CHAPTER 13 – INTERNATIONAL CINEMA IN THE 1960s
Multiple Choice
1. Which of the following is not true of the French nouvelle vague (new wave) movie making
movement?
a. rejected commercial French cinema
b. favored light, non-intellectual entertainments
c. began their careers, often, as critics
d. all of the above
2. New Wave directors took advantage of which of the following technological developments in
the 1960s?
a. fast film stocks
b. zoom lenses
c. light, hand-held cameras
d. all of the above
3. One of the techniques that New Wave directors liked to use was
a. improvised scenes
b. use of movie studios
c. large film crews
d. symphonic scores
4. Francois Truffaut was influenced in his filmmaking by
a. Jean Renoir
b. Alfred Hitchcock
c. neither a nor b
d. both a and b
5. The French director who liked to “throw the rough draft [of a movie] at the public”
was a. Louis Malle
b. Jean-Luc Godard
c. Alain Resnais
d. Agnes Varda
6. Alain Resnais differed from other New Wave directors in that he
a. preferred tightly written scripts.
b. preferred to work with movie stars.
c. preferred to work in America.
d. none of the above
7. Young British filmmakers of the 1960s shared which of the following attitudes?
a. were in films to get rich
b. disliked American movies
c. criticized staid British cinema
d. sought to establish a “tradition of quality”
8. Free Cinema in Britain emphasized
a. democratic values
b. significance of the everyday
c. respect for the individual
d. all of the above
9. On occasion, British cinema used elements more associated with New Wave directors; one of
them found in Richardson’s Tom Jones is
a. downbeat tone
b. cinematically self-conscious
c. tightly structured
d. restrained in social attitudes
10. British cinema in the 1960s did not emphasize which of the following?
a. the virtues of characters
b. the sex lives of characters
c. the violence of characters
d. the working class
11. Acting in Kitchen School realistic movies was characterized by being
a. physical.
b. psychological.
c. sexy.
d. all of the above
12. To understand the subtext of Joseph Losey films like The Servant, an audience must
a. read the review.
b. listen to the film music.
c. mine the mise en scene.
d. none of the above
13. All of the following Italian directors prospered in the 1960s except?
a. Roberto Rossellini
b. Federico Fellini
c. Vittorio De Sica
d. Luchino Visconti
14. The Italian director who believed that “America is really the property of the world” is
a. Michelangelo Antonioni
b. Pier Pablo Pasolini
c. Sergio Leone
d. Franco Zeffirelli
15. Eastern European filmmakers finally were able to make personal films that
a. embodied boy-loves-tractor based themes.
b. explored the Heroic Resistance idea.
c. both a and b
d. neither a nor b
16. The most prolific film-producing Eastern European country in the post-Stalin era was
a. Hungary.
b. Poland.
c. Czechoslovakia.
d. Yugoslavia.
17. After Stalin’s death in 1953, the cinema in communist-ruled countries became
a. freer.
b. more expensive.
c. less personal.
d. none of the above
True/False
(Place a T or an F in the line following the sentence.)
1. The young directors who made up the French nouvelle vague (New Wave) were a
homogenous group in terms of their styles and themes.
2. New Wave directors had a deep affection for American movies.
3. New Wave directors believed in the purity of film genres and did not mix genres in their
movies.
4. New Wave directors favored tightly structured plots and clear fully realized characterizations
to avoid digressions of a personal sort.
5. Jean-Luc Godard made movies that seemed to “throw the rough draft at the public.
6. The new British directors of the 1960s Free Cinema movement revolted consciously against
the Italian neorealist movement in their films.
7. Here is the paradox of the Angry Young Man directors in Great Britain in the 1960s: they were
hostile to ruling-class institutions and disillusioned with the drab, joyless Welfare State.
8. The 1960s gave rise to the “spaghetti western” popularized by Sergio Leone.
9. Eastern European filmmakers never were able to escape the restrictive guidelines imposed on
them by the Soviet Union.
10. Poland not only produced more movies per year than any other Eastern European country,
but it also became the leader in animation.
Matching
1) Tony Richardson ___
2) Jean –Luc Godard ___
3) Agnes Varda ___
4) Andrzej Wajda ___
5) Lindsay Anderson ___
6) Michangelo Antonioni ___
7) Francois Truffaut ___
8) Alain Resnais ___
9) Richard Lester ___
10) Louis Malle ___
a. Hiroshima, Mon Amour
b. Le Voleur (The Thief)
c. The Loneliness of the Long Distance Runner
d. Shoot the Piano Player
e. A Hard Day’s Night
f. Cleo from 5 to 7
g. Ashes and Diamonds
h. L’Avventura
i. Breathless
j. If…
ANS:
Short Answer
1. Unlike most American directors, where did most French New Wave film directors begin their
careers?
2. In what way did films by Italian directors like Franco Zeffirelli and Pietro Germi counter the
pessimism found in films by directors like Michelangelo Antonioni?
3. What characterized the films of the Prague Spring movement in Czechoslovakia?
Essay Questions
1. How was the pessimistic view of the world realized in the films of Britain’s Angry Young
Man movement?
2. What filmmaking qualities/techniques made the directors of the French New Wave movement
more formalist than realist?
3. What qualities made the “spaghetti westerns” of Sergio Leone of Italy more than B-movies?
4. What were the effects of the de-Stalinization of films in Eastern Europe?