France in the 1920s and 1930s

In the years following the end of WWI, the percentage of films screened in France that were French in origin was:

20 to 30 percent

In order to suggest the subjective effect of a musical passage in a scene from *La dixieme symphonie*, director Abel Gance:

superimposed a dancer over piano keys

French Impressionists agreed cinema should strive to distance itself from:

theater

According to practitioners of French Impressionism, cinema’s essence, its ability to present a realm beyond everyday experience, lay primarily in:

the properties of the camera

to convey the title character’s unhappiness with her husband in *The Smiling Madame* *Beudet,* director Germaine Dulac:

shto into a curved mirror, thus distorting the husband’s image

Germain Dulac:

made films about unconscious internal processses influenced by dreams, fantasies, and hallucinations

The director of *Eldorado*, who shot visually abstract melodramas and collaborated with some of the most famous artists in France such as Leger and Milhaud, was:

Marcel L’Herbier

The French film that is considered a precursor to both Soviet montage and Italian neo-realism, featuring both on-location photography and rapid, metaphorical cutting, was:

*Menilmontant*

The French Impressionist film that contains the first known use of single-frame shots in film history is:

*La Roue*

Which of the uses of mise-en-scene was NOT common to French Impressionism:

employing highly exaggerated figure behavior

The style of French poetic realism, which brought a new naturalism, was created by:

designer Lazare Meerson

Jean Epstein’s *La Glace a trois faces* was unlike many French Impressionist films because of its:

innovative and amibiguous narrative design

The introduction of sound motion pictures in the late 1920s made it virtually impossible for the Impressionists to continue making Impressionist films, primarily because:

sound production was prohibiively expensive

The French transition to sound:

saw the French industry completely at the mercy of Western Electric and Tobis-Klangfilm

The anarchic, surrealistic, lyrical film set in a boys’ school, featuring a slow-motion pillow fight scene and an assault on school dignitaries, is:

*Zero for Conduct*

Stylistically Renoir’s *The Grand Illusion* is characterized by:

long shots/ long takes featuring composition in depth