Comprehension 1
Film scholars have of course for some decades paid attention to difference as manifested especially in the oeuvres of valued auteurs, in genres broadly conceived (the musical, the film noir, the horror film), and in international cinema, which are customarily read as expressing, as well as establishing, cultural alternatives to the spoon feeding of Hollywood, challenging the Americentric perspective of global cinema history. Proper analysis of these films is needed so that we do not fall into the trap of lazy criticism that plagues so much of the Hollywood press.
Traditions, as we use the concept, are bodies of films whose commonalities (usually the result, at least in large part, of the particular conditions of their production) make them worthy of collective study. Most often, cinematic traditions are ‘national’ in the sense that they include traits that constitute a form of difference within a larger, more diffuse and varied body of films from the world over, and yet there are often indispensable transnational connections that foreclose any understanding of the tradition solely within the terms of its ‘native’ culture. Thus the tradition of the British new wave, as its name suggests, is profitably
understood as similar in some important respects to French New Wave filmmaking and to the more general phenomenon of ‘new waves’ and ‘new cinemas’ that emerged as such a prominent feature of post-1950s cinema in Europe, Latin America and even Hollywood (albeit dumbed down) itself in the early post-studio era.
Sometimes film traditions are international as well as national developments, inviting, as in the case of Japanese horror film, the tracing of thematic affinities to both a transnational body of conventions and also to particular developments within a national cinema. As opposed to these broad conceptions of traditions, there is the narrower perspective of analysing films on the basis of the filmography of the auteur behind the film. This gives us a more specific understanding of the films even if the larger implications go missing. These things are generally missing from typical Hollywood discourse on films. These two are broadly the two methods of film analysis.
(Source: www.examrace.com)
Questions:
Q.1. Ouevres antonym
A) grace
B) scandal
C) both A and B
D) none
Ans- B
Q.2. Auteurs synonym
A) perpetrator
B) cultivator
C) alligator
D) none
Ans- A
Q.3. Arrange the following sentences in descending order.
I) Film scholar have of course for some decades paid attention to differences as manifested…
II) As opposed to these broad conceptions of traditions, there is the narrower perspective of analysing films on the basis of the filmography of the auteur behind the film.
III) This gives us a more specific understanding of the films even if the larger implications go missing.
IV) Proper analysis of these films is needed so that we do not fall into the trap of lazy criticism that plagues so much of the Hollywood press.
A) I,II,III,IV
B) III,II,IV,I
C) II,III,I,IV
D) IV,I,II,III
Ans- B
Q.4. Similar word from the passage preclude
A) former
B) forever
C) forest
D) foreclose
Ans- D
Q.5. Give noun form for the word oppose
A) opposer
B) opposing
C) opposed
D) none
Ans-A
Q.7. Give verb form of perpetrator.
A) perpetrated
B) perpetrating
C) perpetrate
D) none
Ans- C
Q.8.Give adverb form for international
A) intonation
B) internationally
C) none
D) all of the above
Ans- B
Q.9. Which of the following statements are true.
A) This gives us a less specific understanding of the fiction even if the larger implications go
missing.
B) Proper analysis of these films is needed so that we do not fall into the trap of lazy criticism
that plagues so much of the Hollywood press.
C) supporting these broad conceptions of traditions, there is the broader perspective of analysing
films on the basis of geography of the auteur behind the film.
D) none.
Ans- B
Q.10. Which of the following statements are false.
A) Sometimes film traditions are international as well as national developments, inviting, as
in the case of Japanese horror film, the tracing of thematic affinities to both a transnational
body of conventions and also to particular developments within a national cinema.
B) Traditions, as we use the concept, are bodies of films.
C) Most often, cinematic traditions are ‘international’ in the sense that they include traits that
constitute a form of difference within a larger, more confused and varied body of cartoons
rom the world over, and yet there are often indispensable transnational connections that
forego any misunderstanding of the tradional solely within the condition of its ‘native’
culture.
D) only a
Ans- B
