cahiers du cinéma.
f. none of the above
43. All of the following are true of Truffaut’s Wild Child EXCEPT
a. it is the final film featuring Antoine Doinel.
b. it is based on a true story of a boy raised by wolves.
c. it explores Truffaut’s favorite theme of confinement versus freedom.
d. it was shot in a semidocumentary style.
e. it is set in the 1800s.
f. All of the above are true.
44. The Truffaut film about filmmaking in which Jean-Pierre Leaud stars as an actor in a film being
directed by Truffaut is
a. Jules and Jim. d. Mississippi Mermaid.
b. Bed and Board. e. Day for Night.
c. The Wild Child. f. none of the above
45. Jean-Luc Godard
a. is the least prolific of the New Wave directors, having made just a handful of films.
b. did not write for Cahiers du cinéma like so many other New Wave directors.
c. made films that are more emotional and less intellectual than the other New Wave directors.
d. unlike most of the New Wave filmmakers, had no political perspective in his films.
e. was always interested in the construction of compelling narratives.
f. none of the above
46. The Godard film that was banned by the French government for its comment on the Algerian War is
a. The Little Soldier. d. Contempt.
b. My Life to Live. e. Alphaville.
c. Breathless. f. none of the above
47. Godard’s Band of Outsiders is
a. a neorealist musical.
b. his first return to the gangster genre since Breathless.
c. a sociological tract on the problem of prostitution complete with statistics and jargon.
d. a war film that pays homage to the early documentary style of the Lumières.
e. a film that has no narrative at all but merely attempts to destroy the illusion of cinema.
f. none of the above
48. The scriptless, plotless gangster film that comes closest to achieving Godard’s stated goal of making
“a film where there has been no writing, no editing, and no sound mixing” is
a. Alphaville. d. Le Mépris (Contempt).
b. A Married Woman. e. Masculin/Féminin.
c. Pierrot le fou (Crazy Pete). f. none of the above
49. All of the following are true of Godard’s Made in the U.S.A. EXCEPT
a. it is a remake of Hawks’s The Big Sleep.
b. the characters often speak directly to the audience.
c. it has no plot or any other narrative construction whatsoever.
d. it represents Godard’s celebration of the American cinema.
e. the dialogue is often rendered purposely inaudible.
f. All of the above are true.
50. Godard’s Weekend
a. is a science-fiction film shot in (then) contemporary Paris.
b. is a detective film about the capitalist corruption of the American cinema.
c. is about a group of students who form an unsuccessful Maoist cell.
d. is about a married woman who becomes a prostitute in order to support her bourgeois lifestyle.
e. is about a couple trapped in a monumental traffic jam that changes from a real landscape to a
symbolic one.
f. none of the above
51. The name of the partnership between Godard and ideologist Jean-Pierre Gorin was
a. the Sergei Eisenstein Group. d. Marxist-Leninist Productions.
b. the Weekend Collective. e. Les films du Carrosse.
c. the May 1968 Group. f. none of the above
52. Films like Numéro deux, La Communication, and Comment ça va? represent a departure for Godard
because
a. they combine film and videotape.
b. they are committed to a Marxist ideology.
c. they have conventional plots and characters.
d. they were made in equal partnership with Jean-Pierre Gorin.
e. they go back to a more classical form of filmmaking.
f. none of the above
53. Jean-Luc Godard
a. retired from filmmaking in the early 1970s.
b. continues to produce provocative work into the new millennium.
c. maintained his ideological integrity by never directing television commercials.
d. has since the 1990s made only conventional narrative-fiction films.
e. has photographed all his films since 1980 himself.
f. none of the above
54. Alain Resnais is identified with the New Wave because
a. he wrote for Cahiers du cinéma with Truffaut and Godard.
b. he was of the same generation and had the same lack of technical background.
c. his first films appeared at the same time as Truffaut’s and Godard’s.
d. he rejected the French literary tradition and embraced improvisational shooting.
e. he was an auteur who did most of the creative jobs on his films by himself.
f. all of the above
55. Resnais’s primary thematic fascination is with
a. the struggle between freedom and confinement.
b. Marxist politics.
c. the tension between spirituality and sexuality.
d. the complexity of romantic relationships.
e. the effect of time on human memory.
f. none of the above
56. The cinematographer who shot all of Resnais’s early features was
a. Henri Decaë. d. Sacha Vierny.
b. Raoul Coutard. e. Jean Rabier.
c. Néstor Almendros. f. none of the above
57. In the 1960s, Resnais’s films became
a. increasingly popular as he moved toward the mainstream in terms of technique and subject matter.
b. more interested in emotion and romance than the workings of the human mind.
c. increasingly unfashionable and unconventional as he pursued the logic of his own artistic
development.
d. more financially successful even though he maintained his experimental artistic style.
e. nonexistent as he stopped making films altogether after 1968.
f. none of the above
58. Resnais’s Stavisky
a. represented his return to filmmaking after five years of being unable to get a film produced.
b. was both a critical and a popular success.
c. has a score written by Broadway composer Stephen Sondheim.
d. is about a financial scandal that toppled the French government.
e. was shot in a style meant to evoke the look of two-strip Technicolor.
f. all of the above
59. Claude Chabrol
a. unlike most New Wave filmmakers, was not influenced by Hitchcock or the American cinema.
b. believed in filmmaking as a collective enterprise and has maintained a steady group of
collaborators.
c. never returned to form after the early promise of his pioneering New Wave films.
d. has always been the least prolific of the New Wave directors, making a film every three or four
years.
e. was equally known for his comedies and his political films as he was for his thrillers.
f. all of the above
60. Chabrol’s work most often revolves around the central theme of
a. the effect of time on human memory.
b. the struggle between capitalist oppression and true democracy.
c. the impact of a crime of passion on the relationships of a small group.
d. the repressive effects of social structure on individual freedom.
e. the existential hopelessness of existence.
f. none of the above
61. Chabrol’s Le Boucher
a. was widely reviled by critics and ignored by audiences when it was first released.
b. was the last film he ever directed.
c. was his first film about the violence of everyday life.
d. was a departure for Chabrol in terms of genre and tone.
e. features a sexual psychopath as the most sympathetic character in the film.
f. none of the above
62. The director who worked with Jacques Cousteau before achieving New Wave notoriety with Les
Amants (The Lovers) and Zazie dans le métro was
a. Claude Chabrol. d. Agnès Varda.
b. Jacques Rivette. e. Jacques Demy.
c. Eric Rohmer. f. none of the above
63. The director whose six “Moral Tales” explore the conflict between spiritual and sexual passion in the
individual is
a. Eric Rohmer. d. Louis Malle.
b. Jacques Rivette. e. Jacques Demy.
c. Claude Chabrol. f. none of the above
64. The Jacques Rivette film that after two years in the making was hailed as a great auteurist work by
Cahiers du cinéma and was seen by the Doinel family in The 400 Blows is
a. Claire’s Knee. d. Out One.
b. Paris Belongs to Us. e. Cléo from 5 to 7.
c. Lacombe, Lucien. f. none of the above
65. Agnès Varda’s Cléo de cinq à sept (Cleo from 5 to 7) is notable for
a. the fact that it shows its events in reverse chronology, or backwards.
b. the way it moves back and forth between two different time frames.
c. the way it depicts ninety minutes in the life of the protagonist in “real time.”
d. the way it represents the relativity of time.
e. the radical editing style that creates the sensation of no stable time frame.
f. none of the above
66. The New Wave director who was known for his light-hearted comedies and colorful musicals in which
all the dialogue is sung was
a. Claude Chabrol. d. Jacques Demy.
b. Jacques Rivette. e. Louis Malle.
c. Eric Rohmer. f. none of the above
67. Jean Eustache’s The Mother and the Whore
a. was the first in a successful series of comic films for Eustache.
b. dealt with Parisian life at the turn of the century.
c. represented a return to a more classical style of filmmaking.
d. was critically overlooked at the time of its release.
e. could be considered the last authentically New Wave film of the movement.
f. all of the above
68. The French director of such thematically rich genre films as Shock Treatment and The Killing Game is
a. Alain Robbe-Grillet. d. Constantin Costa-Gavras.
b. Phillipe de Broca. e. Alain Jessua.
c. Alain Tanner. f. none of the above
69. Claude Lelouch differs from other directors of the New Wave in that
a. he is not an auteur but a collaborator.
b. his films blatantly appeal to a mass audience.
c. he worked in a different time period.
d. he does not use New Wave narrative techniques.
e. his films are not visually engaging.
f. all of the above
70. Claude Sautet
a. made films that viciously attacked the middle class.
b. made films at the same time as the New Wave directors but was never considered part of the
movement.
c. made only comedies during his lengthy career as a director.
d. was self-taught, never studying film or apprenticing with other directors.
e. is particularly well known for his musicals in which all the dialogue is sung.
f. none of the above
71. Bertrand Tavernier is known as a director for
a. his comedies in the tradition of Max Linder and Buster Keaton.
b. his semidocumentary political thrillers.
c. bringing back the “tradition of quality” by working with the very screenwriters Cahiers critics
condemned in the 1950s.
d. his commercial but thematically vapid version of the New Wave style.
e. his sympathetic portrayals of the French middle class, who are the primary subjects of his films.
f. none of the above
72. Films like Sunday in the Country, Round Midnight, and Life and Nothing But, in addition to his
brilliant documentary work and his support for young French filmmakers, have made which director
the most respected of his generation?
a. Claude Lelouch. d. Bertrand Tavernier.
b. Maurice Pialat. e. Chris Marker.
c. Alain Jessua. f. none of the above
73. Bertrand Blier is best known for his work in the genre of
a. police thriller. d. horror.
b. middle-class melodrama. e. anarchic sex comedy.
c. historical romance. f. none of the above
74. The former assistant to Truffaut who directed The Little Thief (cowritten by Truffaut before his death)
as homage to his mentor is
a. Claude Miller. d. André Téchiné.
b. Bertrand Blier. e. Chris Marker.
c. Alain Corneau. f. none of the above
75. Of the following directors, who would NOT be considered an important French documentarian?
a. Max Ophüls
b. Jean Rouch
c. Chris Marker
d. Bertrand Tavernier
e. Marcel Ophüls
f. All of the above made important documentaries.
76. Chris Marker is best known for
a. his musical films.
b. his comedies.
c. his Hitchcock-style thrillers.
d. his commercially successful but intellectually vapid New Wave films.
e. his political melodramas.
f. none of the above
77. The subject of Ophüls’s documentary The Sorrow and the Pity is
a. the place of Haitian voodoo rituals in modern society.
b. the collaboration of the French people in the Nazi’s systematic murder of Jews.
c. the student uprisings of May 1968 and their effects on a cross-section of the French public.
d. the plight of Catholics in Northern Ireland.
e. the struggle for survival in sub–Saharan Africa.
f. none of the above
78. The French genre that enjoyed a resurgence in the 1980s and 1990s with such films as Jean de
Florette, Camille Claudel, and Queen Margot was
a. the political thriller. d. the cinéma du look.
b. the slapstick comedy. e. the fantasy film.
c. the “heritage film.” f. none of the above
79. The cinéma du look is characterized by
a. a conventional approach to photography and mise-en-scène but great emphasis on makeup and
wardrobe.
b. an attempt to appeal to older, more sophisticated audiences.
c. austere sound tracks most often limited to natural sound effects and dialogue.
d. intertextual allusions to both poetic realism and pop culture.
e. low-budget production values.
f. none of the above
80. The director who introduced the cinéma du look with his first feature Diva in 1981 was
a. Claude Berri. d. Luc Besson.
b. Marcel Ophüls. e. Jean-Jacques Beineix.
c. Leos Carax. f. none of the above
81. The Leos Carax film that represents the cinéma du look at its most experimental with virtually no plot
but wild visuals recalling Vigo, Carne, and the New Wave is
a. Indochine. d. Les Amants du Pont-Neuf.
b. Subway. e. La Haine (Hate).
c. Diva. f. none of the above
82. The director of the cinéma du look who has had great success in France but failed when he tried to
apply the visual style to the American-produced Alien Resurrection is
a. Luc Besson. d. Alain Corneau.
b. Jean-Jacques Beineix. e. Claire Denis.
c. Leos Carax. f. none of the above
83. The polar genre, which has been a staple in France for three decades, is a version of
a. the romantic comedy. d. the exotic adventure film.
b. the horror film. e. the crime film.
c. the ethnic subculture film. f. none of the above
84. The French genre that focuses on ethnic subcultures is called
a. the polar film. d. the banlieu film.
b. the cinéma du look. e. the “New New Wave.”
c. the policier. f. none of the above
85. The films of the “New New Wave”
a. are as visually stylish as the films of the cinéma du look.
b. tried to bring back the old studio star system.
c. are made by the largest number of women directors working in any national cinema.
d. put a renewed emphasis on plot and conventional narrative structure.
e. tend toward an overt expression of radical political ideology.
f. all of the above
86. Irma Vep
a. was directed by Olivier Assayas.
b. is about an attempt to remake Feulliade’s Les Vampires.
c. was a great international success.
d. is about the imperiled state of French filmmaking in the face of globalization.
e. is layered with allusions to other films.
f. all of the above
87. The state of the French film industry at the beginning of the twenty-first century can be characterized
as
a. healthy as a result of a complete absence of government protectionism in their national industry.
b. in a state of crisis with production plummeting and audiences disappearing.
c. the single strongest national industry in the world.
d. just beneath the top twenty film-producing countries but holding steady.
e. one of the most vibrant and productive in the world because of government regulation and subsidy.
f. none of the above
88. Canal Plus is
a. the French government agency that oversees film regulation.
b. the private organization devoted to promoting film culture in France.
c. the French organization that supports the production of educational and documentary films.
d. the French cable channel that underwrites nearly a third of French film production.
e. the agreement by which a tariff is placed on foreign films entering France.
f. none of the above
89. The lasting influence of the French New Wave can be seen in
a. the reestablishment of conventional narrative and formal production techniques.
b. the distinct separation of labor in the French industry between writers and directors.
c. the phenomenon of all French directors having a background in theory and criticism.
d. the concept of group authorship of the film, taking into account the work of the screenwriter,
cinematographer, producer, etc.
e. the idea that film is a medium of personal expression for the director.
f. all of the above