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In 1923 the innovative Russian filmmaker Dziga Vertov

mbamantra

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05 Mar 2005, 05:41

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In 1923 the innovative Russian filmmaker Dziga Vertov described filmmaking as a process that leads viewers toward a â€œfresh perception of the world.â€

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mallelac

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Updated on: 05 Mar 2005, 11:23

Originally posted by mallelac on 05 Mar 2005, 09:14.
Last edited by mallelac on 05 Mar 2005, 11:23, edited 1 time in total.

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I took 11 minutes to wind up the passage.

E, C, C , B and E are my answers.

Await OA's.

I think E to the first question is definitely wrong. Yes, it should be C only.

For 4th, it should be E only. Definitely a case of bad-reading from my side.

mbamantra

In 1923 the innovative Russian filmmaker Dziga Vertov described filmmaking as a process that leads viewers toward a ?fresh perception of the world.? Vertov?s description of filmmaking should apply to films on the subject of art. Yet films on art have not had a powerful and pervasive effect on the way we see.

Publications on art flourish, but these books and articles do not necessarily succeed in teaching us to see more deeply or more clearly. Much writing in art history advances the discourse in the field but is unlikely to inform the eye of one unfamiliar with its polemics. Films, however, with their capacity to present material visually and to reach a broader audience, have the potential to enhance visual literacy (the ability to identify the details that characterize a particular style) more effectively than publications can. Unfortunately, few of the hundred or so films on art that are made each year in the United States are broadcast nationally on prime-time television.

The fact that films on art are rarely seen on prime-time television may be due not only to limitations on distribution but also to the shortcomings of many such films. Some of these shortcomings can be attributed to the failure of art historians and filmmakers to collaborate closely enough when making films on art. These professionals are able, within their respective disciplines, to increase our awareness of visual forms. For close collaboration to occur, professionals in each discipline need to recognize that films on art can be both educational and entertaining, but this will require compromise on both sides.

A filmmaker who is creating a film about the work of an artist should not follow the standards set by rock videos and advertising. Filmmakers need to resist the impulse to move the camera quickly from detail to detail for fear of boring the viewer, to frame the image for the sake of drama alone, to add music for fear of silence. Filmmakers are aware that an art object demands concentration and, at the same time, are concerned that it may not be compelling enough?and so they hope to provide relief by interposing ?real? scenes that bear only a tangential relationship to the subject. But a work of art needs to be explored on its own terms. On the other hand, art historians need to trust that one can indicate and analyze, not solely with words, but also by directing the viewer?s gaze. The specialized written language of art history needs to be relinquished or at least tempered for the screen. Only an effective collaboration between filmmakers and art historians can create films that will enhance viewers? perceptions of art.

21. The passage suggests that a filmmaker desiring to enhance viewers? perceptions of art should do which of the following?
(A) Rely on the precise language of art history when developing scripts for films on art.
(B) Rely on dramatic narrative and music to set a film?s tone and style.
(C) Recognize that a work of art by itself can be compelling enough to hold a viewer?s attention.
(D) Depend more strongly on narration instead of camera movements to guide the viewer?s gaze.
(E) Emphasize the social and the historical contexts within which works of art have been created.

22. The author of the passage refers to Vertov in the first paragraph most probably in order to
(A) provide an example of how films can be used to influence perceptions
(B) present evidence to support the argument that films have been used successfully to influence viewers? perceptions
(C) introduce the notion that film can influence how viewers see
(D) contrast a traditional view of the uses of film with a more modern view
(E) describe how film can change a viewer?s perception of a work of art

25. The author would most likely agree with which of the following statements about film and visual literacy?
(A) Reading a publication about a work of art and then seeing a film about the same work is the most effective way to develop visual literacy.
(B) An increase in a viewer?s awareness of visual forms will also lead to an increased attention span.
(C) Film has a great but not yet fully exploited capacity to increase viewers? awareness of visual forms.
(D) A film that focuses on the details of a work of art will hinder the development of visual literacy.
(E) Films on art would more effectively enhance the visual literacy of teenagers if filmmakers followed the standards set by rock videos.

26. According to the passage, art historians desiring to work with filmmakers to enhance the public?s appreciation of art need to acknowledge which of the following?
(A) The art historian?s role in the creation of a film on art is likely to be a relatively minor one.
(B) Film provides an ideal opportunity to acquaint viewers with a wide range of issues that relate incidentally to a work of art.
(C) An in-depth analysis of a work of art is not an appropriate topic for a film on art.
(D) Although silence may be an appropriate background when viewing a work of art in a museum, it is inappropriate in a film.
(E) Film can use nonverbal means to achieve some of the same results that a spoken or written discourse can achieve.

27. Which of the following would describe the author?s most likely reaction to a claim that films on art would more successfully promote visual literacy if they followed the standards set for rock videos?
(A) Ambivalence
(B) Indifference
(C) Sympathy
(D) Interest
(E) Disdain

thearch

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05 Mar 2005, 09:53

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C C C E E
Sorry but can't give any explanation because my mouse is on strike
and I've difficulties in scrolling the text and copying passages

prep_gmat

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05 Mar 2005, 10:20

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Agree with CCCEE.

anandnk

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05 Mar 2005, 10:31

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In 1923 the innovative Russian filmmaker Dziga Vertov described filmmaking as a process that leads viewers toward a fresh perception of the world. Vertovs description of filmmaking should apply to films on the subject of art. Yet films on art have not had a powerful and pervasive effect on the way we see.(this para talks about influence of films on viewers. The author sets a context/notion to show later that arts movies can influence audiences. answer (C) hols good for Q2) (this line also answers (C) to Q3 )

Publications on art flourish, but these books and articles do not necessarily succeed in teaching us to see more deeply or more clearly. Much writing in art history advances the discourse in the field but is unlikely to inform the eye of one unfamiliar with its polemics. Films, however, with their capacity to present material visually and to reach a broader audience, have the potential to enhance visual literacy (the ability to identify the details that characterize a particular style) more effectively than publications can (this provieds answer (E) to Q4). Unfortunately(author explores reasons for non popularity of art films), few of the hundred or so films on art that are made each year in the United States are broadcast nationally on prime-time television.

The fact that films on art are rarely seen on prime-time television may be due not only to limitations on distribution but also to the shortcomings of many such films. Some of these shortcomings can be attributed to the failure of art historians and filmmakers to collaborate closely enough when making films on art. These professionals are able, within their respective disciplines, to increase our awareness of visual forms. For close collaboration to occur, professionals in each discipline need to recognize that films on art can be both educational and entertaining, but this will require compromise on both sides.

A filmmaker who is creating a film about the work of an artist should not follow the standards set by rock videos and advertising ( this answers (E) to Q5 ). Filmmakers need to resist the impulse to move the camera quickly from detail to detail for fear of boring the viewer, to frame the image for the sake of drama alone, to add music for fear of silence. Filmmakers are aware that an art object demands concentration and, at the same time, are concerned that it may not be compelling enoughand so they hope to provide relief by interposing real scenes that bear only a tangential relationship to the subject. But a work of art needs to be explored on its own terms(indirectly suggets answer (C) to Q1). On the other hand, art historians need to trust that one can indicate and analyze, not solely with words, but also by directing the viewers gaze. The specialized written language of art history needs to be relinquished or at least tempered for the screen. Only an effective collaboration between filmmakers and art historians can create films that will enhance viewers perceptions of art.

C,C,C,E,E

lastochka

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08 Mar 2005, 20:24

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9 minutes -- rc is my weakest link...

c, c, c, e, e

Mbamantra, Please post the OA for this one.

ywilfred

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09 Mar 2005, 03:49

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CCCEE. Took me more than 10 minutes. (~12 minutes, was stuck on the first two questions)

DLMD

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09 Mar 2005, 12:20

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C C C E E

took me about 10 mins (on and off at work)

DLMD

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09 Mar 2005, 12:25

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btw, I doubt this passage is GMAT quality, kind easy

ywilfred

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09 Mar 2005, 20:56

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DLMD

btw, I doubt this passage is GMAT quality, kind easy

this could be GMAT material. The level of difficulty you experience on the CAT depends on how you perform. If you consistently get intermediate level questions wrong, you will get to solve easier ones. That way, the CAT can assess your score accurately.

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