PrepTest 152, Section 3, Question 7
Film scholar David Bordwell refers to the years(453 more words not shown)
Which one of the following(9 more words not shown)
- ADespite some evidence(27 more words not shown)
- BContrary to Bordwell's(22 more words not shown)
- CBecause film genres(26 more words not shown)
- DThe films of(28 more words not shown)
- EThe fact that(31 more words not shown)
Reading the passage
We've already predicted the central criticism: Bordwell treats expected musical conventions as realistic, but the writer thinks that stretches the definition and overlooks the viewer's experience. The Berkeley example shows why the problem matters; the ending tells scholars to study how viewers process images before making these classifications.
What we’re looking for
We need an answer about that weakness in Bordwell's approach, not merely a verdict on whether one director's films belong in a category.
Working the answers
- A
This gives the opposite conclusion. The writer says Bordwell stretches realism and too quickly dismisses the perceptual experience of watching. The further examination challenges his approach rather than vindicating it.
- B
The stated reason is wrong. The criticism concerns interruptions by performances that don't advance the plot, not events being shown out of chronological order. A musical could tell its story chronologically and still pause for unrelated displays. This also leaves out the broader criticism of Bordwell's method.
- C
The theatrical origin is part of Bordwell's reply. The writer explains why that reply doesn't solve the problem: familiar conventions can still disrupt the film's reality. C presents the position being challenged as the conclusion.
- D
This focuses on excluding Berkeley's films from a category. The writer uses their poor fit to question Bordwell's treatment of realism and his focus on genre classification. D stops before that larger assessment and recommendation.
- ECorrect
The troublesome musical example exposes the weakness in the approach. Bordwell keeps the musical inside his account by stretching realism, and the writer argues that this fails to give enough attention to the actual experience of watching the images.
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