"1."   For identification items be able to write 2-3 sentences on the significance and/or contributions of the listed items/people/terms/films.
"2."   For discussion items be able to write a substantial paragraph or "mini-essay" of about 200-250 words summarizing the significance and/or contributions of the listed items/people/terms/films.

2.  Thomas Alva Edison;   Auguste and Louis Lumière;  Georges Méliès;  Edwin S. Porter and THE GREAT TRAIN ROBBERY

1.   The Motion Picture Patents Company;  feature film;  star system;  block booking;  Pathé Frères;  Louis Feuillade;  Gaumont Pictures;  films d'art;  blockbuster;  tracking shots;  QUO VADIS? and CABIRIA

1.  auteur;  cinematographer;  American Biograph;  180-degree system;  close-up;  medium shot;  full shot;  long shot; extreme long shot;  panning;  tilting;  camera angles;  optical printer;  flashback;  iris shot;  mask;  split screen;  soft-focus;  JUDITH OF BETHULIA

2.  THE BIRTH OF A NATION;  INTOLERANCE;  D. W. Griffith;  BROKEN BLOSSOMS

1.   THE STUDENT OF PRAGUE;  THE GOLEM;  UFA;  Expressionism;  Ernst Lubitsch; genre;  NOSFERATU;  DER LETZE MANN (The Last Laugh);  the Kammerspielfilm;   G. W. Pabst;  "street" realism;  continuity editing;  BERLIN, THE SYMPHONY OF A GREAT CITY

2.  THE CABINET OF DR. CALIGARI;  Fritz Lang;  METROPOLIS;  F. W. Murnau

1.  Futurism;  Formalism;  the Moscow Film School and "agitprop";  editor;  the "kino-eye";  THE MAN WITH A MOVIE CAMERA;  Konstantin Stanislavski;  naturalism;  typage;  "agit-Guignol";  Eduard Tisse;  STRIKE;  jump cuts;  OCTOBER (Ten Days That Shook the World);  MOTHER;  ARSENAL;  EARTH;  socialist realism

2.  Dziga Vertov;  Lev Kuleshov;  Sergei Eisenstein;  BATTLESHIP POTEMKIN;  dialectical montage;  Vsevolod Pudovkin;  Alexander Dovzhenko

1.  The "Big Three";  Thomas Harper Ince;  Mack Sennett;  CITY LIGHTS;  MODERN TIMES;  THE GREAT DICTATOR;  COPS;  THE GENERAL;  STEAMBOAT BILL, JR.;  Harold Lloyd;  Stan Laurel and Oliver Hardy;  Will Hays; Cecil B. DeMille;  the "Lubitsch touch";  Douglas Fairbanks and "swashbucklers";  Robert Flaherty and the "narrative documentary";  GREED

2.  Charlie Chaplin;  THE GOLD RUSH;  Buster Keaton;  the Motion Picture Producers and Distributors of America (MPPDA);  the Hays office and the Production Code;  Erich Von Stroheim

1.  THE JAZZ SINGER;  Fox Movietone;  LIGHTS OF NEW YORK;  synchronous (naturalistic) sound;  asynchronous (contrapuntal) sound;  postsynchronization (dubbing)

2.  BLONDE VENUS;  Vitaphone

1.  Busby Berkeley;  Fred Astaire;  STEAMBOAT WILLIE;  the gangster film;  biopic;  screwball comedy;  the Marx Brothers;  Preston Stuges;  high key lighting;  Louis B. Mayer;  Irving Thalberg;  Samuel Goldwyn;  David O. Selznick;  double bill;  Republic Pictures;  George Cukor;  William Wyler;  Frank Capra

2.  CAMILLE;  THE AWFUL TRUTH;  MGM;  Paramount;  Warner Bros.;  20th Century-Fox;  RKO;  Universal Pictures;  Columbia Pictures;  United Artists;  Josef von Sternberg;  John Ford;  Howard Hawks;  Alfred Hitchcock

1.  Alexander Korda;  Michael Balcon;  Josef Goebbels;  OLYMPIA;  QUE VIV MEXICO!;  ALEXANDER NEVSKI;  IVAN THE TERRIBLE, PARTS I and II;  Abel Gance;  NAPOLÉON VU PAR ABEL GANCE;  the ciné club movement;  Luis Bunuel;  UN CHIEN ANDALOU;  LAS HURDES (Land Without Bread);  SPANISH EARTH;  Jean Cocteau;  Carl-Theodor Dryer;  "poetic realism";  LES ENFANTS DU PARADIS

2.  Jean Renoir;  THE RULES OF THE GAME

1.  Mercury Theatre Company;  soundstage;  Herman J. Mankiewicz;  Bernard Herrman;  Gregg Toland;  deep focus;  crane shot;  "The March of Time";  art house circuit;  the long take aesthetic (p. 426);  THE MAGNIFICENT AMBERSONS;  THE LADY FROM SHANGHAI;  TOUCH OF EVIL;  CHIMES AT MIDNIGHT;  Dorothy Arzner

2.  Tthe cinematography of CITIZEN KANE;  the use of sound in CITIZEN KANE;  the narrative structure of CITIZEN KANE

1.  Cesare Zavattini;  Roberto Rossellini;  ROME, OPEN CITY;  Vittorio De Sica;  BICYCLE THIEVES;  Luchino Visconti;  LA TERRA TREMA;  UMBERTO D.;  Frank Capra's WHY WE FIGHT series;  the Paramount decrees of 1948;  "social-conscious" films;  DOUBLE INDEMNITY;  the "Waldorf Statement," MALTESE FALCON

2.  The origins and influence of Italian Neo-Realism;  the Witch-Hunt and the Blacklist;  CASABLANCA;  OUT OF THE PAST;  SUNSET BOULEVARD

1.  Eastmancolor;  Cinerama;  BWANA DEVIL;  Cinemascope;  aspect ratio of the Academy aperture;  THE ROBE;  Panavision;  THE TEN COMMANDMENTS;  Otto Preminger;  Elia Kazan;  Nicholas Ray;  Douglas Sirk;  John Huston;  Allied Artists and American International Pictures; REBEL WITHOUT A CAUSE; THE NIGHT OF THE HUNTER;

2.  Aesthetic implications of widescreen filming;  the musical in the 50s and 60s;  comedy during the 50s and 60s;  the western during the 50s and 60s;  the gangster film and the anti-communist film during the 50s and 60s;  science fiction during the 50s and 60s;  the disappearance of the production code;  THE SEARCHERS

1.  Jean Cocteau;  LA BELLE AND LA BETE;  ORPHÉE;  Henri-Georges Clouzot;  Robert Bresson;  Jacques Tati;  Max Ophuls;  LOLA MONTÈS;  Georges Franju;  Chris Marker;  Jean-Pierre Melville;  Agnes Varda;  Roger Vadim;  caméra stylo;  cinéphiles;  Cinémateque Francaise;  the auteur theory;  André Bazin;  jump cut;  direct sound;  LES QUATRES-CENTS COUPS (The 400 Blows);  BREATHLESS;  Jean-Luc Godard, Claude Chabrol;  Louis Malle;  Eric Rohmer;  Jacques Rivette;  Jacques Demy; Diana Kurys

2. The significance of CAHIERS DU CINÉMA; the orgins of New Wave style;  Francois Truffaut;  the significance of the New Wave; SHOOT THE PIANO PLAYER

1.  Laurence Olivier; David Lean; Carol Reed; Michael Powell and Emeric Pressburger; Ealing Studios;  Free Cinema movement;  British "New Cinema";  Lindsay Anderson;  John Schlesinger;  Ken Russell; Nicolas Roeg;  Ridley Scott;  Monty Python;  Peter Greenaway;  Derek Jarman;  Channel 4;  Peter Weir; Bruce Beresford; Gillian Armstrong;  Paul Cox; Roger Donaldson; National Film Board;  Norman McLaren;  David Cronenberg; Denys Arcand

2.  The influence of social realism on post-war British cinema

1.  Federico Fellini;  Michelangelo Antonioni;  Bernardo Bertolucci;  Pier Paolo Pasolini; Lina Wertmuller; telephoto lens; zoom lens; Luis Buñuel; Das Neue Kino; Rainer Werner Fassbinder; Werner Herzog; Wim Wenders

2.  The significance of widescreen technologies on cinema of the seventies and eighties; Ingmar Bergman;  THE SEVENTH SEAL

1.  Jidai-geki;  gendai-jeki;  Kenji Mizoguchi; RASHOMON; Yasujiro Ozu;  Nagisa Oshima; Satyajit Ray.

2.  Akira Kurosawa;  YOJIMBO

1.  Robert Altman;  Francis Ford Coppola;  George Lucas;  Martin Scorsese;  Brian De Palma;  Steven Spielberg; THE WILD BUNCH; Oliver Stone; CGI

2.  BONNIE AND CLYDE;  2001:  A SPACE ODYSSEY; the effect of video on theatrical filmmaking