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