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A) It's a Wonderful Life B) Citizen Kane C) All About Eve D) Make Way for Tomorrow
A) John Ford B) Frank Capra C) Orson Welles D) Leo McCarey
A) Chishū Ryū B) Yūharu Atsuta C) Noda D) David Bordwell
A) Educational B) Cultural and emotional C) Political D) Economical
A) Shochiku Ōfuna Studio B) An Onomichi inn C) A ryokan called Chigasakikan D) A hotel in Tokyo
A) Osaka B) Kyoto C) Chigasaki D) Kamakura
A) Another month B) Two weeks C) Six months D) Three months
A) September to December B) January to April C) May to August D) July to October
A) Ryū, Hara and Kagawa B) Only Chishū Ryū C) Hara and Ozu D) None of the major cast members
A) Chigasakikan B) Shochiku Ōfuna Studio C) An Onomichi studio D) A Tokyo soundstage
A) Kamakura B) Atami C) Tokyo D) Onomichi
A) When finishing the final draft of a script B) While scouting locations C) When the film premiered D) During the editing process
A) Tokyo Story B) The Only Son C) Make Way for Tomorrow D) Late Spring
A) Through the characters' dialogue B) Through a narrator C) Through flashback sequences D) Through title cards
A) Bird's eye view B) High C) Eye level D) Low
A) The camera never moves at all B) The camera moves constantly C) The camera moves once in the film D) The camera pans in every scene
A) Lying down on a bed B) Sitting on a traditional Japanese tatami mat C) Standing in a crowded train D) Looking out a second-story window
A) The 30-degree rule B) The rule of thirds C) The 180-second rule D) The 180-degree rule
A) Fast-paced action sequences B) Interviews with townspeople C) Still lifes of non-human subjects D) Archival war footage
A) Greek tragedy B) Zen Buddhism C) Western capitalism D) Italian neorealism
A) Agricultural development in post-war Japan B) The industrial revolution in Onomichi C) The break-up and Westernization of the traditional Japanese family D) The rise of the Japanese imperial navy
A) Urban life in Tokyo with rural life of their parents B) Military service with civilian life C) Modern education with illiteracy D) Wealth in Osaka with poverty in Atami
A) 1937 B) 1948 C) 1953 D) 1955
A) New Civil Code of 1948 B) Meiji Constitution C) Tokyo Municipal Act D) Post-War Trade Agreement
A) His collaborator Noda B) His own mother C) His cinematographer D) His sister
A) Jidai-geki B) Kaiju C) Anime D) Shomin-geki
A) David Bordwell B) David Desser C) Leo McCarey D) Roger Ebert
A) Yasujirō Ozu B) Chishū Ryū C) Kogo Noda D) Yūharu Atsuta
A) Chūō B) Taitō C) Kyoto D) Adachi
A) Clock towers and bridges B) Books and teacups C) Automobiles and neon signs D) Smokestacks and landscapes
A) Keizo B) Sight and Sound C) Yasujirō Ozu D) Chishū Ryū E) Chieko Higashiyama
A) Sutherland Trophy B) Palme d'Or C) Academy Award for Best Foreign Film D) Golden Globe
A) 1957 B) 1953 C) 2012 D) 1972
A) Atami B) Tokyo C) Onomichi D) Osaka
A) Primary school teacher B) Hairdresser C) Physician D) Office worker
A) Four B) Six C) Five D) Three
A) Five B) Three C) Two D) Four
A) Physician B) Policeman C) Primary school teacher D) Hairdresser
A) Hairdressing salon B) Clinic C) Office D) Hot spring spa
A) Youngest daughter B) Widowed daughter-in-law C) Primary school teacher D) Eldest daughter
A) Kyōko B) Tomi C) Noriko D) Shige
A) A clinic in Tokyo suburbs B) Ueno Park C) A hot spring spa at Atami D) A hotel in Osaka
A) Ueno Park B) Osaka C) Onomichi D) Atami
A) Keizō B) A policeman C) Kōichi D) Noriko
A) Keizō B) Shōji C) Kōichi D) Noriko
A) Tomi suddenly becomes ill B) They missed their stop C) The train broke down D) Keizō invited them to dinner
A) Noriko gets married B) Shūkichi starts drinking again C) Kyōko moves to Tokyo D) Tomi falls critically ill
A) Kyōko B) Noriko C) Tomi D) Shige
A) Money from the clinic B) Tomi's clothes as keepsakes C) The house in Onomichi D) The family watch
A) A photograph B) A ring C) A watch D) A dress
A) The solitude he must endure B) A bustling life in Tokyo C) Noriko living with him in Onomichi D) All of his children by his side
A) Lindsay Anderson B) Stanley Kauffmann C) Yasujiro Ozu D) Haruko Sugimura
A) 1960 B) 1957 C) 1972 D) 1953
A) Psycho B) Make Way for Tomorrow C) Tokyo Story D) The Mirror E) Rashomon
A) Yasujiro Ozu B) McCarey C) Akira Kurosawa D) Derek Malcolm
A) 1970s B) 1960s C) 1950s D) 1940s
A) Lindsay Anderson B) Roger Ebert C) Stanley Kauffmann D) Charles Micherer
A) Stanley Kauffmann B) John Walker C) Charles Micherer D) David Thomson
A) Newsweek B) The Village Voice C) Cahiers du Cinéma D) Time
A) ¥53 million B) ¥131.65 million C) ¥100 million D) ¥200 million
A) 92,810 B) 177,456 C) 53,000 D) 84,646
A) 88% B) 95% C) 100% D) 90%
A) 9.6 B) 8.5 C) 9.0 D) 10.0
A) Roger Ebert B) John Walker C) Martin Scorsese D) Derek Malcolm
A) Derek Malcolm B) Eric Hynes C) Wally Hammond D) Leonard Maltin
A) The Village Voice B) Newsweek C) Time D) Entertainment Weekly
A) Roger Ebert B) Martin Scorsese C) Paul Schrader D) Arthur Nolletti Jr
A) Paul Schrader B) Akira Kurosawa C) Martin Scorsese D) Yasujiro Ozu
A) Dubbing it B) Destroying it C) Recasting it D) Ignoring it
A) World War II B) The Great Depression C) The Cold War D) Postwar push toward industrialization
A) Intensified postwar push toward industrialization B) Feudalism C) The Great Depression D) The rise of television
A) Wally Hammond B) Eric Hynes C) John Walker D) Derek Malcolm
A) Number 95 B) Number 36 C) Number 14 D) Number 1
A) No. 95 B) No. 14 C) No. 1 D) No. 50
A) Newsweek B) Kinema Junpo C) Cahiers du Cinéma D) Sight and Sound
A) 14th B) 95th C) 1st D) 36th
A) First B) Seventeenth C) Fifth D) Third
A) Topped the poll B) Seventeenth C) Fourth D) Fifth
A) 358 B) 14 C) 48 D) 100
A) Fourth B) First C) Fifth D) Third
A) Yasujirō Ozu B) Doris Dörrie C) Yōji Yamada D) Akira Kurosawa
A) Brothers and Sisters of the Toda Family B) Tōkyō Kazoku C) Tokyo Family D) Cherry Blossoms
A) BFI B) Tartan Video C) Doris Dörrie Films D) The Criterion Collection
A) BFI B) Cherry Blossoms Productions C) The Criterion Collection D) Tartan Video
A) 2010 B) 2008 C) 2013 D) 2011
A) Region 1 Blu-ray only B) Region 2 VHS edition C) Region 2 dual-format edition D) Region 3 DVD only
A) 2013 B) 2010 C) 2005 D) 2008 |