Question 1

Fellini rejected autobiographical themes to concrete on social concernes in movies like 8 ½ .___

Accepted Answer

A) True 
 B)False  False

Question 2

Was Federico Fellini a realist or formalist/ fabulist in his movies of the 50s?

Accepted Answer

Federico Fellini, the renowned Italian filmmaker, is often associated with a style that blends elements of realism with a more imaginative, dream-like quality that can be described as formalist or fabulist. In his movies of the 1950s, Fellini's work transitioned from a neorealistic approach towards a style that was distinctly his own, characterized by a blend of fantasy, baroque images, and personal memories.

In the early 1950s, Fellini's films, such as "I Vitelloni" (1953) and "La Strada" (1954), still bore the influence of Italian Neorealism, a cinematic movement that focused on the lives of ordinary people and was marked by on-location shooting, the use of non-professional actors, and a general emphasis on the harsh realities of post-war Italian society. "La Strada," for example, while showcasing Fellini's growing penchant for character-driven narratives and poetic imagery, still retained a strong sense of the real world and its struggles.

However, as the decade progressed, Fellini's style became increasingly personal and stylized. With "Nights of Cabiria" (1957), there is a noticeable shift towards a more formalist approach, where the visual style, narrative structure, and character psychology take precedence over strict adherence to realism. The film still contains elements of the real world, but it is clear that Fellini is moving towards a more subjective and imaginative form of storytelling.

By the end of the 1950s, with the release of "La Dolce Vita" (1960), Fellini had fully embraced a formalist or fabulist approach. This film marks a definitive break from neorealism and is characterized by episodic structure, extravagant set pieces, and a focus on the surreal and the fantastic aspects of life. "La Dolce Vita" is a vivid portrayal of the decadence of Rome's high society, and it is here that Fellini's signature style—blending dreams, fantasies, and a unique visual language—truly comes into its own.

In summary, while Federico Fellini began the 1950s with films that were influenced by Italian Neorealism, by the end of the decade, he had developed a more formalist or fabulist style that would define his later works. His early films contain elements of realism, but as the decade progressed, his unique vision, characterized by a blend of reality and fantasy, became the hallmark of his filmmaking.

Question 3

Matching
-Pather Panchali ___

Accepted Answer

A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star 
A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star H

Question 4

Why would Akira Kurosawa be considered a most untraditional Japanese filmmaker?

Accepted Answer

Akira Kurosawa is often considered a mos

Question 5

What is the conflict that is characteristic of nearly all Japanese movies in the 50s?

Accepted Answer

The conflict that is characteristic of n

Question 6

Federico Fellini began his career in Italian movies by helping to write scripts like Open City.___

Accepted Answer

A) True 
 B)False

Question 7

Matching
-La Dolce Vita ___

Accepted Answer

A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star 
A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star

Question 8

Robert Bresson was concerned with spiritual transcendence and used only "necessary" images and non-professional actors who spoke sparingly.___

Accepted Answer

A) True 
 B)False

Question 9

Ingmar Bergman's first American Academy Award was for

Accepted Answer

A) Star and Tinsel. 
B) The Seventh Seal. 
C) Cries and Whispers. 
D) The Virgin Spring. 
A) Star and Tinsel. 
B) The Seventh Seal. 
C) Cries and Whispers. 
D) The Virgin Spring.

Question 10

Matching
-A Man Escaped ___

Accepted Answer

A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star 
A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star

Question 11

What theme did Ingmar Bergman return to again and again in his films in the 50s?

Accepted Answer

Ingmar Bergman, the renowned Swedish fil

Question 12

Kenji Mizoguchi made movies reinforcing the traditional roles of women,no matter their class,in Japanese society.___

Accepted Answer

A) True 
 B)False

Question 13

American authorities practiced censorship of Japanese movies during their occupation and democratization of Japan after World War II.___

Accepted Answer

A) True 
 B)False

Question 14

A Robert Bresson film usually exemplifies which of the following film characteristics?

Accepted Answer

A) stylistically austere with non-professional actors 
B) themes of spiritual transcendence 
C) shot on location 
D) all of the above 
A) stylistically austere with non-professional actors 
B) themes of spiritual transcendence 
C) shot on location 
D) all of the above

Question 15

Matching
-Smiles of a Summer Night ___

Accepted Answer

A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star 
A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star

Question 16

Which of the following is not a Bergman film centering on women?

Accepted Answer

A) Wild Strawberries 
B) Persona 
C) Autumn Sonata 
D) The Silence 
A) Wild Strawberries 
B) Persona 
C) Autumn Sonata 
D) The Silence

Question 17

The American comedic film director to whom Jaques Tati may be compared is

Accepted Answer

A) Harold Lloyd 
B) Charlie Chaplin 
C) Buster Keaton 
D) none of the above 
A) Harold Lloyd 
B) Charlie Chaplin 
C) Buster Keaton 
D) none of the above

Question 18

Matching
-The Crucified Lovers ___

Accepted Answer

A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star 
A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star

Question 19

The West "discovered" Japanese cinema when Pather Panchali won the Jury Prize at Cannes.___

Accepted Answer

A) True 
 B)False

Question 20

Matching
-The Seventh Seal ___

Accepted Answer

A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star 
A) Kenji Mizoguchi film about the middle class 
B) Robert Bresson movie set almost entirely in a jail 
C) Bergman's only successful comedy 
D) creates a hauntingly diaphanous dream world 
E) Yasujiro Ozu film of a widower's sacrifice
F)basis for The Magnificent Seven
G)Fellini movie about decadence of the privileged
H)means "song of the road," won Cannes Jury Prize
I)Ingmar Bergman's allegory set in medieval times
J)established Toshiro Mifune as a star

Exam 11: International Cinema in the 1950s

Fellini rejected autobiographical themes to concrete on social concernes in movies like 8 ½ .___

Was Federico Fellini a realist or formalist/ fabulist in his movies of the 50s?

Matching -Pather Panchali ___

Why would Akira Kurosawa be considered a most untraditional Japanese filmmaker?

What is the conflict that is characteristic of nearly all Japanese movies in the 50s?

Federico Fellini began his career in Italian movies by helping to write scripts like Open City.___

Matching -La Dolce Vita ___

Robert Bresson was concerned with spiritual transcendence and used only "necessary" images and non-professional actors who spoke sparingly.___

Ingmar Bergman's first American Academy Award was for

Matching -A Man Escaped ___

What theme did Ingmar Bergman return to again and again in his films in the 50s?

Kenji Mizoguchi made movies reinforcing the traditional roles of women,no matter their class,in Japanese society.___

American authorities practiced censorship of Japanese movies during their occupation and democratization of Japan after World War II.___

A Robert Bresson film usually exemplifies which of the following film characteristics?

Matching -Smiles of a Summer Night ___

Which of the following is not a Bergman film centering on women?

The American comedic film director to whom Jaques Tati may be compared is

Matching -The Crucified Lovers ___

The West "discovered" Japanese cinema when Pather Panchali won the Jury Prize at Cannes.___

Matching -The Seventh Seal ___

Beginnings

Griffith and His Contemporaries: 19081920

American Cinema in the 1920s

European Cinema in the 1920s

The Hollywood Studio System: 1925-1955

American Cinema in the 1930s

European Cinema in the 1930s

American Cinema in the 1940s

European Cinema in the 1940s

American Cinema in the 1950s

American Cinema in the 1960s

International Cinema in the 1960s

American Cinema in the 1970s

International Cinema in the 1970s

American Cinema in the 1980s

International Cinema in the 1980s

American Cinema in the 1990s

International Cinema in the 1990s

American Cinema Since 2000

International Cinema Since 2000

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