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CHAPTER 2
HISTORY AND HISTORIOGRAPHY: HOLLYWOOD AND BEYOND
MULTIPLE-CHOICE QUESTIONS
1. The “Biograph Girl” was
C. D. W. Griffith.
D. Mary Pickford.
E. None of the options is correct.
2. For many historians, cinema history began with the first screening of
C. Fred Ott’s Sneeze.
D. The Lonedale Operator.
E. None of the options is correct.
3. Which of the following statements accurately describes German expressionist cinema?
C. It celebrated the excesses of human life though big musical productions.
D. It emphasized historical and documentary subjects.
E. All films were silent.
4. Germaine Dulac’s The Seashell and the Clergyman (1928) is an example of
A. early cinema.
B. Third Cinema.
E. Italian neorealism.
5. The Motion Picture Production Code
A. averted the threats of local censors.
B. kept censorship efforts within the industry.
C. was adopted in 1930.
6. Parallel Cinema was
A. centered mainly in Calcutta.
B. exemplified by the films of renowned director Satyajit Ray.
C. rooted in Bengali landscape and culture.
7. An example of a postwar film movement, which spanned from 1946 to 1968, is
A. Italian neorealism.
B. Third Cinema.
8. An example of a “Big Five” studio is
9. In the early 1990s, the burgeoning trend of aesthetically innovative films by young LGBT filmmakers was dubbed
C. Parallel Cinema.
D. Pride Cinema.
10. Characteristics of Iranian cinema include
A. child protagonists.
B. an elliptical storytelling mode.
FILL-IN-THE-BLANK QUESTIONS
2. A conventional way of organizing film history, _____________ divides film history into historical segments that help
3.
_____________ often emphasized documentary and historical subjects, centering creating an audience response.
4. Films that have been abandoned by their owners or copyright holders, or otherwise neglected are called
SHORT-ANSWER QUESTIONS
(3-4 SENTENCES)
1. What was HUAC, and what was its effect on Hollywood’s creative pool?
2. How did Hollywood movies change in 1968, when the Production Code era officially ended and the ratings
system was introduced?
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3. What are orphan films? Give two examples of how the variety of forms, styles, and uses of orphan films helps us
understand how central film was to the twentieth century, and how taken for granted it was.
4. What effect might be created for the film viewer by the proliferation of LGBT images in mainstream television
and films?
5. Explain two possible benefits of film archives and film preservation.
