Exam 4: The Studios ERA: Dominance and Diversity in the Golden Age of Hollywood, 1929-1948

What is one way that The Grapes of Wrath does not fit the conventional idea of the house style of 20th Century Fox in the 1930s?

How was Martin Luther King, Jr. involved in the premier of Gone With the Wind?

Which of the following was not a member of the "Big Five" studios?

His Frankenstein movies helped establish Universal's reputation for horror movies in the 1930s.

In the 1930s and 1940s, what percentage of the US population went to at least one movie a week?

This award-winning movie focused on the often difficult experiences of a group of veterans trying to adjust to post-war life.

Walt Disney's practice of linking his studio's movies with his television programs, his theme park, and various kinds of consumer merchandising is an early example of this entertainment business strategy.

Which of the following was a popular child actor of the 1930s?

Seeing the movie as a thinly veiled attack on his own career, this newspaper publisher actively tried to sabotage Orson Welles's production of Citizen Kane.

What is one way that The Wizard of Oz exemplified the "house style" of MGM?

Who was the German immigrant director famous for sophisticated romantic comedies such as Trouble in Paradise?

What is one reason that gangster movies were well suited to the introduction of recorded sound?

What is one way that the Great Depression strengthened the dominance of the major Hollywood studios?

How did so-called "Poverty Row" studios differ from the majors?

Which of the following represents the kind of gritty, politically aware crime movies that were associated with Warner Brothers?

United Artists were responsible for the first two American movies by this important European director.

Dorothy Arzner was able to demand the chance to direct movies on the basis of her success as an editor on the movies of which silent era superstar?

Which of the following is not a characteristic of film noir?

This animated character combined the West African trickster figure with the fast-talking urban street hustler.

What is one way that the movies Frank Capra made for Columbia especially connected with Depression-era audiences?