Compare the revolutionary cinemas of Cuba and Argentina. Identify important parallels and differences between the filmmaking (and film theory) efforts of Cuban and Argentine directors during the late 1960s and early 1970s. In what ways did these directors blend European art-cinema modernism and Third World political content? How did the political situation in each country influence the extent to which they adopted or rejected western or First World conventions?

What effect did the spread of Protestantism have on music?

a. The Catholic Church could no longer afford to commission new musical settings of the Mass. b. There was a resurgence of interest in plainchant. c. Several composers created operas based on the life of Martin Luther. d. Chorale tunes found their way into cantatas, organ pieces, and other forms of music.

Michael Curtiz, who directed Casablanca among other notable films, is not considered an auteur filmmaker for what basic reason?

A. He directed dozens of movies in the same signature style. B. He made all of his films at Warner Brothers studio. C. He was a skillful technician who had little say in script, casting or editing. D. He took only on one project at a time, and each film took years to complete.