PT155.S3.P1.Q1 > Analytics

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The following passage is adapted from a 2001 article by a film historian.

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Question · Which works of art should be shown together?

Answer 1 · Group art according to artist

E.g. Rembrandt paintings

Answer 2 · Group art according to theme/period

E.g., Modernist art

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Similarity · Both answers use common characteristics to group art togther

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Main point / author's criticism · Early films shouldn't be grouped by similarity

Premise: such films were never originally shown this way

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Support criticism · Original format for screening films

Author gives more detail: instead of grouping similar films together, cinemas originally showed different films together in "mixed program"

Passage Style

Problem-analysis

Single position

Which one of the following ████ ██████████ █████████ ███ ████ █████ ██ ███ ████████

Question Type

Main point

In this Problem-Analysis passage, the raises a problem (the right way to present film retrospectives) and critiques a solution to that problem (”collecting the similar”). The main point is the author’s critique: “collecting the similar” isn’t the right way to present film retrospectives.

Screenings that consist ████████ ██ █████ ██████████ █████ ███ ██████ █████████ ███████ ████ ██████ ███ ███████ ██ ███ ██████ ████████ ██████████

This describes the author’s critique. It’s the overarching reason the author disagrees with the approach of “collecting the similar.”

57%

The practices that ███ ████ ██████ ██ ██████████ █████ ██ ██ ████████ ██████ ████ ████████ ███ ███ ████ ██████ ███ ██████████ █████████ ██████

The author doesn’t critique all practices that are best-suited to exhibiting paintings. In fact, we don’t know whether “collecting the similar” is even the best-suited choice for paintings. The author just says it’s what’s commonly done.

35%

Early nonfiction films ████ ███ ████████ ███ ████████ ███████████ ████ ████ ████████

The author doesn’t suggest these films are underrated. He just says they shouldn’t be exhibited one after the other.

The artistic goals ██ █████ ██████████ █████ ███ █████████ ██ ████ █████ ████████ ████ ███ █████ ██ ████████████ ███████

Author doesn’t try to convince us of this difference, so it can’t be the main point.

For modern audiences ██ ████████ ██████████ █████ ██████████ ██████ ████ ██████████ ████ ███████ ████████████ ██ █████ █████ ████ ███ ██ █████████ ██ █████████

The author doesn’t argue this. He argues that while archivists focus on authentic restorations, they lose sight of the context in which those films were actually viewed.

PrepTest 155 - Section 3 - Passage 1 - Question 1

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