Modern Horror Film (University of Montana) Pro Test Questions Solved Correctly.
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Course
Modern Horror Film
Institution
Modern Horror Film
Which one of these films is from the "silent era" of Horror? - Answer The Cabinet of Dr. Caligary
From the following list, select which of the following is not one of the Universal Horror icons from the 1930's and 1940's? - Answer Michael Myers
Match the following movies to the year the...
Modern Horror Film (University of
Montana) Pro Test Questions Solved
Correctly.
Which one of these films is from the "silent era" of Horror? - Answer The Cabinet of Dr. Caligary
From the following list, select which of the following is not one of the Universal Horror icons from the
1930's and 1940's? - Answer Michael Myers
Match the following movies to the year they were released.
1) The Golem
2) Beginning of the End
3) The Mommy
4) Cat People - Answer 1) 1915
2) 1957
3) 1932
4) 1942
What is Cat People's arguably most famous contribution to Horror Cinema? - Answer The idea that the
'scare' can be psychological within the audience; believing is seeing.
What does Zeitgeist have to do with the films of the 1940's and 1950's? Please select the three correct
responses from the five options below. - Answer 1) Roughly translated, Zeitgeist means "the spirit of
the time," and is the reflection of what's going on in the society where and when the piece is made.
2) The atomic bomb was the cataclysmic event which changed the Zeitgeist; the bomb and radiation
were largely misunderstood by the general populous, and led to a lot of fear of their unknown effects.
,3) This was the time when "Creature Features" really took off. Films like Them!, The Deadly Mantis, and
Thing From Another World where all reactions to the Zeitgeist.
What is a "contradiction" in relation to monsters? Please select the three correct responses from the five
options below. - Answer 1) Some examples of monsters crossing categories are the human/animal (the
werewolf) and the living/dead (the zombie).
2) Monsters are physically and cognitively threatening, and can be seen as challenges to a culture's way
of thinking.
3) The Horror Monster is a type of "pollutant" that crosses borders. That is, it is a dangerous and impure
being that disrupts order and "simply should not be."
Which of the following best describes the "contradiction" of these monsters: Dracula, The Mummy, and
Frankenstein's Monster. - Answer Living/Dead
What is "abjection" in relation to monsters? Please select the three correct responses from the five
options below. - Answer 1) Cronenberg's The Fly is a excellent film example of abjection, where the
mutating scientist must vomit digestive fluid over his food before eating it - a process required of fly
species, but not humans.
2) The human corpse is the ultimate abjected object: identity itself has been expelled, and we are faced
with our own biological processes. What separates the self from the world around it is destroyed, and
identity is lost.
3) The concept of Abjection requires three components: The self, the exclusion of the "disgusting"
elements that threaten the formation of the self's identity, and the identity thereby created by forming
these distinctions. This process creates borders and rules, which are disturbed when faced with "the
abject," where the self is forced to face the elements which undermine him- or herself as a distinct
entity.
Please select the example of how monsters can exist in films as "metaphors." - Answer All of the above
are examples of the Monster as "metaphor."
, The scene from Bram Stoker's novel Dracula involving the Count cutting his chest and forcing Mina to
drink his blood probably wasn't included in the first few decades of Dracula movies because it too closely
resembled... - Answer Rape
Hutchings describes Dracula as a monster appropriated by the people, and suggests "...that any
interpretation of Dracula that views him independently of the history of his various manifestations in
culture...fails to engage with the creative energies that have helped keep Dracula alive over the
decades."
We can use the Dracula scene from the previous question to help illustrate this. How has cinema
attempted to visualize this scene through the ages? Match each production of Dracula with the evolved
version of this scene.
1) In this version, a woman finally gets to drink Dracula's blood. The Count still claims he will "master this
woman," however the feasting proceeds with a different tone from Stoker's original violent act to an
ambiguously consensual one.
2) Here, the assertiveness of Mina is taken even further... After opening his chest, the Count decides it
best that Mina does not drink of him, but Mina pushes - Answer 1) "Dracula" (1979)
2) "Bram Stroker's Dracula" (1992)
3) "Dracula - Prince of Darkness" (1965)
4) "Dracula" (1931)
Why could it be argued that the "serial killer" is not a proper horror monster? Please select the three
correct responses from the five options below. - Answer 1) Serial killers exist in real life as well as
fiction.
2) The reality of a real serial killer is sad, dreary, and empty. In contrast, the serial killers in films often
lead cultured and sophisticated lives.
3) Real serial killers are dysfunctional individuals who murder in an attempt to find significance in their
meaningless lives, whereas the serial killers in films are depicted as charming, powerful, and are virtually
indestructible.
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