GRE Preparation Kit 6 - Section 5[21 - 38]

[Samuel]

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 primetime 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

23. Which of the following best describes the organization of the passage?
      (A) An observation about an unsatisfactory situation is offered, the reasons for the situation are discussed, and then
            ways to change it are suggested.
      (B) Two opinions regarding a controversial phenomenon are contrasted, supporting evidence for each is presented, and
            then the two opinions are reconciled.
      (C) Criticism of a point of view is discussed, the criticism is answered, and then the criticism is applied to another point
            of view.
      (D) A point of view is described, evidence supporting the view is provided, and then a summary is presented.
      (E) A strategy is presented, reasons for its past failure are discussed, and then a recommendation that will be
           abandoned is offered.

24. The passage is primarily concerned with
      (A) discussing why film's potential as a medium for presenting art to the general public has not been fully realized and
            how film might be made more effective in this regard
      (B) discussing the shortcomings of films on art and the technological innovations required to increase the impact of film
            on visual literacy
      (C) discussing the advantages and the disadvantages of sing films rather than publications to present works of art to the
            general public
      (D) presenting information to support the view that films on art must focus more on education and less on entertainment
            in order to increase visual literacy
      (E) presenting information to support the view that films on art, because they reach a broader audience than many other
           kinds of media, have had greater success in promoting visual literacy

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

28. ACCESSORY:
     (A) insubordinate
     (B) invisible
     (C) of high quality
     (D) of massive proportions
     (E) of primary importance

29. CHAMPION:
      (A) emulate
      (B) disparage
      (C) compel
      (D) anticipate
      (E) disappoint

30. DECADENCE:
     (A) cheerfulness
     (B) promptness
     (C) cleanliness
     (D) wholesomeness
     (E) carefulness

31. OPACITY:
     (A) transparency
     (B) smoothness
     (C) colorlessness
     (D) elongation and thinness
     (E) hardness and durability

32. MISGIVING:
     (A) consistency
     (B) certainty
     (C) generosity
     (D) loyalty
     (E) affection

33. HARANGUE:
      (A) overtly envy
      (B) intermittently forget
      (C) gratefully acknowledge
      (D) speak temperately
      (E) sacrifice unnecessarily

34. GERMANE:
     (A) unproductive
     (B) irregular
     (C) indistinguishable
     (D) irrelevant
     (E) unsubstantiated

35. IMPUGN:
      (A) rectify
      (B) classify
      (C) vindicate
      (D) mollify
      (E) chastise

36. INEXORABLE:
     (A) discernible
     (B) quantifiable
     (C) relenting
     (D) inspiring
     (E) revealing

37. RESTIVE:
      (A) necessary
      (B) interesting
      (C) calm
      (D) healthy
      (E) deft

38. BAIT:
     (A) perplex
     (B) disarm
     (C) delude
     (D) release
     (E) fortify