Chapter 15: European Renaissance: West
MULTIPLE CHOICE
1. Which of the following film industries experienced a significant decline in the 1950s?
a. Great Britain d. United States
b. Italy e. all of the above
c. France f. none of the above
2. Federico Fellini began his career in the cinema as
a. a screenwriter. d. an editor.
b. a director. e. an actor.
c. a cinematographer. f. none of the above
3. The film that marked Fellini’s break with neorealism, telling an allegorical story of a circus strongman
who abuses a young woman, was
a. I vitelloni. d. .
b. La strada. e. Fellini Satyricon.
c. La dolce vita. f. none of the above
4. Fellini’s production team who worked with him throughout his career included all of the following
EXCEPT
a. cinematographer Otello Martelli.
b. composer Nino Rota.
c. screenwriter Ennio Flaiano.
d. producer Carlo Di Palma.
e. actress Giulietta Masina.
f. All of the above worked with him throughout his career.
5. The Fellini film, filled with fantasies and flashbacks, that tells the story of a director’s struggles to
make a film while suffering a creative block, is
a. La dolce vita. d. .
b. La strada. e. Amarcord.
c. Fellini Roma. f. none of the above
6. Fellini’s work is characterized by
a. tightly structured narratives.
b. the recurring theme of alienation from the modern world.
c. a move away from the two principle traditions of the Italian cinema—the epic and the humanist.
d. a highly realistic representation of time and space.
e. a thematic concern with the mystery of identity.
f. all of the above
7. Michelangelo Antonioni
a. attended the Centro Sperimentale.
b. worked as a critic and a screenwriter before becoming a director.
c. first directed neorealist documentaries.
d. broke away from neorealism with his first feature film.
e. focused his early features on the problems of alienation among the middle class.
f. all of the above
8. Antonioni’s L’Avventura
a. equates film time and real time as every scene is the same duration it would be in reality.
b. uses expressive editing to deconstruct time, showing the alienation of the characters.
c. was his first film in color, which he used symbolically.
d. ends with the discovery of the woman who disappeared earlier in the film.
e. uses the Hitchcockian technique of telling the audience more about the mystery than the characters
in the story know about it.
f. none of the above
9. The Antonioni film about alienation and industrialization that represents the first
impressionist/expressionist use of color in the history of cinema is
a. L’Avventura. d. L’Eclisse (The Eclipse).
b. Il deserto rosso (The Red Desert). e. Blow-Up.
c. La Notte (The Night). f. none of the above
10. Michelangelo Antonioni
a. never worked in the United States.
b. retired from making films in the 1970s.
c. had his first international commercial hit with Blow-Up.
d. has worked in a variety of different genres as well as with a range of themes.
e. generally avoided political subject matter.
f. all of the above
11. All of the following are characteristics of Antonioni’s film style EXCEPT
a. the theme of the individual’s alienation from his environment.
b. a focus on the internal psychological forces that underlie behavior.
c. a subordination of plot to character development.
d. extensive and expressive use of music.
e. the virtual elimination of logical narrative transitions.
f. All of the above are characteristic of Antonioni’s style.
12. Which one of the following is the Italian postwar filmmaker whose work most reflects the neorealist
influence, particularly his early feature films like Il Posto, which feature little plot, real locations, and
nonprofessional actors?
a. Federico Fellini d. Ettore Scola
b. Bernardo Bertolucci e. Ermanno Olmi
c. Michelangelo Antonioni f. None of the above
13. The Italian director whose “epical religious” films based on myth and allegory regularly attacked the
Catholic Church and bourgeois culture was
a. Michelangelo Antonioni. d. Marco Ferreri.
b. Ermanno Olmi. e. Franceso Rosi.
c. Bernardo Bertolucci. f. none of the above
14. Pier Paolo Passolini
a. was an important poet and essayist as well as being a director.
b. was incorrectly accused of being a Communist and was blacklisted.
c. was one of the few Italian filmmakers whose work shows no neorealist influence.
d. always worked with original story material and never made literary adaptations.
e. stopped making films because he lost the support of the Italian industry.
f. none of the above
15. Which of the following is the best description of a film by Bernardo Bertolucci?
a. mythic, allegorical, and often based on classic literary sources
b. intricate visual and narrative structure and expressionistic use of color
c. plotless examinations of alienation in the modern world
d. intensely researched semidocumentary recreations of historical events
e. neorealist in its use of nonprofessional actors and loose narrative structures
f. none of the above
16. The director whose early critiques of bourgeois values (Fist in the Pocket and China Is Near) softened
somewhat with his later literary adaptations (Devil in the Flesh and Pirandello’s Henry IV) is
a. Bernardo Bertolucci. d. Francesco Rosi.
b. Ettore Scola. e. Gillo Pontecorvo.
c. Marco Bellocchio. f. none of the above
17. The postwar Italian director who not only writes all his own films but photographs them as well is
a. Francesco Rosi. d. Vittorio De Seta.
b. Bernardo Bertolucci. e. Pier Paolo Passolini.
c. Elio Petri. f. none of the above
18. Gillo Pontecorvo’s The Battle of Algiers
a. is a film that questions Italy’s role in World War II.
b. is an abstract, experimental feature that fragments time and space.
c. was banned by the Italian government and never shown.
d. led to a long, successful feature filmmaking career for Pontecorvo.
e. is a documentary reconstruction of historical events.
f. none of the above
19. The films of Marco Ferreri
a. are influenced by neorealism.
b. are Marxist polemics comparable to the work of Godard.
c. are erotic melodramas that often explore the fascist mind.
d. are primarily historical films based on classic literary sources.
e. are Italian exploitation films.
f. none of the above
20. The Taviani Brothers
a. directed Good Morning, Babylon about Italian brothers working on Griffith’s Intolerance.
b. have enjoyed popular success in Italy but not on the international film festival circuit.
c. directed Love and Anarchy, which explores sex and politics in fascist Italy.
d. have never made films with a political perspective.
e. are known for their intelligent comedies like We All Loved Each Other So Much.
f. none of the above
21. The films of Lina Wertmüller
a. are Marxist critiques of the Catholic church and the Italian government.
b. often anger feminist and liberal critics with their seeming embrace of patriarchal fascism.
c. are primarily romantic comedies.
d. have never enjoyed international success.
e. all have single-word titles.
f. none of the above
22. The Spanish film industry
a. historically commands greater than a 50 percent market share of the domestic box office.
b. generally produces about twenty feature films a year.
c. relies heavily on public and private television stations for production financing.
d. was once vibrant but cooled off substantially during the 1990s.
e. produces primarily comedies, whereas it makes very few thrillers or horror films.
f. none of the above
23. Das neue Kino (the New German cinema) is related to other European modernist film movements
through
a. the fact that most of its directors began their careers in film criticism.
b. its emphasis on tight, clear narrative construction.
c. its reliance on government subsidy.
d. its Marxist ideological perspective.
e. the fact that its first films came out concurrently with Breathless and L’Avventura.
f. all of the above
24. Which of the following directors is NOT one of the new generation of Italian comic filmmakers?
a. Nanni Moretti
b. Maurizio Nichetti
c. Liliana Cavani
d. Carlo Verdone
e. Roberto Benigni
f. All of the above are contemporary comic filmmakers.
25. The films of German reconstruction produced in the years after World War II were called
a. Heimatfilme. d. Autorenfilm.
b. junger deutcher film. e. Trümmerfilme.
c. das neue Kino. f. none of the above
26. The “peplum” film is
a. an Italian horror film. d. an Italian mythological epic.
b. a Scandinavian action film. e. a genre of the New Spanish Cinema.
c. an Italian western. f. none of the above
27. All of the following are stylistic characteristics of the “spaghetti western” EXCEPT
a. a Mexican setting. d. shocking violence.
b. baroque framing. e. an all Italian cast.
c. an electronically synthesized score. f. all of the above
28. The one major director of the Italian “spaghetti western” genre to go on to international prestige and
influence was
a. Maurizio Nichetti. d. Francesco Rossi.
b. Dario Argento. e. Liliana Cavani.
c. Marco Ferreri. f. none of the above
29. The giallo is a type of
a. Italian horror film. d. Spanish musical.
b. Italian western. e. Scandinavian drama.
c. Spanish crime film. f. none of the above
30. The former cinematographer who directed Black Sabbath, the film that would set the style for
subsequent Italian horror films, was
a. Dario Argento. d. Riccardo Freda.
b. Mario Bava. e. Sergio Leone.
c. Lucio Fulci. f. none of the above
31. All of the following are descriptive of Dario Argento’s cinematic style EXCEPT
a. a constantly mobile camera.
b. bizarre, grotesque special effects.
c. tightly constructed narratives.
d. a saturated color palette.
e. abstract horror.
f. None of the above are descriptive of Argento’s work.
32. The new style of Italian horror film that emerged in the 1980s
a. was led by Mario Bava, who made several of the best films of the decade.
b. was less graphically violent than its predecessors.
c. focused primarily on vampires and Frankenstein-style monsters.
d. is credited to the repulsive yet poetic zombie films of Lucio Fulci.
e. was never as popular with audiences as the earlier generation of horror films.
f. none of the above
33. The Italian film industry today
a. produces about twenty feature films a year.
b. no longer produces the horror films that were once an industry staple.
c. is structured so as to make independent production nearly impossible.
d. accounts for less than 10 percent of Italy’s domestic box-office earnings.
e. is dominated by two gigantic distribution companies.
f. all of the above
34. The French and Italian film renaissances of the 1960s
a. turned cinematic expression away from narrative and toward philosophy, psychology, and social
criticism.
b. produced only a handful of films that might be considered important to the history of the medium.
c. never were commercially significant even if they had great influence on future generations of
filmmakers.
d. rarely used color or widescreen, preferring instead black-and-white and academy ratio.
e. were the work of a very small number of filmmakers whose careers faded in the 1970s.
f. all of the above
35. The wide-angle lens
a. has a relatively long focal length.
b. is used to shoot relatively large subjects at short range.
c. creates a narrowed depth of field.
d. is rarely used in narrative filmmaking.
e. ranges from 50 to 100mm in focal length.
f. all of the above
36. The zoom lens
a. made optical tracking possible.
b. is a variable focal-length lens.
c. first came into widespread use in the 1960s.
d. can be used to search a scene for a point of focus.
e. allows the filmmaker to frame close-ups, medium shots, and long shots in a single roll of the
camera.
f. all of the above
37. Which of the following films is notable for its innovative use of the zoom lens?
a. Kubrick’s Barry Lyndon d. Antonioni’s L’Avventura
b. Welles’s Touch of Evil e. Fellini’s La dolce vita
c. Renoir’s Rules of the Game f. none of the above
38. The effect of the development of the zoom lens on the cinema has been
a. negligible since it is used so little.
b. to stimulate a new approach to subjective involvement and psychological affect.
c. to make editing both more important and more dynamic.
d. to almost completely replace the conventional tracking shot, which it closely resembles.
e. to make dialogue more conventional and more important.
f. none of the above
39. The film that first brought Ingmar Bergman to international prominence was
a. Sawdust and Tinsel. d. Persona.
b. Torment. e. Wild Strawberries.
c. Smiles of a Summer Night. f. none of the above
40. Bergman’s Wild Strawberries
a. is an allegorical film about a knight playing chess with Death that concludes with the famous
“Dance of Death” sequence.
b. is based on a thirteenth-century ballad about a young girl who is raped and whose father then takes
revenge.
c. was his first film to win international acclaim, introducing Bergman as one of the world’s great
filmmakers.
d. is a lyrical film that moves between dreams, memories, and lived reality.
e. was his first collaboration with cinematographer Sven Nykvist.
f. none of the above
41. The dominant theme of Bergman’s trilogy of films that includes Winter Light and The Silence is
a. the redemptive power of faith in a brutal world.
b. the idea that human communication can bridge the spiritual divisions between people.
c. the rejection of spirituality leading to a breakdown in human communication.
d. the idea that God is in everyone and acceptance of divinity can lead to happiness.
e. the problems of existing in a godless universe.
f. none of the above
42. Swedish cinema
a. has produced only a single filmmaker who produced notable works.
b. is entirely privately financed though tax incentives, which makes such investments attractive.
c. has grown into one of Europe’s largest film industries.
d. produces on average less than ten films per year.
e. is oriented toward export since the domestic market is so small.
f. none of the above
43. The Bergman film about a nurse and patient that collapses virtually every narrative convention of the
cinema to suggest that both movies and individual identity are illusions is
a. Scenes from a Marriage. d. Fanny and Alexander.
b. Persona. e. Cries and Whispers.
c. Through a Glass Darkly. f. none of the above
44. All of the following are descriptive of Ingmar Bergman EXCEPT
a. his primary cinematic influence was Carl Dreyer.
b. throughout his career he was a great innovator of narrative form.
c. his work shares the central themes of the great Scandinavian playwrights Ibsen and Strindberg.
d. the outlook on the human condition in his films is profoundly pessimistic.
e. religious and existential concerns remained consistent themes throughout his career.
f. all of the above
45. Bergman was able to make forty feature films with complete independence because
a. his work was extremely popular at home and abroad.
b. his work was not successful at the box office, but he was revered by Swedish critics.
c. the structure of the Swedish film industry assured funding for all approved projects.
d. although his films had big budgets they were popular enough in the United States to always make
a profit.
e. he was independently wealthy and financed most of his films himself.
f. none of the above
46. Finland
a. is the only Scandinavian country whose film industry is not state subsidized.
b. produces only three or four feature films a year.
c. continues to be dominated by the distribution/exhibition company Finnkino.
d. has produced no filmmakers of international significance.
e. maintains a 25 percent share of the domestic box office for Finnish films.
f. none of the above
47. The Danish film industry
a. has a tradition that extends back to before World War I.
b. operates without significant government support.
c. produces less than five features every year.
d. has never enjoyed more than a 10 percent share of the domestic box office.
e. has had very little influence on international cinema.
f. none of the above
48. All of the following are ideas set forth in Dogme95’s “The Vow of Chastity” EXCEPT
a. the director must be credited last.
b. no props may be brought to a location.
c. the film must be in color.
d. no musical score may be added to a scene.
e. genre movies are forbidden.
f. All of the above are Dogme95 “rules.”
49. The Dogme95 movement
a. was founded by a group of Swedish filmmakers to reinvigorate the industry.
b. awards certificates to films that meet its rigorous criteria.
c. has had no real economic impact on the film industry in its native country.
d. has failed to produce any box-office hits but is internationally influential.
e. dissolved after just a few years with the group’s last films made in 1999.
f. none of the above
50. The Danish government’s policies pertaining to film production
a. have created a decentralized industry with numerous institutions and companies operating
separately.
b. have completely ignored production in favor of subsidizing distribution and exhibition.
c. have boosted production to the degree that Danish films had nearly a 50 percent share of the
domestic market in 2000.
d. are nonexistent, as Denmark has moved away from government-subsidized cinema.
e. are restricted to operating the National Film School and Danish Film Museum.
f. none of the above
51. Icelandic cinema
a. is for all practical purposes nonexistent.
b. has been producing films regularly since the silent era.
c. has always operated without government subsidy.
d. produces an average of six feature films a year.
e. has never produced a major domestic box-office hit.
f. none of the above
52. Luis Buñuel’s 1950 film Los Olvidados
a. was Buñuel’s first film produced in Spain since the 1930s.
b. was the first film Buñuel directed since 1932.
c. was a popular comedy that made it possible for Buñuel to make more serious films.
d. was overlooked critically and commercially at the time of its release but is now considered a
masterpiece.
e. was photographed by the great Mexican cinematographer Gabriel Figueroa.
f. none of the above
53. Buñuel’s Mexican films
a. are few in number, because as soon as he enjoyed a bit of success he moved to France.
b. are almost exclusively lightweight comedies and popular melodramas.
c. reveal none of the surrealist influence that characterized his early films.
d. are respectful of the traditions of the Catholic church.
e. were never as popular domestically as they were in foreign markets.
f. none of the above
54. Buñuel’s Viridiana
a. became the first Spanish film to win the Palme d’Or at the Cannes Film Festival.
b. represents Buñuel’s temporary re-embrace of Catholic church doctrine.
c. is about a woman who transforms those around her through her kindness and devotion.
d. shows poor beggars to be morally superior to the nuns in a nearby convent.
e. was denied permission to shoot in fascist Spain because of its antifascist message.
f. all of the above
55. The Buñuel film in which a group of wealthy people gathers for a dinner party only to find themselves
unable to leave the parlor where they eventually disintegrate into a state of savagery is
a. Viridiana.
b. The Exterminating Angel.
c. Él.
d. Diary of a Chambermaid.
e. The Discreet Charm of the Bourgeoisie.
f. none of the above
56. In Buñuel’s Belle du jour
a. two vagrants travel from Paris to a shrine in Spain reenacting the history of Christianity along the
way.
b. a saint sits on top of a pillar dispensing wisdom until the devil sends him to New York City on a
jet-propelled coffin.
c. a woman tries to fulfill her masochistic desires by working at a brothel, which is represented as a
site of freedom.
d. a young woman is corrupted by a decadent aristocrat whose death she eventually hastens.
e. a woman suspects a psychotic sadist of murder and has an affair with him in order to collect
evidence to use against him.
f. none of the above
57. The central point of parody in The Discreet Charm of the Bourgeoisie is
a. religious beliefs among the wealthy.
b. traditional gender roles.
c. the ethos of conformity and assimilation among the middle class.
d. the fundamental mechanics of narrative cinema.
e. the materialism of French society.
f. none of the above
58. Luis Buñuel
a. made somber films that, while intellectually brilliant, often lacked a sense of humor.
b. is noted as a director with an elaborate and distinctive sense of visual style.
c. changed his political ideas toward the end of his career, embracing religion and the social order.
d. always worked independently, setting his own pace and schedule.
e. is considered the most experimental and anarchistic filmmaker in the history of narrative cinema.
f. all of the above
59. Under the fascist rule of Francisco Franco, the Spanish cinema
a. was almost completely unknown outside its own borders.
b. produced an official film version of the Spanish Civil War written by Franco himself.
c. was controlled by a private monopoly.
d. was state supported and highly paternalistic.
e. generally banned from exhibition the films of the Italian neorealist movement.
f. all of the above
60. UNINCI
a. was the organization that banned Luis Buñuel from ever working in his native Spain.
b. was the Spanish film school.
c. was the private monopoly that controlled film production in Spain during Franco’s reign.
d. was the independent production company that led to the liberalization of film production in Spain.
e. was the Spanish government censorship bureau under Franco.
f. none of the above
61. José María García Excudero was
a. the director general of cinema in fascist Spain who liberalized state production subsidies, laying
the groundwork for what he dubbed the “New Spanish Cinema.”
b. the founder of the IIEC film school in 1947.
c. a director of social satires who sponsored the Salamanca “Conversations,” Spain’s national film
symposium calling for a move to more realistic films.
d. the first important director to emerge from the New Spanish Cinema.
e. the founder and owner of CIFESA, which oversaw all film production in Spain under Franco.
f. none of the above
62. Which of the following directors belongs to the first generation of the New Spanish Cinema?
a. Pilar Miró. d. José Juan Bigas Luna.
b. Carlos Saura. e. Guillarmo del Toro.
c. Pedro Almodóvar. f. none of the above
63. Director general of cinematography in Spain, Pilar Miró
a. was never a filmmaker but was put in charge of the Spanish film industry after Franco’s death.
b. enacted a policy under which the government would help subsidize all “quality” producers and
“prestige” directors.
c. set back the development of Spanish cinema with policies that brought back the censorship of the
Franco era.
d. created policies that ensured that all films would be privately financed and distributed.
e. tried to suppress the films of Pedro Almodóvar.
f. none of the above
64. The Oberhausen Film Festival of 1962 is significant because
a. it showed the first films of the New German cinema.
b. it represented a reconciliation between the East and West German film industries.
c. it celebrated the remarkable success of the German film industry in the late 1950s.
d. it introduced future directors Werner Herzog, Rainer Fassbinder, and Wim Wenders.
e. it announced the opening of a German film school at Oberhausen.
f. none of the above
65. The Kuratorium was
a. a funding source for young German filmmakers in the 1960s.
b. the East German film school founded in the late 1950s.
c. the distribution company that handled the films of the New German cinema.
d. the annual festival and symposium of German cinema, which started in 1962.
e. the East German government-controlled production and distribution organization.
f. none of the above
66. The job of Filmverlag der Autoren was
a. to fund the production of young German cinema.
b. to cooperatively distribute the films of its owner/members.
c. to control German film education in the postwar period.
d. to subsidize the opening of new movie theaters.
e. to produce films for German television.
f. none of the above
67. The New German cinema
a. revealed a plainness of visual style and a straightforward clarity of argument.
b. shows a generation acutely aware of its Nazi past.
c. had only a small audience in Germany but was popular internationally.
d. was almost entirely privately funded.
e. was produced by a group of artists with remarkable stylistic and thematic similarities.
f. none of the above
68. The filmmaker who was the original spokesman for the New German cinema and so was responsible
for the establishment of the Kuratorium and the national film schools is
a. Werner Herzog. d. Wim Wenders.
b. Rainer Fassbinder. e. Alexander Kluge.
c. Volker Schlöndorff. f. none of the above
69. Historically, the first film of the New German cinema is considered to be
a. Alexander Kluge’s The Artists under the Big Top: Disoriented.
b. Rainer Fassbinder’s Katzelmacher.
c. Werner Herzog’s Even Dwarves Started Small.
d. Volker Schlöndorff’s Young Törless.
e. Margarethe von Trotta’s The Second Awakening of Christa Klage.
f. none of the above
70. The Frauenfilme were
a. films about the reconstruction of postwar Germany.
b. homeland films about German identity and geography that enjoyed a renaissance under das neue
Kino.
c. films by women, which became numerous during ads neue Kino.
d. films that dealt with the struggles of new immigrants to adapt to life in Germany.
e. graphic horror films inspired by both Expressionism and the Italian giallo.
f. none of the above
71. Rainer Fassbinder
a. was influenced by the melodramatic films of 1950s Hollywood director Douglas Sirk.
b. was not very prolific, directing only sporadically throughout the 1970s.
c. was a marginal figure in the New German cinema.
d. began his career as an assistant to Volker Schlöndorff.
e. made films with virtually no plots and only the most abstract characterizations.
f. none of the above
72. Rainer Fassbinder’s early films
a. were shot in fewer than ten days.
b. were made on relatively large budgets for das neue Kino.
c. had almost no plots, emphasizing instead baroque visual design.
d. were theatrical, heroic, and sentimental.
e. revealed a politically conservative, anti-humanist perspective.
f. none of the above
73. The Fassbinder film, about a widowed German woman who marries a Moroccan immigrant, that won
the critic’s prize at Cannes in 1974 was
a. Effi Briest. d. Veronika Voss.
b. The Marriage of Maria Braun. e. Katzelmacher.
c. Ali: Fear Eats the Soul. f. none of the above
74. Fassbinder’s films
a. are not known for their sense of visual style.
b. gradually rejected the narrative models of melodrama.
c. are no longer considered particularly significant.
d. always dealt with the struggles of the marginalized and the exploited.
e. were few and far between during his long career but were always very influential.
f. none of the above
75. Werner Herzog
a. studied at the German film school and began making feature films immediately upon graduation.
b. has always worked in the mode of the melodramatic, feature-length fiction film.
c. makes essential materialistic films, shunning any form of spirituality or metaphysics.
d. employs conventional narratives as a means of exploring political power in postwar Germany.
e. financed his earliest films himself without the help of any German government agencies.
f. all of the above
76. All of the following are true of Aguirre, the Wrath of God EXCEPT
a. it was directed by Werner Herzog.
b. it was shot on location in the jungles of Brazil and Peru.
c. it is about the impossibility of bringing “civilization” to the wilderness.
d. it is simultaneously about Spanish conquistadors, Nazi Germany, and America in Vietnam.
e. it stars Klaus Kinski, who would become Herzog’s regular leading actor.
f. All of the above are true.
77. Herzog’s Heart of Glass
a. blends fantasy and reality so thoroughly that it is difficult for the viewer to distinguish the two
realms.
b. is his most conventional narrative film.
c. is an allegory about Nazi Germany.
d. represents Herzog’s movement toward greater realism in his films.
e. is about a man who has been locked in a cellar since birth.
f. all of the above
78. The major theme in the work of Wim Wenders is
a. the exploitation of the individual in the capitalist system.
b. the modern world’s sense of anxiety born of geographical dislocation.
c. the possibility of redemption through spiritual love.
d. the collective guilt suffered by all Germans for their Nazi past.
e. the manipulative quality of all political struggle.
f. none of the above
79. Wim Wenders
a. studied in the United States before making independently-financed documentaries.
b. is primarily influenced by Jean-Luc Godard and Douglas Sirk.
c. unlike most German filmmakers, has never been overtly political.
d. has not worked outside Germany since making Paris, Texas.
e. has never been known for the visual quality of his films.
f. none of the above
80. The Marxist theoretician who created a unique “minimalist cinema” was
a. Rainer Fassbinder. d. Jean-Marie Straub.
b. Hans-Jürgen Syberberg. e. Wim Wenders.
c. Werner Schroeter. f. none of the above
81. The radical filmmakers of the New German cinema
a. were primarily interested in creating entertainment for the domestic market.
b. had little interest in ideology, focusing instead on the dynamics of interpersonal relationships.
c. deconstructed the conventional cinematic language in order to attack its bourgeois ideology.
d. found great success both at home and abroad.
e. Both a and d are true.
f. none of the above
82. The New German cinema
a. ultimately had little influence on international cinema.
b. was never generously supported by the West German government.
c. lasted for a shorter time than the French New Wave.
d. ended due to a cutback in government funding.
e. made more films than the available exhibition outlets could show.
f. none of the above
83. Since 1990, the German cinema
a. has continued to struggle for survival in the face of American and European competition.
b. has become the dominant industry in Europe.
c. has produced no filmmakers who have developed the kind of international success enjoyed by ads
neue Kino.
d. has completely ended all state subsidization of filmmaking.
e. has focused on serious dramas, political films, and experimentation in both form and narrative.
f. none of the above