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Class > IFM Test#3 > Flashcards

IFM Test#3 Flashcards

1
Q

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

A

music

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2
Q

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

A

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

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3
Q

Characteristics from this new emerging era are

A

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

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4
Q

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

A

To Kill a Mocking Bird.

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5
Q

To kill a mocking bird was based on what?

A

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

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6
Q

The Graduate, showcasing the compositional talents of _____

A

the folk-rock duo of Paul Simon and Art Garfunkel

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7
Q

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

A

Dave Grusin

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8
Q

THE CRISIS YEARS

A

1968-1972

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9
Q

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

A

The Hays Code

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10
Q

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

A

November 1st, 1968

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11
Q

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

A

2001: A Space Odyssey

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12
Q

Kubrick tried to expand on Arthur Clarke’s short story

A

“The Sentinel”

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13
Q

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?

A

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

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14
Q

THE GODFATHER was based on what

A

Mario Puzo’s winning novel, The Godfather

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15
Q

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

A

Nino Rota, and Carmine Coppola

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16
Q

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

A

Steven Spielberg

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17
Q

Williams’s style has encompassed the popular

A

avant-garde, and from jazz to minimalism

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18
Q

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

A

40, 5

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19
Q

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

A

it was bankable

20
Q

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

A

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

21
Q

Amadeus of course centered on the music of ____

A

Mozart

22
Q

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

A

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

23
Q

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

A

Wendy Carlos

24
Q

an electronic instrument incorporating a keyboard

A

the synthesizer

25
Q

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

A

Gordon Stainforth

26
Q

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.

A

the 20th century

27
Q

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

A

Ligeti and Penderecki’s

28
Q

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

A

John Williams symphonic score, and Avant-garde experimentation era

29
Q

The resource of ________ remained a virtually untapped resource

A

animated films

30
Q

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

A

The Little Mermaid

31
Q

Characteristics of the “Disney formula”

A

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.

32
Q

The man responsible for Disney’s second renaissance was

A

Alan Menken (b. 1949)

33
Q

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

A

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

34
Q

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

A

Hans Zimmer

35
Q

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

A

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)

36
Q

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

A

The Lion King

37
Q

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

A

Elton John

38
Q

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)

A

Peter Jackson

39
Q

created the soundtrack to all 3 movies in the trilogy LOTR

A

Howard Shore

40
Q

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

A

Saturday Night Live in the 1970’s

41
Q

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

A

Tom Hanks’s movie Big

42
Q

The 1990s showed shores mettle in scoring the films

A

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

43
Q

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

A

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

44
Q

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

A

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

45
Q

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

A

Carmina Burana choral masterpiece

46
Q

other memorable voice moments in the film come at the

A

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

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