A. a film still expanded to architectural proportions is more effective than a small still B. careful viewing of film stills is essential to under. standing full-length films. C. the experience of viewing a moving image is dif- ferent from the experience of viewing a film still. D. a film still is easier to remember when viewed in the costext of the entire movie. 24. According to the passage, in India, the act of enhane- ing photographic images with paint was first practiced by: portrait painters working in the 1880s. H. poster artists working in the 1950s. assistants working for photos ournalists in the 1960s. J. painters working for studio photograpbers in the 1850 s. 25. According to the passage, before a billboard artist traced a photographic image onto a carvas, he or she would first: A. make multiple copies of the photograph as backups. B. convert any black-and-white photographs to color. C. cut away unneeded portions of the photograph. D. outline every detail in the photograph with poster paints. 26. In the passage lines 4-9 primarily serve to: B. thow that advertisem take different approaches to daytime and nighttime advertising. G. establish the appearance, function, and appeal of cinematic billboards. H. Apple that the glare of wallphis detiment to the appreciation of advertising imagine. 1. Aplility why Chenual's clocematic bilibourd tended to emphasize certain images. 27. As it is used in line 13 the word calculated most tearly means: 28. As he is presented in the passage Barthes claimed that compared to a photograph, a draws or painted image is potentially more: F. difficult for many viewers to approciate. a useful for conveying the artist's feelings. H. likely to be considered as art object. J. likely to have symbolic value. 29. In the context of discussing the artistic elements at work in Chenna's billboards, the passage autbor most likely uses the term "complex nexus (line 56) to suggest: A. a complicated history. B. an coduring mystery. C. a sophisticated cossection. D. a challenging problem. 30. Based on details in the fifth paragraph (lines 65-84) , it can reasonably be inferred that one resource billboard artists collanced or manipulated images from films was to: F. justify the cost of theater tickets. viewers fantasies. H. protest film censorship. J. support the local art scene.

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Pergunta

A. a film still expanded to architectural proportions is more effective than a small still B. careful viewing of film stills is essential to under. standing full-length films. C. the experience of viewing a moving image is dif- ferent from the experience of viewing a film still. D. a film still is easier to remember when viewed in the costext of the entire movie. 24. According to the passage, in India, the act of enhane- ing photographic images with paint was first practiced by: portrait painters working in the 1880s. H. poster artists working in the 1950s. assistants working for photos ournalists in the 1960s. J. painters working for studio photograpbers in the 1850 s. 25. According to the passage, before a billboard artist traced a photographic image onto a carvas, he or she would first: A. make multiple copies of the photograph as backups. B. convert any black-and-white photographs to color. C. cut away unneeded portions of the photograph. D. outline every detail in the photograph with poster paints. 26. In the passage lines 4-9 primarily serve to: B. thow that advertisem take different approaches to daytime and nighttime advertising. G. establish the appearance, function, and appeal of cinematic billboards. H. Apple that the glare of wallphis detiment to the appreciation of advertising imagine. 1. Aplility why Chenual's clocematic bilibourd tended to emphasize certain images. 27. As it is used in line 13 the word calculated most tearly means: 28. As he is presented in the passage Barthes claimed that compared to a photograph, a draws or painted image is potentially more: F. difficult for many viewers to approciate. a useful for conveying the artist's feelings. H. likely to be considered as art object. J. likely to have symbolic value. 29. In the context of discussing the artistic elements at work in Chenna's billboards, the passage autbor most likely uses the term "complex nexus (line 56) to suggest: A. a complicated history. B. an coduring mystery. C. a sophisticated cossection. D. a challenging problem. 30. Based on details in the fifth paragraph (lines 65-84) , it can reasonably be inferred that one resource billboard artists collanced or manipulated images from films was to: F. justify the cost of theater tickets. viewers fantasies. H. protest film censorship. J. support the local art scene.

Answer 1

24. According to the passage, in India, the act of enhancing photographic images with paint was first practiced by: J. painters working for studio photographers in the 1850s. 25. According to the passage, before a billboard artist transfers a photographic image onto a canvas, he or she would first: C. cut away unneeded portions of the photograph. 26. In the passage lines 4-9 primarily serve to: C. establish the appearance, formation, and appeal of Chennai's cinematic billboards. 27. As it is used in line 13, the word "calculated" most nearly means: B. deliberate. 28. As he is presented in the passage, Barthes claimed that compared to a photograph, a drawn or painted image is potentially more: J. likely to have symbolic value. 29. In the context of discussing the artistic elements at work in Chennai's billboards, the passage author most likely uses the term "complex nexus" (line 56) to suggest: C. a sophisticated connection. 30. Based on details in the fifth paragraph (lines 65-84), it can reasonably be inferred that one reason billboard artists collected or manipulated images from films was to: G. cater to viewers' fantasies.

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