German Cinema in the 1920s

the company formed in 1917 through a forced merger of Gemran production, distribution, and exhibition companies was:

UFA

UFA:

was established by government decree

Before the end of WWi, UFA did all the following EXCEPT:

sell shares in the company to private investors

expressionism in the arts:

began in painting, muisc, and theater before influencing cinema

during th 1920s, descriptions of German Expressionist films referred to the sets as:

acting

the visual world of Caligari:

represents the narrator’s tortured psyche

cinematic expressionism:

all of the above (deals with morbid psychological states and troubled dreams, created mood with lighting and set design, represented a psychological reality as a tangible visual image)

the influence of Caligari on the German cinema that followed can be seen in:

its objective depition of the internal subjective world of the character

the primary themes of the Schauerfilme was:

the human soul in search of itself

Nosferatu:

was shot on location in central Europe

which is the LEAST important technique of Nosferatu’s Expressionist style:

production design

in German Expressionist films, the narrative often pauses or slows briefly while:

elements of mise-en-scene align into eye-catching compositions

which was NOT a common tactic for blending the elements of mise-en-scene in a German Expressionist film:

the use of elaborate tracking shots

the Kammerspielfilm:

superseded Expressoinsim as the creatively dominant style in German cinema

the most influential technique of The Last Laugh on Hollywood films was:

camera movement

the subjective camera:

physically becomes the eyes of the character

one of the significant facotrs in the decline of German Expressionist cinema was:

the departure of Expressionist filmmakers to Hollywood

the street film:

was characterized by cynicism, resignation, and disillusionment

Pandora’s Box:

all of the above (tells the story of a party girl who eventually turns to prostitution, cast an American actress in the lead, was directed by G.W. Pabst)

which of the following is NOT a fundamental technique of Pabst’s continuity editing:

they are all part of his continuity editing