135
CHAPTER 11
READING ABOUT FILM: CRITICAL THEORIES AND METHODS
MULTIPLE-CHOICE QUESTIONS
1. The “imaginary”
2. In her essay, “Is the Gaze Male?,” E. Ann Kaplan notes that
3. Which of the following is a hallmark of classical film theory?
4. In “Cinema/Ideology/Criticism,” Jean-Luc Comolli and Jean Narboni use category “e” to designate films that
5. In his essay “The Evolution of the Language of Cinema,” André Bazin
6. Which of the following statements about star studies is NOT correct?
7. Gilles Deleuze describes the “movement image” as
8. For Jean Baudrillard, an example of a simulacrum is
9. In the 1950s, Cahiers du cinéma published the writings of which of the following?
10. David Bordwell, one of the most prolific and well-respected film scholars, advocates
FILL-IN-THE-BLANK QUESTIONS
1. In the 1950s _____________, which asserts that a film bears the creative imprint of one individual (typically the
2. The study of narrative forms, _____________ is a branch of structuralism that encompasses stories of all kinds,
4. A _____________ is composed of a signifier, the spoken or written word, picture, or gesture, and a signified, the
SHORT-ANSWER QUESTIONS (3–4 SENTENCES)
1. What is star studies? In what ways can it present a particularly revealing and useful critical approach to cinema?
2. What is cinephilia, and how does it inform the politique des auteurs?
3. Explain two possible ways that reception theorists see multiple ways of interacting with a text as confirmation that
individuals actively make meaning even in response to otherwise homogenous mass media.
4. How have recent theories of exile and homeland, cultural hybridity and diaspora, and the global and the
intercultural added to the store of explanatory frames we have for looking at race and representation in cinema?
5. How has an ideological critique of film and mass culture exerted a profound influence on shaping film theory?