Term
The tone of film noir that emphasizes the darker aspects of the human condition is |
|
Definition
|
|
Term
Film Noir usually takes place in locales that are |
|
Definition
|
|
Term
The women in film noir are sexually provocative, somewhat classy and |
|
Definition
|
|
Term
Major images in film noir include |
|
Definition
|
|
Term
Film Noir was extremely influenced by three writers: James Cain, Raymond Chandler & |
|
Definition
|
|
Term
Many feel the strong censorship of the 40s and 50s helped the film noir creators be |
|
Definition
|
|
Term
Film Noir’s use of “light and dark shadows” helped create atmosphere as well as to |
|
Definition
|
|
Term
A German cinematic influence of film noir was its |
|
Definition
|
|
Term
One American film that had a strong influence on film noir was |
|
Definition
|
|
Term
The “fear & paranoia” of film noir can be justified by the growing
American fascination with |
|
Definition
|
|
Term
An important element in film noir was the use of |
|
Definition
|
|
Term
“Film Noir” is a term coined by the French film magazine Cahiers du Cinema and means |
|
Definition
|
|
Term
DETOUR broke the rules for its time because |
|
Definition
the hero didn’t die at the end |
|
|
Term
In film noir, the lead in jeopardy asks, “Why me? Why me?” and the answer is |
|
Definition
|
|
Term
One-quarter of the leads in “film noir” films are |
|
Definition
|
|
Term
The rising acceptance of psychiatry in the middle class was a perfect way to justify |
|
Definition
the fear and paranoia that was inherent in film noir |
|
|
Term
The private detective worked as a lead in the center of a film noir because |
|
Definition
a private detective could go anywhere, including the best & the seediest parts of a city |
|
|
Term
An essential part of James Cain’s formula for a film noir story was |
|
Definition
the eternal triangle - a man and a married woman who wants her husband dead |
|
|
Term
In film noir, in order to make women seem more powerful, the camera shot them |
|
Definition
|
|
Term
The use of “light and shadow” lighting in film noir was a big part in |
|
Definition
giving expression to the “good vs. evil” elements of plot and characters |
|
|
Term
In post WWII (1946+), the “new technological discoveries” allowed film noir to shoot |
|
Definition
on real streets at night instead of studio back lots and sound stages |
|
|
Term
One of the reasons “film noir” became less popular in the 1950s is |
|
Definition
|
|
Term
One of the great screwball comedies of the 1930s was |
|
Definition
|
|
Term
Frank Capra’s IT HAPPENED ONE NIGHT started a fad in Hollywood to produce |
|
Definition
|
|
Term
Films, where everything was a juxtaposition, “nuts, illogical, impossible, hilarious,” were called |
|
Definition
|
|
Term
Major directors of screwball comedies include |
|
Definition
Frank Capra, Howard Hawks, Preston Sturges, Gregory LaCava |
|
|
Term
Major stars of screwball comedies included |
|
Definition
Cary Grant, Clark Gable, Claudette Colbert, Carole Lombard |
|
|
Term
Screwball comedy rounded out their casts with |
|
Definition
1st rate character actors |
|
|
Term
Major examples of screwball comedies include |
|
Definition
MY MAN GODFREY, HIS GIRL FRIDAY, IT HAPPENED ONE NIGHT |
|
|
Term
The Three Stooges might hit each other over the head with sledgehammers,
but in a screwball comedy, they would use |
|
Definition
|
|
Term
In screwball comedies, two people fell in love but did not simply surrender to that, they |
|
Definition
formally dated until they were married |
|
|
Term
Screwball comedy often had a basis in |
|
Definition
|
|
Term
One hallmark of MGM films was the predominately visual style of |
|
Definition
opulent production design and high key (bright) lighting
|
|
|
Term
20th Century Fox specialized in American period nostalgia, musicals and |
|
Definition
|
|
Term
MGM’s main movie genres were women’s films, prestigious literary adaptations and |
|
Definition
|
|
Term
The star of THE JAZZ SINGER was |
|
Definition
|
|
Term
The “boy genius” producer at MGM who was considered its real arbiter of taste and was married to one of MGM’s biggest stars, Norma Shearer, was
|
|
Definition
|
|
Term
The audion tube became essential to the technology of all sound systems requiring |
|
Definition
|
|
Term
William Fox lost his studio and his personal fortune when |
|
Definition
His attempt to dominate film sound systems with his Movietone process failed |
|
|
Term
20th Century Fox’s careful budgeting & production control led to films that had a |
|
Definition
|
|
Term
What studio focused their 1st sound films on interviews with world leaders & personalities? |
|
Definition
|
|
Term
Early success with their talking film interviews led this studio to then produce |
|
Definition
the first weekly newsreel, Movietone News |
|
|
Term
Although “talking pictures” made many artistic advancements in film, the Hollywood studios were really driven by
|
|
Definition
|
|
Term
Fox’s star director during the 1930s and 1940s was |
|
Definition
|
|
Term
Frank Capra’s IT HAPPENED ONE NIGHT started a fad in Hollywood to produce |
|
Definition
|
|
Term
United Artists was founded in 1919 as a studio so that its films could be controlled by their creators, meaning its founding members |
|
Definition
Charles Chaplin, Douglas Fairbanks, Mary Pickford, D. W. Griffith |
|
|
Term
Pre-Code era films, sexier & racier than before, purity was out, were lightning rods for |
|
Definition
|
|
Term
The Big Five Agreement was the agreement of |
|
Definition
Several studios: Loew (MGM); Famous Players-Lasky (Paramount); First National (WB); Universal; and Producers Distributing Corp. (PDC) to use the same sound-on-film system |
|
|
Term
RKO formed out of a merger between FBO (Film Booking Office), Pathé, Keith-Orpheum theatres and |
|
Definition
|
|
Term
RKO was formed out of RCA’s desire to |
|
Definition
to use its Photophone sound system |
|
|
Term
Independent producers like Samuel Goldwyn & David O. Selznick often released their films through |
|
Definition
|
|
Term
The founder and head of Universal Studios until 1936 was |
|
Definition
|
|
Term
In addition to Fred Astaire and Ginger Rogers, RKO’s major contract star was |
|
Definition
|
|
Term
The most “European” of the Hollywood studios was |
|
Definition
|
|
Term
The 5 major Hollywood studios owned 16% of the nations movie theatres that generated |
|
Definition
|
|
Term
A big factor in Wall Street’s attempt to control the studios was |
|
Definition
|
|
Term
The film studios were reluctant to make a conversion to “talking pictures” because |
|
Definition
The expense of converting the studios to sound would be astronomical AND the expense of equipping all the theatres they owned for sound film projection even more so |
|
|
Term
Although often called “the first talking picture”, THE JAZZ SINGER (1927) actually was |
|
Definition
the first “all singing” film |
|
|
Term
The founder of Paramount Studios was |
|
Definition
|
|
Term
The first “100% All Talking” picture was |
|
Definition
|
|
Term
In Pre-Code films, the actress who was “the ingénue who became sophisticated” was |
|
Definition
|
|
Term
Paramount’s director of epic films, with them since they began with THE SQUAW MAN was |
|
Definition
|
|
Term
The first successful use of Vitaphone for Warner Brothers was on a major bill of film they opened in New York City and then toured to other cities, comprising of: |
|
Definition
DON JUAN with its Vitaphone score paired with the shorts of NYC Philharmonic and Opera |
|
|
Term
The best example of a “fantasy notorious woman” was |
|
Definition
|
|
Term
Warner’s system pleased Wall Street because it controlled film production by placing |
|
Definition
|
|
Term
Warner Brothers Studio was |
|
Definition
the studio of the working class |
|
|
Term
The “Pivotal” film of the Pre-Code era is |
|
Definition
|
|
Term
Synchronization problems led inventors to explore putting sound on the same strip of film. This involved exploring the recording of sound photographically, or optically, by converting sound waves into |
|
Definition
Patterns of light and shade |
|
|
Term
The “star director” at Columbia Pictures, who lifted them from Poverty Row, was |
|
Definition
|
|
Term
The biggest, most prosperous and most prolific American studio in the 1930s was |
|
Definition
|
|
Term
Which Hollywood director was the main studio director at Fox/20th Century Fox? |
|
Definition
|
|
Term
The German sound process, Tri-Ergon, which literally means “the work of three” – meaning the 3 German inventors, eventually sold its American rights to |
|
Definition
William Fox, of Fox Films Corporation, later 20th Century Fox |
|
|
Term
The V.P. in charge of Production that ran MGM, who placed naughty stars in low-budget films at Poverty Row studios as a punishment, was
|
|
Definition
|
|
Term
Universal Studios were best known for making westerns, a few quality films & |
|
Definition
|
|
Term
In Pre-Code films, a good example of the “fantasy prostitute” is |
|
Definition
|
|
Term
One genre started in the Pre-Code days featured strong women who |
|
Definition
had careers and began to go head-to-head with men in the business world |
|
|
Term
The first “notion” of sound films wasn’t to make “talking pictures” but to |
|
Definition
a. focus on the “technology” of film rather than on the “creative” elements
|
|
|
Term
The film studio that grew out of RCA’s desire to use its Photophone process was |
|
Definition
RKO (Radio-Keith-Orpheum) |
|
|
Term
MGM’s contract stars included |
|
Definition
Gene Kelly, Judy Garland, Clark Gable, Greta Garbo |
|
|
Term
The smallest of the Big 5 major Hollywood studios was |
|
Definition
|
|
Term
The major star of 20th Century Fox in the mid-to-late 1930s was |
|
Definition
|
|
Term
In the 1930s, the most volatile and risk-taking of all studios in that era was |
|
Definition
|
|
Term
In Pre-Code films, TORCH SINGER, MARY STEVENS-MD & FRISCO JENNIE all built stories around women that were
|
|
Definition
|
|
Term
In Pre-Code days, the actress who made “the vamp” a three-dimensional character was |
|
Definition
|
|
Term
Edward G. Robinson shot to fame at Warner Brothers in the hit film |
|
Definition
|
|
Term
Will Hays oversaw the writing of the Production Code, but the enforcer of it was |
|
Definition
|
|
Term
Vitaphone was a sound system |
|
Definition
that was a sophisticated sound-on-disc system employing multiple 33 1/3 rpm discs |
|
|
Term
The only director to also be head of production for a major studio, was Paramount’s |
|
Definition
|
|
Term
In Deep Focus Photography the foreground and the background are shown with |
|
Definition
the background and the foreground are equally clear |
|
|
Term
Another Pre-Code film genre focused their stories on women who |
|
Definition
were “molls” – i.e., female criminals |
|
|
Term
Warner Brothers was well-known for backstage musicals and |
|
Definition
|
|
Term
The studio that responded best to creating rules to please Wall Street was |
|
Definition
|
|
Term
Although the films produced were considered the driving force, they only consumed |
|
Definition
5% of the studios’ assets |
|
|
Term
When the studios had to decide which process to go with sound-on-film, the major studios picked |
|
Definition
Western Electric’s new sound-on-film process similar to the process of Pedersen and Pulsen
|
|
|
Term
The studio that had produced more Technicolor films than any other by 1949 was |
|
Definition
|
|
Term
Warner Brothers Studio was the studio with |
|
Definition
|
|
Term
The 5 “sexy, funfilled years” of filmmaking in pre-Code Hollywood were |
|
Definition
|
|
Term
RKO’s most extraordinary production of the 1930s was |
|
Definition
The use of stop-motion photography in KING KONG |
|
|
Term
The total price for all studios to convert to sound was slightly in excess of |
|
Definition
|
|