Comprehension
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.
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.
Question: 1
Which one of the following statements about art best captures the arguments made in the passage?
Which one of the following statements about art best captures the arguments made in the passage?
Updated On: Aug 13, 2025
- In the age of online subscription services, it is time to change our understanding of classic works of art being primarily immutable and easily available to the public.
- Accepting retroactive changes to works of art is dangerous because it will encourage creators to not put enough effort into the original attempt, given that they can always edit or update their work later.
- Works of art belong to the cultural commons and hence must remain available in perpetuity, irrespective of who pays for access to them.
- As art is increasingly created, stored and distributed digitally, access to it is counterintuitively likely to be made more difficult by the rapid churn in technology and the whims of host platforms.
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The Correct Option is D
Approach Solution - 1
The passage primarily discusses the complexities and potential drawbacks of digital art distribution, particularly through streaming services. It highlights how rapidly changing technology and corporate decisions can impact public access to cultural works. Several incidents are described, such as the removal of works from HBO MAX and the modifications to shows on Netflix, which demonstrate a push towards controlling art access rather than expanding it. Additionally, concerns around the longevity and accessibility of both digital and physical media are raised, emphasizing uncertainties in ownership and access rights.
In analyzing the options, we find that all other statements address issues not fully emphasized in the passage, like creator efforts or perpetual availability. However, the correct answer directly captures the core argument: As art is increasingly created, stored, and distributed digitally, access to it is counterintuitively likely to be made more difficult by the rapid churn in technology and the whims of host platforms. This reflects the passage's exploration of the ironies and challenges in the digital age of art.
In analyzing the options, we find that all other statements address issues not fully emphasized in the passage, like creator efforts or perpetual availability. However, the correct answer directly captures the core argument: As art is increasingly created, stored, and distributed digitally, access to it is counterintuitively likely to be made more difficult by the rapid churn in technology and the whims of host platforms. This reflects the passage's exploration of the ironies and challenges in the digital age of art.
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Approach Solution -2
To determine which statement about art best captures the arguments made in the passage, we need to analyze the key ideas presented. The passage discusses the impact of digital technology on art accessibility and preservation, emphasizing the challenges faced with digital media. These include:
- Streaming services controlling access by removing content, thereby restricting the cultural commons.
- The instability of digital media, as noted by streaming services withdrawing content and DRM restrictions.
- The unreliability of digital purchases across territories due to different rights agreements.
- Challenges with digital file formats and data corruption over time.
Considering these points, the statement that art, created and stored digitally, becomes less accessible due to technology changes and host platform decisions effectively captures the passage's essence. Therefore, the correct answer is:
As art is increasingly created, stored and distributed digitally, access to it is counterintuitively likely to be made more difficult by the rapid churn in technology and the whims of host platforms.
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Question: 2
“Netflix had begun editing old episodes of Stranger Things to retroactively improve their visual effects.” What is the purpose of this example used in the passage?
“Netflix had begun editing old episodes of Stranger Things to retroactively improve their visual effects.” What is the purpose of this example used in the passage?
Updated On: Aug 13, 2025
- To show a practice that justifies the fears of people who feel streaming services cannot be trusted to be custodians of cultural artefacts like film.
- To show that streaming services are controlling access to the cultural commons rather than expanding it.
- To show how unsubstantiated reports are leading to an increase in the level of distrust towards streaming services.
- To show that art in the digital age, specifically film, is no longer sacrosanct, and may be changed to suit changing tastes or technology.
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The Correct Option is A
Approach Solution - 1
The paragraph discusses the concerns about streaming services, particularly highlighting how Netflix edited old episodes of "Stranger Things" to improve visual effects. The mention of this action serves to illustrate a practice that aligns with fears some people have regarding streaming platforms' reliability as custodians of cultural artifacts like films.
The act of altering previously released material without wide public knowledge or consent raises questions about the integrity and preservation of cultural content in the digital age. This aligns with the idea that streaming services might prioritize their control and adaptability over safeguarding historical authenticity and originality. Therefore, the most fitting purpose of the Netflix example in the passage is to show a practice that justifies the fears of individuals who believe streaming services cannot be trusted to maintain the integrity of cultural artifacts. Hence, the correct answer is: To show a practice that justifies the fears of people who feel streaming services cannot be trusted to be custodians of cultural artefacts like film.
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Approach Solution -2
In the given passage, the example of Netflix editing old episodes of "Stranger Things" is primarily used to illustrate a practice that concerns fears about the role of streaming services as custodians of cultural artefacts like film. The passage highlights how streaming services may control access rather than expand it, as they can alter content without user consent, impacting the integrity and preservation of cultural artifacts. This amplifies distrust among audiences who worry about the manipulation of films post-release. When examining the options, the most fitting answer is: “To show a practice that justifies the fears of people who feel streaming services cannot be trusted to be custodians of cultural artefacts like film.”
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Question: 3
Which one of the following statements, if true, would best invalidate the main argument of the passage?
Which one of the following statements, if true, would best invalidate the main argument of the passage?
Updated On: Aug 13, 2025
- Improved cloud storage services have made it possible for movie collections to now be preserved in perpetuity, without the need to keep migrating the files.
- When moving to a different geographical location, customers can easily use Virtual Private Networks (VPNs) to bypass geo-blocking and regain access to their content on any streaming service.
- Recent research has irrefutably proven that Blu-Ray discs have a shelf life of at least 100 years.
- Studios and streaming services have committed to giving customers perpetual and platform independent access to the original digital content they have paid for.
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The Correct Option is D
Approach Solution - 1
The passage highlights concerns about the control and access limitations in digital media, particularly through streaming services. It questions the durability and long-term reliability of both digital and physical media for preserving movies.
In this context, to invalidate the main argument—concern over the ephemerality and restricted access to digital content—any statement promising permanent and universal access to digital purchases would do so.
The correct choice is "Studios and streaming services have committed to giving customers perpetual and platform independent access to the original digital content they have paid for."
This statement directly addresses and nullifies the concerns by promising permanent access without platform dependency, countering the argument that streaming serves to restrict rather than expand access.
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Approach Solution -2
The passage discusses the control over access to digital content, emphasizing issues with digital rights, storage conditions, and the uncertainty of maintaining access to such content over time. The main argument presents challenges associated with streaming services and digital purchases, suggesting that they do not guarantee permanent access to content.
To invalidate this argument, a statement must present a solution that directly addresses and resolves the concerns of access and permanence. The correct option asserts that "Studios and streaming services have committed to giving customers perpetual and platform-independent access to the original digital content they have paid for."
This statement effectively invalidates the main argument by guaranteeing both perpetual and unfettered access to digital content, removing concerns about accessibility, rights management, and the risk of content disappearing or becoming obsolete. Such a commitment changes the dynamic described in the passage where content availability is uncertain and controlled by external factors.
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Question: 4
Which of the following statements is suggested by the sentence “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”?
Which of the following statements is suggested by the sentence “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”?
Updated On: Aug 13, 2025
- Cinema is now no longer as ephemeral as it used to be earlier, because the technology used for creating and preserving films has improved manifold.
- Presently, there is no reason why film studios should remove access to films once they have left the local cinema.
- Today, films are expected to be available for a long time, since they are no longer tied solely to their stay at the local cinema.
- Around a century ago, people were more accepting of not having access to films once they left the local cinema.
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The Correct Option is C
Approach Solution - 1
The solution to the given question lies in understanding the statement: “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.” The keyword here is "ephemerality," implying that films were once temporary and fleeting.
Analyzing the options, we are searching for a statement that contrasts this historical view of cinema's temporary nature with the present state.
The correct option is: Today, films are expected to be available for a long time, since they are no longer tied solely to their stay at the local cinema. This statement suggests that in the modern context, films are not confined to their run in local cinemas and can be accessed in various formats over a longer period, thus lacking the ephemeral characteristics they once had.
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Approach Solution -2
Based on the given passage, the statement "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" suggests that in the past, films were considered to be transient and temporary because their availability was limited to their showing time in local cinemas. Once a film completed its run in theaters, it was essentially inaccessible to the public, thus emphasizing its ephemeral nature.
In contrast, the selected sentence implies that the current situation has changed. Today, the nature of films has shifted; they are no longer tied exclusively to their run in local cinemas due to advancements in technology such as streaming services and digital media. This development has led to films being expected to be accessible for a much longer duration. With this context, the correct option that aligns with the suggested statement is:
Today, films are expected to be available for a long time, since they are no longer tied solely to their stay at the local cinema.
This option captures the essence of the shift from the transient nature of films in the past to their more permanent availability today due to innovations in film distribution and preservation.
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