Reading comp PrepTest 153 · Section 1 · Question 2
Passage
Most writings on the subject of motion pictures, including those scrutinizing the structural characteristics, aesthetic qualities, and effects of motion
Remaining source text redacted.
Passage walkthrough
Passage SummaryTopic: Humanities
Paragraph 1
The heavy alterations made to movies when they're prepared for different audiences (language) and mediums create a problem for critics, audiences, and directors, in that they can set up unfair criticism and false expectations.
Key Lines:
Lines 6-10 - Set up the problem in the passage and preview what is going to be discussed
Paragraphs 2-3 - Sprinkled throughout, each factor that was mentioned in Lines 6-10 will be important to be able to find quickly
Lines 38-44 - Why the problem is accepted and overlooked
Lines 46-48 - One implication of the problem
Lines 50-57 - Second implication of the problem
Meta-Structure:
ID a Problem. While problems are generally coupled with solutions, there are passages that focus solely on the problem. For these passages, it's important to focus on the Author's exploration of the problem—especially causes and implications of it. Here, the factors throughout Paragraphs 2 and 3 as well as the cause for acceptance at the beginning of Paragraph 4 will be important. And the implications that start in Line 44 will also be.
Last Thoughts:
Paragraphs 2-3 included essentially a list of factors that played into this problem, so we should be able to quickly find any specific one of them for detail-based questions. And we shouldn't forget the superlative language in Line 23 ("most extensive")—such language usually shows up in a correct answer (though not always).
Paragraph 1
- Paragraph note
- A problem for movies is introduced
- Views, minor Meta-Structures, and the author's attitude
- Critics - Don't consider what the film's audiences see
- Problem - External factors get in the way of the director's intent reaching audiences (We'll probably see some of those factors in upcoming paragraphs)
- Paragraph note
- Some of the factors mentioned above are discussed
- Views, minor Meta-Structures, and the author's attitude
- There are several ways a film can be "mutilated"
- Subtitles, which may be of poor quality
- Dubbing, which can be more damaging
- Reediting or new titles to make them more understandable
- There are several ways a film can be "mutilated"
- Paragraph note
- Some more factors are discussed (specific to TV/video)
- Views, minor Meta-Structures, and the author's attitude
- "Most extensive" deformations
- Loss of image size/definition
- Ads, spoken interruptions to soundtrack, and station identifications added in
- Increase in speed to increase time for ads
- "Most extensive" deformations
- Paragraph note
- Why this is accepted/overlooked, and what problems it creates
- Views, minor Meta-Structures, and the author's attitude
- Why is it accepted/overlooked?
- Difference - Film can be exactly duplicated
- Problems with alterations:
- Criticism may be unfair when it's based on an edited version
- Criticism of original version might set up bad expectations for audiences who see edited version
- Why is it accepted/overlooked?
The heavy alterations made to movies when they're prepared for different audiences (language) and mediums create a problem for critics, audiences, and directors, in that they can set up unfair criticism and false expectations.
Key Lines:
Lines 6-10 - Set up the problem in the passage and preview what is going to be discussed
Paragraphs 2-3 - Sprinkled throughout, each factor that was mentioned in Lines 6-10 will be important to be able to find quickly
Lines 38-44 - Why the problem is accepted and overlooked
Lines 46-48 - One implication of the problem
Lines 50-57 - Second implication of the problem
Meta-Structure:
ID a Problem. While problems are generally coupled with solutions, there are passages that focus solely on the problem. For these passages, it's important to focus on the Author's exploration of the problem—especially causes and implications of it. Here, the factors throughout Paragraphs 2 and 3 as well as the cause for acceptance at the beginning of Paragraph 4 will be important. And the implications that start in Line 44 will also be.
Last Thoughts:
Paragraphs 2-3 included essentially a list of factors that played into this problem, so we should be able to quickly find any specific one of them for detail-based questions. And we shouldn't forget the superlative language in Line 23 ("most extensive")—such language usually shows up in a correct answer (though not always).
Question prompt
The author distinguishes film
Remaining source text redacted.
Why the credited answer is right
Credited answer: B
The notes below walk through why it fits the stem and how to eliminate the rest.
Question Type
Humanities
Answer choices
-
Aextent of public reliance Remaining source text redacted.
Why choice A is not credited
Incorrect. The passage doesn't mention criticism of other art forms, so this comparison is unsupported. -
Bpossibility of creating multiple Remaining source text redacted.
Why choice B matches the stem
Correct. Question Type:
Must Be True
Strategy Overview:
Check our notations for any differences we stated
Answer Anticipation/Relevant Lines:
When reading through RC passages, there are some things that you should generally be notating. One is comparisons—similarities or differences.
In this passage, we had two. The first was a superlative—in Line 23, it's noted that TV/video features the ""most extensive deformations."" That doesn't compare film to other art forms, so this statement isn't helpful.
The second showed up in our notations in Paragraph 4. Heading back there, we can see that in Lines 38-42, other art forms are obvious when copied, but film can be exactly duplicated. That addresses the question stem, so let's look for an answer reflecting this detail.
Answer Explanation:
(Lines 38-42) Paragraph 4 notes that film is ""special"" in that duplicates are exact, whereas for other art forms ""it is obvious"" when something is a copy. This answer reflects that difference between film and other art forms, marking this as the correct answer.
Key Takeaway:
When you read a comparison—whether a similarity or difference—notate it! There's a good chance a question will ask about it, or a correct answer will reference it. -
Csusceptibility of the artwork Remaining source text redacted.
Why choice C is not credited
Incorrect. (Paragraphs 2-3) The second and third paragraphs are where factors influencing the integrity of films are noted, and we don't have either of these factors listed, so this answer is incorrect. -
Ddegree of control that Remaining source text redacted.
Why choice D is not credited
Incorrect. (Lines 39-41) While the passage does establish that filmmakers generally can't control all of the factors influencing how their work is presented to the public, it's not noted that creators of other works of art have more control over how their work is publicly presented. In fact, the level of control they have isn't discussed at all. -
Ecomplexity of the methods Remaining source text redacted.
Why choice E is not credited
Incorrect. (Paragraphs 2-3) It does seem as if film has relatively complex methods applied to it in preparing it for public consumption. However, as in (D), there's no discussion of the process by which other art forms are presented to the public, so this answer is out of scope.
What this tests
Question analytics
Based on historical answer selection rates for this question.
Answer choice distribution
Accounts
Save your place across PrepTests
Bookmark questions, build weak-spot lists, and pick up exactly where you left off—built for serious repeat practice.
No payment yet. We will only email when accounts open.
Already have an account? Log in
Deeper help
Ask follow-ups on any step
Optional AI tutor mode will let you interrogate assumptions, compare answers, and drill weak patterns without leaving the page.
Human-written explanations stay primary; AI is an add-on when you want it.
Discussion
No threads yet—be the first to ask a question or share an approach.