Filmmaker: Many people feel that independent films have more integrity as works of art than films produced by major studios, since independent films are typically less conventional than major studio films. ████████ ████ █████ ████████ ███ ███████████ ██████████ ████ ██ ████ ███████ ██ █████ ██████ ███ ████ ███████ ███ ████████ █████████ ████ ██ ████████ ████ ███████████ ██████ █████ ████ ███████████ █████ ██ ███ ████ ████████ █████████ ██ █████ ██ ████
The author concludes that most independent films don’t have absolute integrity as works of art. Why?
Because independent filmmakers need to make profits, which influences the artistic decisions made in creating most independent films.
The conclusion introduces a new concept — lack of absolute integrity as works of art. The premise doesn’t say what implies that something has a lack of absolute integrity as a work of art. So, at a minimum, the correct answer must establish what’s required in order to have absolute integrity as a work of art.
To go further, we can anticipate a more specific connection between the premise and conclusion. The premise tells us that most independent films involve artistic decisions that are influenced by the need for profits. To make the argument valid, we want to show that this quality — having artistic decisions influenced by the need for profits — implies a lack of absolute integrity as an artwork.
The filmmaker's conclusion is properly █████ ██ █████ ███ ██ ███ █████████ ██ ████████
A creation has ████████ █████████ ██ █ ████ ██ ███ ██ ███ ████████ █████████ ████ ██ ████████ ██ ████ ██████████ ██ ███ ████ ██ ████ ████████
(A) is the sufficiency/necessity confused version of what we want. We want to establish that if the decisions ARE affected by need for profits, then the creation does NOT have absolute integrity. But (A) tells us that if the decisions are NOT affected, the creation DOES have absolute integrity.
If any of ███ ████████ █████████ ████ ██ ████████ █████████ ████ ████████ ██ ███ ████ ██ ████ ████████ ████ ████ ████████ ████ ███ ████ ████████ █████████ ██ █ ████ ██ ████
(B) connects the premise to the conclusion. We know most ind. films involve art decisions affected by need for profits. With (B), we can conclude that these films don’t have absolute integrity as works of art.
The creations of ███████████ ████ ████ █████████ ██ █████ ██ ████ ██ ████████ ████ █████ ██ ███████
(C) doesn’t establish when something lacks absolute integrity as a work of art. We want to connect the feature of having your decisions affected by need for profits to the feature of lacking absolute integrity as a work of art. (C) doesn’t do this.
The unconventionality of █ ████████ ███ ██ ███████ ██ ███ █████████ ██ █ ████ ██ ████
(D) doesn’t establish when something lacks absolute integrity as a work of art. We want to connect the feature of having your decisions affected by need for profits to the feature of lacking absolute integrity as a work of art. (D) doesn’t do this.
A creation has ██ █████████ ██ █ ████ ██ ███ ██████ ███ ████████ █████████ ████ ██ ████████ ██ ████ ██████████ ██ █████ █████ ████ ██ █████████████
We know from the stimulus that ind. films are typically less conventional than major films. But we don’t know that any of the artistic decisions in making ind. films were affected by views about what is conventional. So (E) doesn’t impact the argument.
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