List of practice Questions

Comprehension: The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question. Oftentimes, when economists cross borders, they are less interested in learning from others than in invading their garden plots. Gary Becker, for instance, pioneered the idea of human capital. To do so, he famously tackled topics like crime and domesticity, applying methods honed in the study of markets to domains of nonmarket life. He projected economics outward into new realms: for example, by revealing the extent to which humans calculate marginal utilities when choosing their spouses or stealing from neighbors. At the same time, he did not let other ways of thinking enter his own economic realm: for example, he did not borrow from anthropology or history or let observations of nonmarket economics inform his homo economicus. Becker was a picture of the imperial economist in the heyday of the discipline’s bravura. Times have changed for the once almighty discipline. Economics has been taken to task, within and beyond its ramparts. Some economists have reached out, imported, borrowed, and collaborated—been less imperial, more open. Consider Thomas Piketty and his outreach to historians. The booming field of behavioral economics—the fusion of economics and social psychology—is another case. Having spawned active subfields, like judgment, decision making and a turn to experimentation, the field aims to go beyond the caricature of Rational Man to explain how humans make decisions…. It is important to underscore how this flips the way we think about economics. For generations, economists have presumed that people have interests—“preferences,” in the neoclassical argot—that get revealed in the course of peoples’ choices. Interests come before actions and determine them. If you are hungry, you buy lunch; if you are cold, you get a sweater. If you only have so much money and can’t afford to deal with both your growling stomach and your shivering, which need you choose to meet using your scarce savings reveals your preference. Psychologists take one look at this simple formulation and shake their heads. Increasingly, even some mainstream economists have to admit that homo economicus doesn’t always behave like the textbook maximizer; irrational behavior can’t simply be waved away as extra economic expressions of passions over interests, and thus the domain of other disciplines…. This is one place where the humanist can help the economist. If narrative economics is going to help us understand how rivals duke it out, who wins and who loses, we are going to need much more than lessons from epidemiological studies of viruses or intracranial stimuli. Above all, we need politics and institutions. Shiller [the Nobel prize winning economist] connects perceptions of narratives to changes in behavior and thence to social outcomes. He completes a circle that was key to behavioral economics and brings in storytelling to make sense of how perceptions get framed. This cycle (perception to behavior to society) was once mediated or dominated by institutions: the political parties, lobby groups, and media organizations that played a vital role in legitimating, representing, and excluding interests. Yet institutions have been stripped from Shiller’s account, to reveal a bare dynamic of emotions and economics, without the intermediating place of politics.

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
In the summer of 2022, subscribers to the US streaming service HBO MAX were alarmed to discover that dozens of the platform’s offerings – from the Covid-themed heist thriller Locked Down to the recent remake of The Witches – had been quietly removed from the service . . . The news seemed like vindication to those who had long warned that streaming was more about controlling access to the cultural commons than expanding it, as did reports (since denied by the show’s creators) that Netflix had begun editing old episodes of Stranger Things to retroactively improve their visual effects.
What’s less clear is whether the commonly prescribed cure for these cultural ills – a return to the material pleasures of physical media – is the right one. While the makers of Blu-ray discs claim they have a shelf life of 100 years, such statistics remain largely theoretical until they come to pass, and are dependent on storage conditions, not to mention the continued availability of playback equipment. The humble DVD has already proved far less resilient, with many early releases already beginning to deteriorate in quality Digital movie purchases provide even less security. Any film “bought” on iTunes could disappear if you move to another territory with a different rights agreement and try to redownload it. It’s a bold new frontier in the commodification of art: the birth of the product recall. After a man took to Twitter to bemoan losing access to Cars 2 after moving from Canada to Australia, Apple clarified that users who downloaded films to their devices would retain permanent access to those downloads, even if they relocated to a hemisphere where the [content was] subject to a different set of rights agreements. Thanks to the company’s ironclad digital rights management technology, however, such files cannot be moved or backed up, locking you into watching with your Apple account.
Anyone who does manage to acquire Digital Rights Management free (DRM-free) copies of their favourite films must nonetheless grapple with ever-changing file format standards, not to mention data decay – the gradual process by which electronic information slowly but surely corrupts. Only the regular migration of files from hard drive to hard drive can delay the inevitable, in a sisyphean battle against the ravages of digital time.
In a sense, none of this is new. Charlie Chaplin burned the negative of his 1926 film A Woman of the Sea as a tax write-off. Many more films have been lost through accident, negligence or plain indifference. During a heatwave in July 1937, a Fox film vault in New Jersey burned down, destroying a majority of the silent films produced by the studio.
Back then, at least, cinema was defined by its ephemerality: the sense that a film was as good as gone once it left your local cinema. Today, with film studios keen to stress the breadth of their back catalogues (or to put in Hollywood terms, the value of their IPs), audiences may start to wonder why those same studios seem happy to set the vault alight themselves if it’ll help next quarter’s numbers.