IFM Test#3

Question 1

In the 1960s, the films in black and white that helped to create Film Noir used ______ sparingly

Answer 1

music

Question 2

In the 1960s, the films in black and white that helped to create Film Noir. for the most part,where limited to the following instances

Answer 2

Opening and closing credits
Source music
Transitions
Montages
Landscape panoramas
Scenes of movement or action

Question 3

Characteristics from this new emerging era are

Answer 3

1) a mix of serious and lighthearted moments; 2)frank treatment of sexuality, and 3) creative narratives and images.

Question 4

one of the most brilliant examples of a Hollywood adaptation of a novel

Answer 4

To Kill a Mocking Bird.

Question 5

To kill a mocking bird was based on what?

Answer 5

Harper Lee’s prize-winning novel, based on her experiences growing up in a small Alabama town

Question 6

The Graduate, showcasing the compositional talents of _____

Answer 6

the folk-rock duo of Paul Simon and Art Garfunkel

Question 7

The other music provided by composer _____ is entirely diegetic, including the music emanating from Mrs. Robinson’s stereo and other musical sources at the Taft Hotel

Answer 7

Dave Grusin

Question 8

THE CRISIS YEARS

Answer 8

1968-1972

Question 9

shaped morality codes for films for two decades, was officially eliminatedin 1968

Answer 9

The Hays Code

Question 10

the new rating system for the Motion Picture Association of America was created on

Answer 10

November 1st, 1968

Question 11

Director Stanley Kubrick’s (1928-1999) vision of the future garnered him much attention with arguably his greatest work,

Answer 11

2001: A Space Odyssey

Question 12

Kubrick tried to expand on Arthur Clarke’s short story

Answer 12

“The Sentinel”

Question 13

The music for 2001 had originally been tabbed by Kubrick to ask composer Alex North to write the score. but then was thrown out for what?

Answer 13

used borrowed music from classical composers Richard Strauss, Johann Strauss Jr., and Hungarian composer György Ligeti

Question 14

THE GODFATHER was based on what

Answer 14

Mario Puzo’s winning novel, The Godfather

Question 15

THE GODFATHER’s The score, composed by ______ (1911-1979) and ______

Answer 15

Nino Rota, and Carmine Coppola

Question 16

In 1974 _____ , an up-and-coming director at the time, recommended Williams to George Lucas for Star Wars

Answer 16

Steven Spielberg

Question 17

Williams’s style has encompassed the popular

Answer 17

avant-garde, and from jazz to minimalism

Question 18

Williams has received nearly _____ Academy Award nominations, and has won _ oscars.

Answer 18

40, 5

Question 19

Studios depended on the sequel for various reasons,but mainly because

Answer 19

it was bankable

Question 20

In the 1970s and 80s, certain Hollywood films accessed music of the past

Answer 20

Kramer vs. Kramer (1979) utilized the music of Vivaldi and Purcell

Question 21

Amadeus of course centered on the music of ____

Answer 21

Mozart

Question 22

THE EXORCIST borrows from some of the most radical works of the 20th century avant-garde movement

Answer 22

Krzystof Penderecki’s String Quartet No. 1, Polymorphia, Kanon for Orchestra and Tape, and Devils of Loudun; George Crumb’s Black Angels; and Anton Webern’s Five Pieces for Orchestra

Question 23

THE SHINING The musical score, mixes borrowed excerpts of avant-garde music with original synthesized music created by

Answer 23

Wendy Carlos

Question 24

an electronic instrument incorporating a keyboard

Answer 24

the synthesizer

Question 25

Kubrick had selected the repertoire to be included in the film, but it was music editor ______ who was responsible for synchronizing

Answer 25

Gordon Stainforth

Question 26

The music, is all borrowed from _______, including Bartok’s Music for Strings, Percussion and Celesta (1936), Ligeti’s Lontano (1967) and six works by Polish composer Krzystof Penderecki—including his De Natura Sonoris No. 1, Polymorphia, Utrenja, and Kanon.

Answer 26

the 20th century

Question 27

_______ and _______ music experiment with sound masses, sliding pitches and amorphous rhythm

Answer 27

Ligeti and Penderecki’s

Question 28

In the post-__________, and ________, Hollywood still was saturated with symphonic scores into the 1990s

Answer 28

John Williams symphonic score, and Avant-garde experimentation era

Question 29

The resource of ________ remained a virtually untapped resource

Answer 29

animated films

Question 30

However, in 1989, all that changed with the sensational Hollywood debut of _________

Answer 30

The Little Mermaid

Question 31

Characteristics of the “Disney formula”

Answer 31

fairy-tale love story with a strong female role, comic sidekicks for both the antagonist and protagonist, casting well-known entertainment figures as voices, and the implementation of many engaging songs, some of them pop.

Question 32

The man responsible for Disney’s second renaissance was

Answer 32

Alan Menken (b. 1949)

Question 33

Menken’s contributions didn’t just end with The Little Mermaid; his soundtrack scores include

Answer 33

Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995), The Hunchback of Notre Dame (1996), Hercules (1997), Enchanted (2007) and Tangled (2010).

Question 34

_______ worked as a rock musician in London and explored the use of synthesizer in film composition

Answer 34

Hans Zimmer

Question 35

Since then, Zimmer’s name is synonymous with Hollywood film soundtracks

Answer 35

Driving Miss Daisy (1989), The Lion King (1994), Gladiator (2000), Pearl Harbor (2001), The Da Vinci Code (2006), The Dark Knight (2008) and Inception (2010)

Question 36

Zimmer scored ______, and provided Disney with one of its most iconic hits

Answer 36

The Lion King

Question 37

who wrote the songs for the movie, proved to be the right partnership in conjunction with Zimmer’s score

Answer 37

Elton John

Question 38

Director _________ brilliantly directed the Tolkien novels into the sensational cinematic Trilogy (LOTR: The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003)

Answer 38

Peter Jackson

Question 39

created the soundtrack to all 3 movies in the trilogy LOTR

Answer 39

Howard Shore

Question 40

Shore originally got his musical start as the musical director for _____

Answer 40

Saturday Night Live in the 1970’s

Question 41

In 1988, shores score to _____ featured his jazz improvisation of “Heart and Soul

Answer 41

Tom Hanks’s movie Big

Question 42

The 1990s showed shores mettle in scoring the films

Answer 42

Silence of the Lambs (1991) and Mrs. Doubtfire (1993)

Question 43

Shore’s score is both brilliant and symphonic, and mirrors the efforts of

Answer 43

John William’s monumental scores for Star Wars and its sequels.

Question 44

Many believe the principle difference between Williams and Shore’s music, is

Answer 44

Shore’s extensive use of voices, both in the solo and choral realms. Shore employs Gregorian Cha

Question 45

The chanting choral cues that Shore utilizes also is reminiscent of Carl Orff’s

Answer 45

Carmina Burana choral masterpiece

Question 46

other memorable voice moments in the film come at the

Answer 46

death of Gandalf ,the serene chanting at the apparition of Rivendell, and Lothlorien (and the scene between Arwen and Aragorn, with vocals by Enya