Reading comp PrepTest 153 · Section 1 · Question 5

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
  • 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 2
  • 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
Paragraph 3
  • 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
Paragraph 4
  • 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
Main Point:
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

It can be inferred Remaining source text redacted.
Why the credited answer is right

Credited answer: A

The notes below walk through why it fits the stem and how to eliminate the rest.

Question Type

Humanities

Answer choices

  1. A
    When shown on television—even Remaining source text redacted.
    Why choice A matches the stem
    Correct. Question Type:
    Must Be True

    Strategy Overview:
    Review the Author's main point and check for any concession the Author made in the passage

    Answer Anticipation/Relevant Lines:
    This question provides no context for the topic the answer is going to address other than it's about ""film,"" which is more or less what the whole passage is about, so we need to use the big picture understanding we've developed of the passage in order to orient around an answer. Additionally, we should check for any concession the Author made in the passage—which we should always notate—as that could be reflected in a correct answer that doesn't align with the main point.

    Checking our notations, there are no concessions made. And we stated the main point as:

    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.

    Let's find an answer that lines up with that, and then check it against the passage to confirm all the details.

    Answer Explanation:
    (Paragraph 3) Paragraph 3 is where the alterations made for TV are discussed, so we should check our notes to see if there are any other than reedits and ads/superimposed images. And we do see that—the very first deformation is a loss of image size and definition (Lines 23-24). Since films for TV suffer these deformations even without being edited or interrupted, they would be artistically compromised to some extent, so this is the correct answer.

    Key Takeaway:
    These questions can be difficult because they can reference—in correct and incorrect answers—details from throughout the passage. Take your time, focus on answers that line up with the main point, and defer on any answer that features a detail you don't remember or don't know where to find.
  2. B
    Films are considered by Remaining source text redacted.
    Why choice B is not credited
    Incorrect. (Lines 1-6; Paragraph 4) Critics are mentioned at the very beginning of the passage, and then again in Paragraph 4. There's no place where those critics are said to think films aren't significant and, in fact, by saying that there's a lot of critical writing on films, the passage suggests the opposite.
  3. C
    Because of technical limitations Remaining source text redacted.
    Why choice C is not credited
    Incorrect. (Lines 41-44) The passage notes that film is special because it's ""exactly reproducible""—a copy can be the exact same as the original. Thus, if you start with a print of a film that matches the filmmaker's intent, then a copy of it would also match that intent.
  4. D
    Even when they are Remaining source text redacted.
    Why choice D is not credited
    Incorrect. The Author would almost certainly agree with the first half of this answer, as pretty much any work of art receives different responses from different viewers. However, there's no discussion of the filmmakers intent, and thus it can't be concluded that the reaction prevents that intent from being realized.
  5. E
    Most films do not Remaining source text redacted.
    Why choice E is not credited
    Incorrect. (Lines 1-6; Lines 50-54) The language in this answer reflects the opening statement in the passage. Checking there, we can see that it's not noted that the films fail to meet these standards. And even at the end when the Author is discussing criticism of the original works, the Author doesn't suggest that those works fail to live up to standards.

What this tests

Question analytics

Based on historical answer selection rates for this question.

Answer choice distribution

  1. A Credited 68%
  2. B 2%
  3. C 18%
  4. D 9%
  5. E 3%

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