The Early Cinema
The European Silent Cinema
Soviet Cinema
Experimental Cinema/French Poetic Realism
Random
100

name the two individuals who invented the kinetograph and the kinetoscope

Thomas Edison and WKL Dickson

100

name two things the Italian Silent Cinema was known for...

1. Historical Epics

2. The diva (star system) 

100

what was the Kino-Eye trying to capture?

cinematic truth and a new, objective depiction of reality. 

100

name the film we watched in class that is often seen as a feminist text, conveying the psychology of the women protagonist as she is in this terror and fear of her husband

Madame Beudet

100
According to Kaes in "Weimar Cinema: the Predicament of Modernity", Fritz Lang influenced the language of cinema through his filmic focus on the social and moral need for __________.

modernity (64-64)

200

Name the two most prominent production companies in France at the beginning of the 20th century

Pathé Frères and Gaumont.

200

Describe Italian Futurism as generally and as simply as you can...

Italian Futurism:

Early 20th century art movement begun in Italy that emphasizes modernity, technology, industry, war, and dynamism, has been considered proto Fascism because of its embrace of war. 

200

what filmmaker that we studied was inspired/influenced by newsreels and styles of Bolshevik journalism?

Dziga Vertov

200

name two of the three things Dada related films attempt to disrupt


  • Disrupt the viewer’s expectations of a conventional narrative
  • Disrupt the viewer’s belief in film as presenting reality
  • Disrupt the viewer’s desire to identify with characters in the film
200

Sergei Eisenstein was influenced by what specific Marxist ideology

dialectical materialism

300

name at least 2 aspects of the realist tendency(Lumiere Brothers) and 2 aspects of the formal tendency (Melies)

The two tendencies…

Lumiere Brothers: realist tendency

  • Use of the camera as window to the real world
  • Captures reality without in camera techniques
  • Outdoor shooting
  • Use of natural light conditions
  • Use of non-actors in everyday clothing, settings


George Melies: formalist tendency

  • Relies on editing to experiment with the cinema’s capacity to manipulate time and space
  • Used stop motion (filming a figure, object, stopping the camera, placing another figure/object in front of the camera and starting the camera again- creating the illusion of an instant transformation)
  • Filmed in a glass studio with controlled light conditions
  • Used painted backdrops and props following theatrical convention
  • Used actors and acrobats in costume
300

what is the depiction of younger males in diva films?

irresponsible or child-like, they cheat and gamble

300

What was Eisenstein’s critique of Kuleshov and Pudovkin’s theory of montage?


Answer: says montage should emphasize collision of shots rather than shots as bricks or building blocks. This collision of shots is what he considers as that which affects the audience’s emotions and attention.

300

Film movements influenced by art movements

German Expressionism (by ______) and Soviet Montage (by ______)

expressionism and Russian constructivism

300

which country's domestic industry didn’t begin until the advent of sound in the 1920’s- and was filled with smaller firms (as opposed to Hollywood which was vertically integrated).

France

400

what is the name of the piece and the person who wrote the piece complicating the popular history of the early motion picture industry? 


hint: They coined the term “grand narrative of mechanization”. 

Beginnings by Alison McMahan

400

who was known as “Cretinetti” and also known as “Boireau” in Pathe comedy series?

Andre Deed

400

conflict in Marx's dialectical materialism is between two things, what are they called (to Marx) and what do they make?

thesis and antithesis create new phenomenon called a synthesis

400

name the film we watched in class that was eventually confiscated by French authorities and why...

L'Age d'Or (1930) for its inappropriateness as it critiques religious institutions and certain notions of societal morality. 

400

Based on the quote, who is the author and what is the title of the piece...

“We are not tearing down artistic cinema in order to soothe and amuse the consciousness of the working masses with new rattles. We have come to serve a particular class, the workers and peasants not yet caught in the sweet web of art-drama. We have come to show the world as it is, and to explain to the workers the bourgeois structure of the world”(38).

“Provisional Instructions to Kino-Eye Groups” Vertov (1926)

500

explain the "grand narrative of mechanization" and give one example from a reading (Week 1/2). 

As McMahan calls it, “the grand narrative of mechanization”/ the drive to quantify and measure? “…were the product of the industrial drive to mechanization, the drive to measure, quantify, and ultimately automate every aspect of life. Moving pictures were born out of a science called motion studies, with the immediate goal of understanding human and animal locomotion in order to devise exercises to perfect the human soldier and solve the mysteries of flight” (Beginning, 23).

500

who wrote the Futurist Manifesto in 1909

F.T. Marinetti

500

What film (that we watched in class) is this quote from?

… “They are tempting us with Vodka don’t take it” 

Strike (Eisenstein, 1925)


some themes of the film include labor uprising, strikes, class conflict, and collective action.

500

name two stylistic and one narrative characteristic of french poetic realism

Characteristics of French poetic realism include…

  • Movement between atmospheric/moody/ethereal and documentary realism
  • Style: use of long takes, on-location shooting, natural lighting conditions, depth of field, fluid, “improvised” camera movements.
  • Narrative: usually about the working class or lower classes or somehow marginalized figures- usually deal with tragic love affairs and end with the loss or death of the main character.
500

name the experimental film we watched in class from 1926 that was comprised of abstract, circulating disk formations, puns, and work play. 

Anémic Cinema (Marcel Duchamp 1926)

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