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