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Soviet Cinema in the 1920s


Multiple Choice



1

What was Narkompros?
A) a Russian film production company forced to flee after the October Revolution of 1917.
B) the name given to the newly nationalized film industry in the Soviet Union
C) the People's Commissariat of Education set up under the Bolsheviks, which was given responsibility for overseeing cinema
D) the Soviet film school established in 1919


2

Which of the following best characterizes Soviet cinema from 1918 to 1920?
A) The new Soviet cinema was immediately quite productive and successful, producing a steady stream of popular propaganda films that filled the country's theaters.
B) Immediately upon seizing power, the Bolsheviks nationalized the film industry and began mass production of patriotic films that were never very popular
C) During this period, Soviet cinema was disorganized and production was low, though many short films made their way to troops and villagers in the countryside and many old films were shown in theaters
D) During this period, virtually no films were made or seen in the Soviet Union as time and resources had to be spent on things more necessary than cinema


3

What is the Kuleshov effect?
A) the sense of wonder viewers get from seeing images edited rapidly together
B) the impression of a continuous space and time that viewers get from images edited together in the absence of an establishing shot
C) the aim of Soviet propaganda films, which was to mobilize the workers and peasants in support of communism
D) a trick of editing that creates an illusion of continuous motion occurring in two separate shots


4

Which of the following does not characterize Sovkino, established in 1925 to replace Goskino as the national film company?
A) It was responsible for both opening theaters in the cities and for getting films out to the countryside
B) It profited from the distribution of foreign films in the Soviet Union
C) It profited from the distribution of Soviet films abroad
D) It concentrated mainly on entertainment and did not concern itself much with artistic films or films that would advance a communist agenda


5

Which of the following was a main principle of Constructivist artists?
A) an artwork is like a machine assembled out of different parts
B) an artwork is the expression of the artist's inspired vision
C) art should not be used as propaganda
D) elite art forms such as opera are superior to popular arts such as the circus


6

Which Soviet Montage director began his career with the Proletkult theater, combining his experience in engineering with an interest in modernist drama?
A) Kuleshov
B) Eisenstein
C) Vertov
D) Pudovkin


7

Which Soviet Montage director worked mainly on documentary filmmaking?
A) Kuleshov
B) Dovzhenko
C) Vertov
D) Pudovkin


8

How does Eisenstein conceive of editing in his theoretical writings?
A) as bricks joined together
B) as a smooth succession of images used to tell a story clearly and with excitement
C) as the selection and combination of "cine-facts"
D) as the collision of conflicting forces that create the maximum emotional and intellectual impact


9

What was most Montage directors' approach to narrative?
A) they built their stories around the heroic struggles of individual Bolshevik revolutionaries
B) they shied away from depicting actual events, instead preferring more mythical or allegorical subjects
C) they preferred not to emphasize individual characters and made social forces the source of causes and effects in the narrative
D) they deplored narrative and adopted a challenging, non-narrative, modernist style


10

Which of the following is not a characteristic that is especially distinctive of Soviet Montage editing?
A) overlapping editing
B) shot/reverse shot editing
C) elliptical editing
D) rapid editing


11

What innovative function did Soviet Montage editors achieve by using intercutting?
A) highly suspenseful chases with last-minute rescues
B) a sense of fast, frenetic motion
C) clearer, more efficient storytelling
D) making a thematic or metaphorical point


12

Which of the following was not a factor in bringing about the end of the Montage movement?
A) many Montage directors grew tired of the style, which had become passé
B) governmental and film-industry officials accused Montage directors of "formalism"
C) the first Five-Year Plan, which aimed to eliminate exporting Soviet films abroad
D) the formation of Soyuzkino, a new national film company to oversee production throughout the Soviet republics

Ik zie in mijn glazen bol dat hier een slotje op gaat komen.

[da leentjuh]

Ik denk dat er een slotje op gaat komen, maar dit is slechts gebaseerd op empirische argumenten. Glazen bollen en dergelijke zijn heidens.

Dit waarderen wij hier niet.

Jij bent echt goed met computers!!

Ik hoop dat je sterft met een gezwel

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