Exam 3: Types of Movies

A) A studio decides to stop production of a fantasy film because of its similarity to another movie of the same genre.
B) A director with no experience shooting Westerns is chosen to helm the production of the biggest Western in the last several decades.
C) An actor associated in the public's mind with the persona of the tough-talking, no-nonsense private detective is hired to play the latest version of film noir hero Philip Marlowe.
D) The sets featured in a recent romantic comedy are reused by another with only slight variations.
E) The current rise in child-oriented movies forces several producers to go with risky, adult-themed scripts in reaction to what they see as a passing fad.

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A) organically, as inspired by shifts in history, politics, or society
B) artificially, as concocted by quasi-scientific marketing teams
C) ideologically, as created by filmmakers trying to advance a political platform
D) commercially, as thought up by movie theaters in need of familiar hooks to attract moviegoers
E) academically, as developed by intellectuals arguing for movies as a legitimate art form

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A) because all art is narrative
B) because the linear nature of movies lends itself to structures that possess some form of progression
C) because all movies contain characters and recognizable situations
D) because all movies follow the same formula for structured action
E) because of the way audiences have been taught to understand art, which forces them to transform seen, read, or heard material into a story

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A) police films involving the pairing of two partners with completely opposite personalities
B) Westerns starring John Wayne
C) screwball comedies of the 1930s
D) low-budget horror films
E) the stylistically disparate yet thematically united films of director Quentin Tarantino

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A) Antz (1998)
B) Toy Story (1995)
C) Monsters, Inc. (2001)
D) Final Fantasy: The Spirits Within (2001)
E) The Lion King (1994)

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A) allusion
B) parody
C) allegory
D) pastiche
E) symbolism

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A) the categorization of narrative films by their cost
B) the categorization of narrative films by their indebtedness to literary sources
C) the categorization of narrative films by featured actors
D) the categorization of narrative films by country of origin
E) the categorization of narrative films by the stories they tell and the ways they tell them

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A) the establishment of a normal chaotic world that will be threatened by the arrival of the other
B) the revelation of the other as merely the projection of the protagonist's repressed fears
C) the prominent use of high-key lighting
D) the initial rejection by the protagonist of his or her suspicions of the other
E) the destruction or apparent destruction of the protagonist by the other

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A) a personal approach to unconventional filmmaking strategies
B) a political approach to unconventional filmmaking strategies
C) a purely formal approach to unconventional filmmaking strategies
D) the manipulation of film from other sources in order to create meanings and associations
E) the manipulation of originally produced film in order to create meanings and associations

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A) by using small crews, natural lighting, handheld cameras, and nonprofessional actors
B) by tackling issues of political and social importance
C) by being informed by painstaking research
D) by interrupting the narrative flow with interviews of experts in the field that the film is examining
E) by being made with extremely small budgets

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A) because John Wayne's aging and eventual death robbed America of its greatest Western screen hero
B) because the increasing use of photographic color diminished the appeal of a genre inextricably associated with black-and-white
C) because the genre was seen to be out-of-touch with audiences who had new ideas about moral absolutes, Manifest Destiny, and the role of minorities in settling the West
D) because audiences demanded movies in which homosexuals were portrayed as flawless heroes
E) because the Western combined generic elements with those of the melodrama and romance

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Affordable and accessible digital and co...

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A) television
B) foreign films
C) musicals
D) animation
E) virtual reality

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A) commercial intent
B) an impersonal style and sensibility
C) conformity to narrative conventions
D) a noncritical stance toward culture and media
E) an invitation to individual interpretation

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A) a movie's protagonist
B) a movie's antagonist
C) a familiar character with a few essential traits that recurs throughout a genre
D) an unfamiliar character with a three-dimensional personality that recurs throughout a genre
E) a character seen once and then never again in a specific genre

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A) romantic comedy; slapstick comedy; light sex comedy
B) outrageous farce; gross-out comedy; comedy of wit
C) neurotic comedy; screwball comedy; black comedy
D) slapstick comedy; screwball comedy; light sex comedy
E) musical comedy; sentimental comedy; comedy of wit

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A) primary footage.
B) b-roll.
C) interior perspective.
D) narrative voice.
E) interviews.

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A) to present people or processes in straightforward ways, without unduly influencing audiences
B) to present a particular perspective on social, political, environmental, and other issues
C) to educate audiences about shared concerns or interests
D) to carry a political message from a government.
E) to take the audience into a completely fictional or artificial film realm

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