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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 prime- time 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 aware- ness 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.
The passage suggests that a filmmaker desiring toenhance viewers’ perceptions of art should do which ofthe following?
A.Rely on the precise language of art history whendeveloping scripts for films on art.
B.Rely on dramatic narrative and music to set afilm's tone and style.
C.Recognize that a work of art by itself can becompelling enough to hold a viewer's attention
D.Depend more strongly on narration instead ofcamera movements to guide the viewer's gaze.
E.Emphasize the social and the historical contextswithin which works of art have been created.
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 toinfluence perceptions
B.present evidence to support the argument thatfilms have been used successfully to influenceviewers' perceptions
C.introduce the notion that film can influence howviewers see
D.contrast a traditional view of the uses of filmwith a more modern view
E.describe how film can change a viewer'sperception of a work of art
Which of the following best describes the organization of the passage?
A.An observation about an unsatisfactory situationis offered, the reasons for the situation are dis- cussed, and then ways to change it are suggested
B.Two opinions regarding a controversial phenom- enon are contrasted, supporting evidence foreach is presented, and then the two opinions arereconciled.
C.Criticism of a point of view is discussed, thecriticism is answered, and then the criticism isapplied to another point of view.
D.A point of view is described, evidence supportingthe view is provided, and then a summary ispresented.
E.A strategy is presented, reasons for its past failureare discussed, and then a recommendation thatwill be abandoned is offered.
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 andthe technological innovations required to increasethe impact of film on visual literacy
C.discussing the advantages and the disadvantages ofusing films rather than publications to presentworks of art to the general public
D.presenting information to support the view thatfilms on art must focus more on education andless on entertainment in order to increase visualliteracy
E.presenting information to support the view thatfilms on art, because they reach a broader audi- ence than many other kinds of media, have hadgreater success in promoting visual literacy
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 andthen seeing a film about the same work is themost effective way to develop visual literacy.
B.An increase in a viewer's awareness of visualforms will also lead to an increased attentionspan.
C.Film has a great but not yet fully exploited capac- ity to increase viewers' awareness of visualforms.
D.A film that focuses on the details of a work of artwill hinder the development of visual literacy.
E.Films on art would more effectively enhance thevisual literacy of teenagers if filmmakersfollowed the standards set by rock videos.
According to the passage, art historians desiring towork with filmmakers to enhance the public's appreci- ation of art need to acknowledge which of the fol- lowing?
A.The art historian's role in the creation of a film onart is likely to be a relatively minor one.
B.Film provides an ideal opportunity to acquaintviewers with a wide range of issues that relateincidentally to a work of art.
C.An in-depth analysis of a work of art is not anappropriate topic for a film on art.
D.Although silence may be an appropriate back- ground when viewing a work of art in amuseum, it is inappropriate in a film.
E.Film can use nonverbal means to achieve some ofthe same results that a spoken or written dis- course can achieve.
Which of the following would describe the author'smost likely reaction to a claim that films on art wouldmore successfully promote visual literacy if theyfollowed the standards set for rock videos?
A.Ambivalence
B.Indifference
C.Sympathy
D.Interest
E.Disdain
