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5 Written questions

5 Matching questions

  1. Production code loosenings
  2. "Baby Doll"
  3. Eastman Color
  4. Innovation within repetition
  5. Paramount Case Outcome
  1. a taking a model and tweaking it slightly, like CSI, WB Detective Series
  2. b Inexpensive color, only one strip of film, but fades very quickly
  3. c D: Elia Kazan, he was given final cut by Warner Brothers, film denounced by Catholic Church, again still did very well, practically the end of production code
  4. d 1954, 1956,
  5. e Government reactivates case in 1944, 1946 finds them in violation of Anti-Trust Act, 1948 Big 5 are forced to sell theaters and terminate connections with each other - Little 3 now more viable, production code means less, b movies go away

5 Multiple choice questions

  1. Amrstrong's FM system, FCC approved in 1941
  2. 520 lines of resolution
  3. worked with Boris Rosing on first cathode ray tube reciever for TV
  4. Ring sports, no videotape, almost always live
  5. Paid attention to movement, editing, light, darkness, and composition. Really had to pay attention to understand these films

5 True/False questions

  1. SuburbanizationDirected "The Man with the Golden Arm" and "A Streetcar Named Desire," criticized the Church and MPAA for being okay with "Ten Commandments," but not his film


  2. Local programming in early televisionMPAA head Eric Johnston read it, stated that industry would not hire any of the Hollywood 10 or any communists, began the blacklist


  3. Cinemascope20th Century Fox developed alternative to Cinerama. Anamorphic system, meaning the lens squeezed then stretched out the image creating a wide image with the same projector. Only cost $15k to outfit a theater - all future Fox movies to be in Cinemascope


  4. Disguised anthologiesEvery week they travel to a new place, new people. next week there's something new


  5. Davey CrockettI. Rejection of nonfiction film traditions
    II. Rejection of traditional direction and script
    III. Uncontrolled filming of real people in real situations
    IV. Creation of a model of reality that includes many types of ambiguity
    V. Spontaneous sense of the viewer's being there
    VI. Use of lightweight, portable equipment
    VII. Live sound recording
    VIII. Primacy of observation over narration
    IX. Primacy of editing over long-take cinematography
    X. Primacy of form over content


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