Answers for “The Lumiere Brothers and Cinematographs” with Explanations

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Question 1-5:-
1. A (the whole para: ―The Lumiere Brothers opened their Cinematographe, at l4 Boulevard
des Capucines in Paris, to 100 paying customers over 100 years ago, on December 8,
1895. Before the eyes oi the stunned, thrilled audience, photographs came to life and
moved across a flat screen‖)

2. I (line 5-14: ―narrative. But what happened was that it became, overwhelmingly, a
medium for telling stories. Originally these were conceived as short stories – early
produces doubted the ability of audience to concentrate for more than the length of a reel.
Then, in I912, an Italian 2-hour film was hugely successful, and Hollywood settled upon
the novel-length narrative that remains the dominant cinematic convention of today.‖)

3. J (line 2-9: ―unbelievably, it is a mere 100 years since that train arrived and the audience
screamed and fled, convinced by the dangerous reality of what they saw, and perhaps,
aware that the world could never same again — that, maybe, it could be better brighter,
more astonishing, more real than reality‖)

4. E (first 6 lines: ―One effect of this realism was to educate the world about itself. For
cinema makes the world smaller. Long before people travelled to America or anywhere
else, they knew what other places looked like; they knew how other people worked and
lived‖)

5. G (line 3-8: ―bon in 1910. Film personalities have such on immediate presence that,
inevitably, they become super-real. Because we watch them so closely and because
everybody in the world seems to know who they are, they appear more real to us than we
do ourselves‖)

Question 6-9:-
6. YES (para D, line 1-9: ―Early cinema audiences often experienced the same confusion. In
time, the idea of film became familiar, the magic was accepted – but it never stopped
being magic. Film has never lost its unique power to embrace its audiences and transport
them to a different world. For Tarkovsky, the key to that magic was the way in which
cinema created a dynamic image oi the real flow of events‖)

7. NOT GIVEN

8. NOT GIVEN

9. NO (para I, line 7-11: ―Originally these were conceived as short stories – early produces
doubted the ability of audience to concentrate for more than the length of a reel.‖)

Question 10-13:-
10. B (para C, line 9-17: ―the train approached,‘ wrote Tarkovsky, ‘Panic started in the
theatre: people jumped and ran away. That was the moment when Cinema was born. The
frightened audience could not accept that they were watching a mere picture. Pictures
were still, only reality move; this must, therefore, be reality. In their confusion, they
feared that a real train about to crush them.‖)

11. C (para D, line 7-13: ―world. For Tarkovsky, the key to that magic was the way in which
cinema created a dynamic image oi the real flow of events. A still picture could only
imply the existence oi time, while time in a novel passed at the whim oi the reader. But in
cinema, the real, objective flow of time was captured.‖)

12. D (para H, last 4 lines: ―movement. Indeed, some said that, once this novelty had worn
off, cinema would fade away. It was no more than a passing gimmick, a fairground
attraction‖)

13. D

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