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DIRECTIONS: There are two passages in this test. The passages are accompanied by several questions. After reading the passages, choose the best answer to each question. You may refer to the passages as often as necessary.
PASSAGE A
Alice Guy, later Guy Blaché, has fascinated film critics and historians since the publication of her memoir in 1976, eight years after her death and more than fifty years after her last activities as a professional filmmaker. Guy is a compelling figure for several rela- tively distinct reasons. There are very few obvious, clear “firsts” in film history. But Guy was definitely, unquestionably the first woman filmmaker in the his- tory of cinema. Guy had wanted, with her memoir, to reestablish her position in film history, and this is exactly what happened in the archives after 1976. For it turns out that many of her films were there all the time, but had not been identified as hers. This was and is the fate of most early filmmakers. Film prints had a dis- tressing tendency to lose beginnings and endings with repeated showing, and directors were almost never identified in the initial titles that did survive. But armed with her book, and with a list she provided researchers of the films that she could remember making, it has been possible to put her name to many “orphan” prints.
But her importance goes well beyond her films: a second way in which she is a compelling figure is her decisive participation in the elaboration of film produc- tion as an organized, industrial process. When cinema first appeared as a for-profit enterprise, filmmaking fol- lowed an artisanal model. Louis Lumière, who first clearly demonstrated the commercial possibilities of the new medium, trained his operators to photograph his cinematographer’s celebrated “views,” to develop them and make positive contact prints, and to project them to a paying audience: all the work of one person, with a single machine. George Méliès made more elaborate works, but he also did almost everything himself: he was scriptwriter, set designer, cinematographer, publicist, and star. When Guy proposed to Léon Gaumont that his company make its own films, and that she do the job, she did most work herself, assisted by a camera operator. By the time she left the company ten years later, in 1907, production had been organized, and Guy was, in modern terms, the company’s head of production. She hired, oversaw, and coordinated the work of set designers, directors, actors, and so forth, though she herself continued to direct her own films.
1. It can reasonably be inferred from Passage A that the organized industrial process of filmmaking differed from the artisanal model in that artisanal filmmaking was accomplished through the work of:
A. a head of production and numerous film crew artists.
B. one person doing almost all of the film production jobs.
C. one set designer and a company owner.
D. a publicist, a scriptwriter, and a star.
2. Passage A most strongly suggests that Guy is primarily recognized for her role as:
F. a writer of film history.
G. a camera technician at Gaumont studios.
H. the first woman filmmaker.
J. Lumière’s favorite cinematographer.
3. Based on Passage A, what is one reason many early film prints lost their beginnings and endings?
A. Repeated showings
B. Researchers’ handling of films
C. The quality of the archive storage facility
D. Directors’ lack of skill in film production
4. The author of Passage A indicates that researchers were able to identify some early film prints as Guy’s partly because:
F. each film was shelved alphabetically by the filmmaker’s name.
G. Guy created a list of the films she made.
H. the prints had original labels with Guy’s name written on them.
J. historians and film critics kept accurate records.
5. As it is used in the first paragragh, the word put most nearly means:
A. position.
B. deposit.
C. assign.
D. gauge.
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