Final exam

Question 1

Bela Balazs

Answer 1

Formalism
“The Close-Up” and “The Face of Man”
The Passion of Joan of Arc (Carl Dreyer, 1928)

Question 2

Rudolf Arnheim

Answer 2

Formalism
“The Complete Film” and “Fim and Reality” and “the making of a Film”
The Passion of Joan of Arc (Carl Dreyer, 1928)

Question 3

Vsevolod Pudovkin

Answer 3

Soviet Montage
“ On Editing”
The Man with the Movie Camera (Dziga Vertov, 1928)

Question 4

Sergei Eisenstein

Answer 4

Soviet Montage
“Beyond the Shot” and “The Dramaturgy of Film Form,”
The Man with the Movie Camera (Dziga Vertov, 1928)

Question 5

Dziga Vertov

Answer 5

Soviet Montage
“We: Variant of a Manifesto”
The Man with the Movie Camera (Dziga Vertov, 1928)

Question 6

Andre Bazin

Answer 6

Realism
“The Evolution of the Language of Cinema,” Citizen Kane (Orson Welles, 1941) and “excerpts from What Is Cinema?: The Ontology of the Photographic Image”
Bicycle Thieves (Vittorio De Sica, 1948)

Question 7

Siegfried Kracauer

Answer 7

Realism
“Basic Concepts,”
Bicycle Thieves (Vittorio De Sica, 1948)

Question 8

Alexander Astruc

Answer 8

Auteurism
“La Camera Stylo,”
Psycho (Alfred Hitchcock, 1960)

Question 9

Andrew Sarris

Answer 9

Auteurism
“Notes on the Auteur Theory in 1962,”
Psycho (Alfred Hitchcock, 1960)

Question 10

Peter Wollen

Answer 10

Auteurism
“The Auteur Theory,”
Psycho (Alfred Hitchcock, 1960)

Question 11

Christian Metz

Answer 11

Semiotics
“Some Points in the Semiotics of Cinema,”
Night of the Living Dead (George A. Romero, 1968)

Question 12

Gilbert Harman

Answer 12

Semiotics
“Semiotics and the Cinema: Metz and Wollen,”
Night of the Living Dead (George A. Romero, 1968)

Question 13

Stephen Prince

Answer 13

Semiotics
“The Discourse of Pictures: Iconicity and Film Studies,”
Night of the Living Dead (George A. Romero, 1968)

Question 14

Jean Comolli and Jean Narboni

Answer 14

Ideology
“Cinema/Ideology/Criticism,”
The Searchers (John Ford, 1956)

Question 15

Robin Wood

Answer 15

Ideology
“Ideology, Genre, Auteur,”
The Searchers (John Ford, 1956)

Question 16

Christian Metz

Answer 16

Psychoanalysis
“excerpts from The Imaginary Signifier”
Peeping Tom (Michael Powell, 1960)

Question 17

Laura Mulvey

Answer 17

Feminism
“Visual Pleasure and Narrative Cinema,”
Klute (Alan J. Pakula, 1971)

Question 18

Tania Modleski

Answer 18

Feminism
“The Master’s Dollhouse: Rear Window,”
Klute (Alan J. Pakula, 1971)

Question 19

Fredric Jameson

Answer 19

Postmodernism & Embodiment I
“Postmodernism: Or the Cultural Logic of Late Capitalism”
Blade Runner (Ridley Scott, 1982)

Question 20

Linda Williams

Answer 20

Postmodernism & Embodiment
“Film Bodies: Gender, Genre, and Excess,”
Videodrome (David Cronenberg, 1983)

Question 21

Steven Shaviro

Answer 21

Postmodernism & Embodiment
“excerpt on Cronenberg from The Cinematic Body”
Videodrome (David Cronenberg, 1983)

Question 22

Ella Shohat and Robert Stam

Answer 22

Race & Representation
“Stereotype, Realism, and the Struggle Over Representation,”
Meek’s Cutoff (Kelly Reichardt, 2010)

Question 23

Manthia Diawara

Answer 23

Race & Representation
“Black Spectatorship: Problems of Identification and Resistance,”
Creed (Ryan Coogler, 2015)

Question 24

bell hooks

Answer 24

Race & Representation
“The Oppositional Gaze: Black Female Spectators,”
Creed (Ryan Coogler, 2015)

Question 25

Lev Manovich

Answer 25

Digitalization
“excerpts from The Language of New Media: Synthetic Realism and its discontents”
The Matrix (Andy/Lily and Larry/Lana Wachowski, 1999)

Question 26

Kristen Daly

Answer 26

Media Convergence
“Cinema 3.0: The Interactive Image,”
Gamer

Question 27

Steven Shaviro

Answer 27

Media Convergence
“except from Post-cinematic Affect: Gamer”
Gamer (Neveldine/Taylor, 2009)