Arab Multiple Choice Questions

Which of the following is NOT a reason why only few women join in the film industry of the Arab world? Absence of native female examples Issue of morality Absence of 'women film' as a genre Inadequate training and education

Absence of 'women film' as a genre

Which of the following is TRUE for the development of Arab cinema? (Mark all that apply!) The first movie theaters in the Arab world were own by foreigners or immigrant European minorities. Thus, film production was confined to foreign and non-native investors during that era. Most Arab countries produced their own films before their national independence. In the Maghreb, an industrious colonial cinema was developed after national independence. After the colonial period-- despite nationalization, Arab filmmaking was dominated by the mechanisms and standards of cultural industry introduced by Egyptian producers. In all film producing Arab countries, governments have reduced the medium's freedom of expression through legal restrictions, called censorship

After the colonial period-- despite nationalization, Arab filmmaking was dominated by the mechanisms and standards of cultural industry introduced by Egyptian producers. In all film producing Arab countries, governments have reduced the medium's freedom of expression through legal restrictions, called censorship The first movie theaters in the Arab world were own by foreigners or immigrant European minorities. Thus, film production was confined to foreign and non-native investors during that era.

Which of the following film(s) portrays Arabs in a stereotyped light? Aladdin The Siege Rules of Engagement

Aladdin The Siege Rules of Engagement

Which of the following is TRUE for Syrian films? (Mark all that apply!) Present Syrians as the direct victims of Israeli aggression Follow Egyptian standards in presenting Arab (Syrian) support to Palestinians Manage to present a degree of self-criticism Lament a lost pan-Arab identity

All are correct

Which of the following is TRUE for the representation of Islamic extremism in Egyptian and Algerian cinemas? (Mark all that apply!) They convey anti-radical messages. They oppose extremism as part of a national project. They support modernity and condemn extremism. They look at the issue as a problem within their own territory.

All are correct

Which of the following is among the genres of Arab cinema? (Mark all that apply!) Literary Adaptation Cinema d'auteur Realist Film Historical Film

All of above

Which of the following does NOT represent a relationship to space presented in Hollywood films, in which space is used as a means of Othering through the use of camera shots? An immersive space in which the lived experiences cannot be ignored Wilderness and an urban jungle A barrier to be crossed An object and a target

An immersive space in which the lived experiences cannot be ignored

Which of the following is TRUE for cinematic representations of the Middle East? None of the other options is true. Hollywood's approach to Middle Eastern politics is from below, thus it does not suggest mastery over the politics and the societies there Both Hollywood and Arab films use space as a tool of demarcation between self and the other.

Both Hollywood and Arab films use space as a tool of demarcation between self and the other.

Which of the following identifies the essential characteristics of Egyptian realism? Depiction of ancient Egypt Depiction of environment and lower class strata Depiction of nature Depiction of the school system

Depiction of environment and lower class strata

Which of the following statement(s) is TRUE? (Mark all that apply!) Divine Intervention is a film that stars its director along with amateur actors. In Divine Intervention, the director comments on the effects of Israeli occupation that has on the Palestinian people by the use of fantasy elements and symbolism. Divine Intervention is a film that stars its director along with professional actors. The tone of Divine Intervention is optimistic as opposed to that of Chronicle of Disappearance that is much pessimistic.

Divine Intervention is a film that stars its director along with amateur actors. In Divine Intervention, the director comments on the effects of Israeli occupation that has on the Palestinian people by the use of fantasy elements and symbolism.

Which of the following is NOT a stereotypical representation of Israeli women seen in Egyptian cinema? Drinking alcohol Dressing modestly Taking drugs Party girls

Dressing modestly

Which of the following is an Egyptian film? (Mark all that apply!) Tale of the Three Jewels The Tornado Dunia: Kiss me not on the eyes Scheherazade, Tell Me a Story

Dunia: Kiss me not on the eyes Scheherazade, Tell Me a Story

Which of the following statement(s) is TRUE? (Mark all that apply!) Egyptian and Syrian films representing the Arab-Israeli conflict carry nostalgia for pan-Arabism; yet, at the same time they are sympathetic to the plight of Palestinians, and therefore celebrate the Arab resistance to Israel. Resistance in Palestinian cinema has moved historically from being metaphorically represented in the 1980s and 1990s to more realistic representations in the twenty-first century. The Arab-Israeli conflict and the Gulf War are two controversial issues that American cinema and Arab cinema have engaged. In Divine Intervention, the floating balloon portrays the Palestinian dream while the "Ninja" scene signifies the Palestinian struggle.

Egyptian and Syrian films representing the Arab-Israeli conflict carry nostalgia for pan-Arabism; yet, at the same time they are sympathetic to the plight of Palestinians, and therefore celebrate the Arab resistance to Israel. The Arab-Israeli conflict and the Gulf War are two controversial issues that American cinema and Arab cinema have engaged. In Divine Intervention, the floating balloon portrays the Palestinian dream while the "Ninja" scene signifies the Palestinian struggle.

(T or F) Lion of the Desert is one of the 20 films produced in Libya.

False

Ali Zaoua is a film that stars its director. (T or F)

False

In representing radical Islam, Egyptian and Algerian cinemas rely on an East/West divide, whereas Hollywood portrays differences within the 'East.' (T or F)

False

The director largely employs professional actors and actresses in the movie, Ali Zaoua. (T or F)

False

he director employs amateur actors and actresses in the movie, A New Day in Old Sana'a. (T or F)

False

Which of the following is NOT true for early film production in Egypt? Film production in Egypt decreased steadily. Native production started with news films and short fiction films. Italian investors in Alexandria established the first film company in 1917, which then went bankrupt. The first short fiction films were made by Europeans in cooperation with Egyptian actors.

Film production in Egypt decreased steadily.

Which of the following is TRUE? (Mark all that apply!) Financial sources for Arab cinema d'auteur include state-owned production companies, public funding, and foreign co-producers. The auteur theory refers to the theory of filmmaking, in which the director is viewed as the major creative force in a motion picture. The notion of cinema d'auteur has been partly merging with the notion of art film.

Financial sources for Arab cinema d'auteur include state-owned production companies, public funding, and foreign co-producers. The notion of cinema d'auteur has been partly merging with the notion of art film.

Which of the following is NOT true for French colonies and protectorates in terms of their film production history? French mandatory rule supported the practice of traditional and popular shadow plays, and by doing so they supported the practice of indigenous culture in Algeria. In Algeria, there were significant numbers of theaters functioning even in the 1930s, yet there was not a single feature film being shot by a native director during these years. In Syria, artistic life had been weakened since the end of the 19th century, and due to the political and social restrictions at home, talented Syrian artists and intellectuals immigrated to Egypt. In the French colonies, the hindering of the native efforts to produce films was central to a general framework of cultural and economic politics, which can be associated with/discussed through "colonialism," "cultural imperialism," and "Orientalism."

French mandatory rule supported the practice of traditional and popular shadow plays, and by doing so they supported the practice of indigenous culture in Algeria.

The number of historical films produced by Arab countries has remained relatively low. One of the reasons is None of the other options explains the reason Lack of interest in this genre Absence of historical events High budget is required for this genre

High budget is required for this genre

Which of the following statement(s) is TRUE? (Mark all that apply!) In Palestinian films, women used as symbols of the nation. In all Arab cinemas, women are portrayed as they should be modern but modest. Egyptian films do not portray veiled women. In Palestinian films, the liberation of the land is signified as liberation of women.

In Palestinian films, women used as symbols of the nation. In all Arab cinemas, women are portrayed as they should be modern but modest. In Palestinian films, the liberation of the land is signified as liberation of women.

Which of the following is NOT true for industrious colonial cinema? It was originally formulated by French mandatory rule in the Maghreb with the objective of justifying French colonial activities. Colonial films, produced up to 1945, conveyed distorted images (e.g., exotic backdrops, full of palm trees, camels, belly dancers, as well as fierce fighters and battles with "evil Arabs"). Industrious colonial cinema flourished after the national independence in the Maghreb. In 1945, when national consciousness started spreading throughout North Africa, colonial film producers used cinema as a means of propaganda—they began avoiding images of looting Arabs and armed settlers, but tried to convey a positive image of France.

Industrious colonial cinema flourished after the national independence in the Maghreb.

Which of the following is TRUE for Where Do We Go Now? (Mark all that apply!) It is set in a small Lebanese village, where Mosques and Churches stand side by side. It is a film that stars the director along with along with amateur actresses. It includes elements of many genres like comedy and drama, together with musical interludes.

It is set in a small Lebanese village, where Mosques and Churches stand side by side. It includes elements of many genres like comedy and drama, together with musical interludes.

Which of the following is TRUE for Rachida? It shows Islamic extremists within Algerian national landscape, where their power is reaching from the center to remote areas. In the film, three generations of women are portrayed: Rachida, her mother, and little Kalima, who dreams of going to the moon. None of the other options is true.

It shows Islamic extremists within Algerian national landscape, where their power is reaching from the center to remote areas. In the film, three generations of women are portrayed: Rachida, her mother, and little Kalima, who dreams of going to the moon.

Which of the following cinemas has NOT engaged in the representation of Islamic extremism? Lebanese cinema Egyptian cinema Algerian cinema American cinema

Lebanese cinema

Which of the following is NOT counted as an important development in Egypt as the country moved towards founding its national film industry? Native capital decreased while foreign dominance in the economy became more visible, which brought about negative effects on Egyptianization in many areas (including the use of the native language -Arabic). Nationalist-oriented entrepreneurs led by the founder of the Misr Bank worked to develop an independent national film industry. The founder of the Misr Bank established the Misr Company for Cinema and Performance in 1925, which intended to produce advertising and information on films. The Misr Studio, built in 1934 with the aid from the founder of the Misr Bank, was equipped with a laboratory and a sound studio, employed several European specialists, and sent young Egyptians on scholarships to Europe.

Native capital decreased while foreign dominance in the economy became more visible, which brought about negative effects on Egyptianization in many areas (including the use of the native language -Arabic).

Which of the following does NOT represent a genre of realist film that has developed in various regional forms? Alternative cinema in Syria New Yemeni cinema Egyptian realism Revolutionary Algerian cinema

New Yemeni cinema

Which of the following is TRUE for Ali Zaoua? TrueAli's mother is the only adult protagonist who cares a great deal about all the children in Ali Zaoua. Ali Zaoua utilizes "resistant femininity" as a gendered tool of nationalism in its narrative structure. None of the other options is true.

None of the other options is true.

Which of the following statement(s) is TRUE? (Mark all that apply!) Palestine in Palestinian films is no longer a stage upon which political conflicts are fought. It is itself part of the conflicts, through the lived experience of its people. In Palestine, films have been produced under Palestinian state regulations. Common themes of Palestinian films deal with issues such as the search for a national identity and persecution by the Jews.

Palestine in Palestinian films is no longer a stage upon which political conflicts are fought. It is itself part of the conflicts, through the lived experience of its people. Common themes of Palestinian films deal with issues such as the search for a national identity and persecution by the Jews.

Which of the following is NOT one of the more important taboos guiding the censorship policies of Arab governments? Criticism of Islam Images harming the moral code of Arab-Muslim culture Direct criticism of the political leadership Portrayal of good standing family life and marriage

Portrayal of good standing family life and marriage

Which of the following films utilizes "resistant femininity" as a gendered tool of nationalism in its narrative structure while presenting Islamic extremism? Rachida Ali Zaoua A New Day in Old Sana'a The Nights of the Jackal

Rachida

Genre of Ali Zaoua is a (Mark all that apply!) Realist film Cinema d'auteur Historical film Literary adaptation

Realist film Cinema d'auteur

Which of the following identifies A New Day in Old Sana'a? Romantic drama Satirical realism Alternative cinema in Syria Egyptian realism

Romantic drama

Which of the following identifies The Nights of the Jackal? Egyptian realism Satirical realism Revolutionary Algerian cinema Alternative cinema in Syria

Satirical realism Alternative cinema in Syria

The Yacoubian Building portrays the issue of Sexuality Palestinian Israeli conflict Religious extremism Political corruption

Sexuality Religious extremism Political corruption

Which of the following is NOT true for cinematic representations of space in Arab films? Space functions as part of political conflicts (i.e., space as foreground). Many Arab films look at the space (whether indoors or outdoors) from the inside. It is a much more intimate portrayal of space. Space is characterized by a masculine, open space.

Space is characterized by a masculine, open space.

Which of the following is NOT a general problem for the foundation of the national filmmaking? Financial and technological insufficiencies Lack of technically qualified professionals in fields Support given to the medium's freedom of expression Lack of a public sector to finance production, meaning that film production remained state property

Support given to the medium's freedom of expression

The director of the Libyan film Lion of the Desert was Lebanese Egyptian Libyan Syrian

Syrian

Which of the following is NOT true for the cinematic narrative of the Arab-Israeli conflict? Syrian films have seldom portrayed the conflict. Hollywood films often portray it as an ethnic conflict, while taking a more sympathetic side towards Israel, and associating Palestinians with terrorism. Both Hollywood films and Egyptian films have engaged in a similar process of difference: vilifying the other and glorifying the self. In Palestinian films conflict is mainly nationalistic, presenting diasporic people who aim at the reclaiming their nation.

Syrian films have seldom portrayed the conflict.

The Libyan leader, Muammar al Gaddafi provided crucial financial support for the regions' two most important films. These films are Where Do We Go Now? Alexandria...Why? The Message: Mohammed, Messenger of God Lion of the Desert

The Message: Mohammed, Messenger of God Lion of the Desert

Which of the following statement(s) is TRUE? (Mark all that apply!) Egyptian realism is more 'realistic' or more adequate to reality than other comparable trends in Arab cinema. That is why it is called "Egyptian realism." Alternative cinema in Syria was originated during the First Damascus Festival for Young Arab Cinema (1972), when committed filmmakers ONLY from Syria set themselves apart from commercial Arab cinema. The Nights of the Jackal offers a subtle criticism of the failure of Arab unity in the presence of incompetent governments that deceive their own people. Realism played a decisive role in establishing realist cinema in Egypt.

The Nights of the Jackal offers a subtle criticism of the failure of Arab unity in the presence of incompetent governments that deceive their own people. Realism played a decisive role in establishing realist cinema in Egypt.

Which of the following is representative of the genre of literary adaptation? A New Day in Old Sana'a Ali Zaoua: Prince of the Streets Rachida The Yacoubian Building

The Yacoubian Building

Which of the following is TRUE for the Algerian cinema? (Mark all that apply!) On the day Algerian independence was declared, the French left behind a myriad of usable technical infrastructure, which helped Algerians develop their national cinema. The abrupt privatization, combined with the increasing political turmoil and waves of mass killing (due to extremism), which occurred in the 1990s, seriously disrupted Algerian cinema and its links with the outside world. Only a handful of Algerian-based filmmakers were able to release feature films in the 2000s, and there is no sign of production and distribution structures being restored within the country.

The abrupt privatization, combined with the increasing political turmoil and waves of mass killing (due to extremism), which occurred in the 1990s, seriously disrupted Algerian cinema and its links with the outside world. Only a handful of Algerian-based filmmakers were able to release feature films in the 2000s, and there is no sign of production and distribution structures being restored within the country.

Which of the following explains the third space in Palestinian context? The place of displacement, or the refugee camp Palestine as a lost homeland Palestine as nostalgia Palestine imagined as a homeland

The place of displacement, or the refugee camp

Which of the following is NOT representative of the new topics in Algerian cinema coming to the fore after the Agrarian Revolution of the early 1970s? The war of liberation Social injustice of post-colonial society Emigration and foreign labor Female emancipation

The war of liberation

Which of the following is NOT true for Hollywood's cinematic representations of space? Space functions as a stage upon which political conflict are fought (i.e., space as background). Space plays secondary role to that of historical events. These films mostly belong to melodrama characterized by feminine, indoor space. These films work to ignore the lived experiences of a space by the people who inhabit it.

These films mostly belong to melodrama characterized by feminine, indoor space.

A New Day in Old Sana'a deals with issues of a patriarchal society. (True or False)

True

According to director of Rachida, terrorism requires extremists to blend in with the crowd. This is why they are dressed in Nikes and jeans, instead of wearing kaftans and appearing with beards. (T or F)

True

Although most of the technical experts were imported from outside, Yemeni assistants were trained in film production techniques throughout the entire shoot of A New Day in Old Sana. (T or F)

True

In Wedding in Galilee, binary notions of gender are drawn from traditional ideas, but invalidated by the changing and twisting of their signs, or more precisely, by linking putative female weakness with power and male power with weakness. (T or F)

True

Morocco's film industry has advanced due to modernization of technical equipment for national cinema. (T or F)

True

The phenomenon of women producing and realizing films is relatively recent in Arab film history, aside from a few female pioneers of Egyptian cinema in the 1920s and 1930s. (T or F)

True

Which of the following does NOT explain the obstacles faced by the director in making A New Day in Old Sana'a? A belief held by many Yemeni women that appearing in a film would hurt their prospects for marriage Ongoing political turmoil in the country, where on the first day of shooting, Islamic extremists stormed the set and interrupted production Willingness of Yemeni assistants to be trained in film production techniques

Willingness of Yemeni assistants to be trained in film production techniques

Which of the following is TRUE for the filmmaking in Yemen? Yemen is a country with no film industry whatsoever. A New Day in Old Sana'a is the second full-length feature film made in Yemen. Yemen has produced a great number of films.

Yemen is a country with no film industry whatsoever.