A recent incident precipitated the crisis in the already distressed sector. The Supreme Court's 24 October 2019 (Union of India v Association of Unified Telecom Service Providers of India) ruling ordered the telecom companies to pay up all that they owed in the form of levies, arrears, penalties and interest payments penalties through the last 15 years. The dispute was on how to calculate the gross adjusted revenues from which the government levies a tax. The companies contended that only their revenues arising out of their use of spectrum be considered. The Department of Telecommunications (DoT), however, also included all their indirect earnings that form the adjusted gross revenue (AGR). This would include, for example, dividends and revenue from sale of handsets that are bundled with services, interest income, scrap sale or even rental income. The Supreme Court upheld the DoT's view in its October order. This definition of AGR spikes up the arrears, penalties and interest payments to a value close to Rs. 92,000 crore to be paid by the telecom firms in three months. This value, in an industry that is already saddled with a huge debt, is a matter of serious concern. While Bharti Airtel and Vodafone-Idea have to pay Rs. 29,000 crore and Rs. 33,000 crore respectively, Reliance Jio, which is a new entrant, needs to pay Rs. 13,000 crore, due to its purchase of Reliance communication’s liabilities. Vodafone-Idea's cash reserves do not even match up to the penalty amount, making it seriously consider closing down. Vodafone-Idea reported a loss of almost Rs. 50,000 crore in the quarter ending in September 2019 (compared with Rs. 5,000 crore last year in the same quarter). This is, by many accounts, the largest loss by an Indian company. Airtel's story is also woeful, reporting a loss of Rs. 23,000 crore. These numbers are staggeringly high, enough to break a company down. Price wars in the last two years had led to a considerable bleeding of the incumbents already. Vodafone-Idea's future seems uncertain. Since the company owes huge debts to public banks, and has a number of dependent vendors, a ripple effect may hurt the overall economy. Lawmakers are genuinely worried and companies are trying hard to strike a deal with the government. A committee of secretaries was formed to consider a relief package for the beleaguered industry. They have granted a two-year moratorium on the spectrum payments, offering some cash flow relief, but do not touch the Supreme Court-imposed penalty. Estimates reveal that this package does not make much of a difference. Conversations on the bailout have begun. While this may not be a good sign, there is a need to dig deeper. Q. What was the dispute which was rectified by the Supreme Court in the judgement?

The liability of the companies to pay the tax levied on them.

The methodology of computing the gross adjusted revenues which was taxed.

The period in which the levies, arrears, penalties etc. would have to be paid.

The rationality of the quantum of tax levied on the companies.

A recent incident precipitated the crisis in the already distressed sector. The Supreme Court's 24 October 2019 (Union of India v Association of Unified Telecom Service Providers of India) ruling ordered the telecom companies to pay up all that they owed in the form of levies, arrears, penalties and interest payments penalties through the last 15 years. The dispute was on how to calculate the gross adjusted revenues from which the government levies a tax. The companies contended that only their revenues arising out of their use of spectrum be considered. The Department of Telecommunications (DoT), however, also included all their indirect earnings that form the adjusted gross revenue (AGR). This would include, for example, dividends and revenue from sale of handsets that are bundled with services, interest income, scrap sale or even rental income. The Supreme Court upheld the DoT's view in its October order. This definition of AGR spikes up the arrears, penalties and interest payments to a value close to Rs. 92,000 crore to be paid by the telecom firms in three months. This value, in an industry that is already saddled with a huge debt, is a matter of serious concern. While Bharti Airtel and Vodafone-Idea have to pay Rs. 29,000 crore and Rs. 33,000 crore respectively, Reliance Jio, which is a new entrant, needs to pay Rs. 13,000 crore, due to its purchase of Reliance communication’s liabilities. Vodafone-Idea's cash reserves do not even match up to the penalty amount, making it seriously consider closing down. Vodafone-Idea reported a loss of almost Rs. 50,000 crore in the quarter ending in September 2019 (compared with Rs. 5,000 crore last year in the same quarter). This is, by many accounts, the largest loss by an Indian company. Airtel's story is also woeful, reporting a loss of Rs. 23,000 crore. These numbers are staggeringly high, enough to break a company down. Price wars in the last two years had led to a considerable bleeding of the incumbents already. Vodafone-Idea's future seems uncertain. Since the company owes huge debts to public banks, and has a number of dependent vendors, a ripple effect may hurt the overall economy. Lawmakers are genuinely worried and companies are trying hard to strike a deal with the government. A committee of secretaries was formed to consider a relief package for the beleaguered industry. They have granted a two-year moratorium on the spectrum payments, offering some cash flow relief, but do not touch the Supreme Court-imposed penalty. Estimates reveal that this package does not make much of a difference. Conversations on the bailout have begun. While this may not be a good sign, there is a need to dig deeper. Q. In what context has the term 'ruling' been used in the passage?

A diktat of the politically superior to the inferior.

A judicial decision by the highest court of law of in the country.

The opinion of the judges on a social issue.

The accountability and the principle of check and balance between organs of the government.

A recent incident precipitated the crisis in the already distressed sector. The Supreme Court's 24 October 2019 (Union of India v Association of Unified Telecom Service Providers of India) ruling ordered the telecom companies to pay up all that they owed in the form of levies, arrears, penalties and interest payments penalties through the last 15 years. The dispute was on how to calculate the gross adjusted revenues from which the government levies a tax. The companies contended that only their revenues arising out of their use of spectrum be considered. The Department of Telecommunications (DoT), however, also included all their indirect earnings that form the adjusted gross revenue (AGR). This would include, for example, dividends and revenue from sale of handsets that are bundled with services, interest income, scrap sale or even rental income. The Supreme Court upheld the DoT's view in its October order. This definition of AGR spikes up the arrears, penalties and interest payments to a value close to Rs. 92,000 crore to be paid by the telecom firms in three months. This value, in an industry that is already saddled with a huge debt, is a matter of serious concern. While Bharti Airtel and Vodafone-Idea have to pay Rs. 29,000 crore and Rs. 33,000 crore respectively, Reliance Jio, which is a new entrant, needs to pay Rs. 13,000 crore, due to its purchase of Reliance communication’s liabilities. Vodafone-Idea's cash reserves do not even match up to the penalty amount, making it seriously consider closing down. Vodafone-Idea reported a loss of almost Rs. 50,000 crore in the quarter ending in September 2019 (compared with Rs. 5,000 crore last year in the same quarter). This is, by many accounts, the largest loss by an Indian company. Airtel's story is also woeful, reporting a loss of Rs. 23,000 crore. These numbers are staggeringly high, enough to break a company down. Price wars in the last two years had led to a considerable bleeding of the incumbents already. Vodafone-Idea's future seems uncertain. Since the company owes huge debts to public banks, and has a number of dependent vendors, a ripple effect may hurt the overall economy. Lawmakers are genuinely worried and companies are trying hard to strike a deal with the government. A committee of secretaries was formed to consider a relief package for the beleaguered industry. They have granted a two-year moratorium on the spectrum payments, offering some cash flow relief, but do not touch the Supreme Court-imposed penalty. Estimates reveal that this package does not make much of a difference. Conversations on the bailout have begun. While this may not be a good sign, there is a need to dig deeper. Q. What is the meaning of the term 'moratorium' as used in the passage?

The suing of company by its creditors.

The gov ernmental aid prov ided to rebuild the company

The act of declaring a company bankrupt

A temporary measure to stop the company from selling its assets.

A recent incident precipitated the crisis in the already distressed sector. The Supreme Court's 24 October 2019 (Union of India v Association of Unified Telecom Service Providers of India) ruling ordered the telecom companies to pay up all that they owed in the form of levies, arrears, penalties and interest payments penalties through the last 15 years. The dispute was on how to calculate the gross adjusted revenues from which the government levies a tax. The companies contended that only their revenues arising out of their use of spectrum be considered. The Department of Telecommunications (DoT), however, also included all their indirect earnings that form the adjusted gross revenue (AGR). This would include, for example, dividends and revenue from sale of handsets that are bundled with services, interest income, scrap sale or even rental income. The Supreme Court upheld the DoT's view in its October order. This definition of AGR spikes up the arrears, penalties and interest payments to a value close to Rs. 92,000 crore to be paid by the telecom firms in three months. This value, in an industry that is already saddled with a huge debt, is a matter of serious concern. While Bharti Airtel and Vodafone-Idea have to pay Rs. 29,000 crore and Rs. 33,000 crore respectively, Reliance Jio, which is a new entrant, needs to pay Rs. 13,000 crore, due to its purchase of Reliance communication’s liabilities. Vodafone-Idea's cash reserves do not even match up to the penalty amount, making it seriously consider closing down. Vodafone-Idea reported a loss of almost Rs. 50,000 crore in the quarter ending in September 2019 (compared with Rs. 5,000 crore last year in the same quarter). This is, by many accounts, the largest loss by an Indian company. Airtel's story is also woeful, reporting a loss of Rs. 23,000 crore. These numbers are staggeringly high, enough to break a company down. Price wars in the last two years had led to a considerable bleeding of the incumbents already. Vodafone-Idea's future seems uncertain. Since the company owes huge debts to public banks, and has a number of dependent vendors, a ripple effect may hurt the overall economy. Lawmakers are genuinely worried and companies are trying hard to strike a deal with the government. A committee of secretaries was formed to consider a relief package for the beleaguered industry. They have granted a two-year moratorium on the spectrum payments, offering some cash flow relief, but do not touch the Supreme Court-imposed penalty. Estimates reveal that this package does not make much of a difference. Conversations on the bailout have begun. While this may not be a good sign, there is a need to dig deeper. Q. Why does the author think that the package would not make much of a difference?

It does not target the penalties imposed by the Supreme Court.

It does not prevent the telecom companies from bailing out.

It gave a moratorium period of just two years.

It allowed certain degree of asset transactions.

Ahmedabad’s Sunday market that sells waste is this 35-year-old artist’s most liked hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back in home, he dismantles his treasure of scrap and segregates it into big pieces (the videoplayer’s outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the words whirring. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can be distracting. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty auto rickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it. Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself. Q. According to the passage, which of the following statements can be inferred?

Har makes a mental picture of his work before he starts creating it.

Har has to pay a lot of attention on v isualizing the colour of his work.

Har’s artworks are v isually appealing because of their strong focus on colour.

Har’s artworks have myriad colour combinations that distract the observer.

Ahmedabad’s Sunday market that sells waste is this 35-year-old artist’s most liked hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back in home, he dismantles his treasure of scrap and segregates it into big pieces (the videoplayer’s outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the words whirring. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can be distracting. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty auto rickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it. Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself. Q. What does the word 'aesthete' as used in the passage mean?

A lover of art and beautiful things

Ahmedabad’s Sunday market that sells waste is this 35-year-old artist’s most liked hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back in home, he dismantles his treasure of scrap and segregates it into big pieces (the videoplayer’s outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the words whirring. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can be distracting. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty auto rickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it. Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself. Q. Which of the following is true according to the given passage?

Har refers to himself as 'artist'.

Har's second creation was as a teenager was a prawn.

Frivolity, Hashissh and Nelumbeshwar are pieces of art created by Har.

As a teenager, Har used a cricket ball and a bigger plastic ball to create a spider.

Ahmedabad’s Sunday market that sells waste is this 35-year-old artist’s most liked hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back in home, he dismantles his treasure of scrap and segregates it into big pieces (the videoplayer’s outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the words whirring. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can be distracting. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty auto rickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it.Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself. Q. According to the author, what makes Har ’s art fun?

Har’s finished artwork uses unique pieces of scrap to bring alive his art.

Har’s artwork is meant for observers who can comprehend the message in his art.

Har’s finished artwork offers the viewer the choice of different views.

Har’s finished artwork has an animated aspect to it.

Ahmedabad’s Sunday market that sells waste is this 35-year-old artist’s most liked hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back in home, he dismantles his treasure of scrap and segregates it into big pieces (the videoplayer’s outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the words whirring. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can be distracting. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty auto rickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it. Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself. Q. Which of the following statements cannot be inferred from the passage?

Har is a NID-trained animation designer.

Har’s artwork magically transports the viewers to another world.

Har doesn’t sketch as using a lot of colours distracts and shifts the focus away from the final look.

Har’s mother supported his teenage passion of designing scrap.

Ahmedabad’s Sunday market that sells waste is this 35-year-old artist’s most liked hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back in home, he dismantles his treasure of scrap and segregates it into big pieces (the videoplayer’s outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the words whirring. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can be distracting. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty auto rickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it. Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself. Q. What is the Central idea of the given passage?

Har's undying passion for art makes him create new pieces of art from scrap.

Ahmedabad's Sunday market offers a variety of junk to Har.

Scraps can be used for making new things.

Scrap market is a breeding ground for art.

Ahmedabad’s Sunday market that sells waste is this 35-year-old artist’s most liked hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back in home, he dismantles his treasure of scrap and segregates it into big pieces (the videoplayer’s outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the words whirring. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can be distracting. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty auto rickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it. Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself. Q. In the light of the given passage which of the following in not true?

Har creates pieces of art from scraps and junk.

Nelumbeshwar is painted in acrylic pink and greyblack.

Frivolity is created using feathers and terracotta diyas.

Hashissh is created from nylon ropes, discarded DVD and hairpins.

That the doctrines connected with the name of Mr Darwin are altering our principles has become a sort of commonplace thing to say. And moral principles are said to share in this general transformation. Now, to pass by other subjects, I do not see why Darwinism need change our ultimate moral ideas. It was not to modify our conception of the end, either for the community, or the individual, unless we have been holding views, which long before Darwin were out of date. As to the principles of ethics I perceive, in short, no sign of revolution. Darwinism has indeed helped many to truer conception of the end, but I cannot admit that it has either originated or modified that conception. And yet in ethics Darwinism after all perhaps may be revolutionary, it may lead not to another view about the end, but to a different way of regarding the relative importance of the means. For in the ordinary moral creed those means seem estimated on no rational principle. Our creed appears rather to be an irrational mixture of jarring elements. We have the moral code of Christianity, accepted in part; rejected practically by all save a few fanatics. But we do not realise how in its very principle the Christian ideals are false. And when we reject this code for another and in part a sounder morality, we are in the same condition of blindness and of practical confusion. It is here that Darwinism, with all the tendencies we may group under that name, seems destined to intervene. It will make itself felt, I believe, more and more effectually. It may force on us in some points a correction of our moral views, and a return to a non-Christian and perhaps a Hellenic ideal. I propose to illustrate here these general statements by some remarks on Punishment. Darwinism, I have said, has not even modified our ideas of the Chief Good. We may take that as - the welfare of the community realised in its members. There is, of course, a question as to meaning to be given to welfare. We may identify that with mere pleasure, or gain with mere system, or may rather view both as inseparable aspects of perfection and individuality. And the extent and nature of the community would once more be a subject for some discussion. But we are forced to enter on these controversies here. We may leave welfare undefined, and for present purpose need not distinguish the community from the state. The welfare of this whole exists, of course, nowhere outside the individuals, and the individuals again have rights and duties only as members in the whole. Q. What, according to the passage, is the Chief Good?

Being good and kind to all fellow human beings

The greatest good of the greatest number

The welfare of the community realised in its members

Avoid speculating about Darwin's imputation of dishonesty

That the doctrines connected with the name of Mr Darwin are altering our principles has become a sort of commonplace thing to say. And moral principles are said to share in this general transformation. Now, to pass by other subjects, I do not see why Darwinism need change our ultimate moral ideas. It was not to modify our conception of the end, either for the community, or the individual, unless we have been holding views, which long before Darwin were out of date. As to the principles of ethics I perceive, in short, no sign of revolution. Darwinism has indeed helped many to truer conception of the end, but I cannot admit that it has either originated or modified that conception. And yet in ethics Darwinism after all perhaps may be revolutionary, it may lead not to another view about the end, but to a different way of regarding the relative importance of the means. For in the ordinary moral creed those means seem estimated on no rational principle. Our creed appears rather to be an irrational mixture of jarring elements. We have the moral code of Christianity, accepted in part; rejected practically by all save a few fanatics. But we do not realise how in its very principle the Christian ideals are false. And when we reject this code for another and in part a sounder morality, we are in the same condition of blindness and of practical confusion. It is here that Darwinism, with all the tendencies we may group under that name, seems destined to intervene. It will make itself felt, I believe, more and more effectually. It may force on us in some points a correction of our moral views, and a return to a non-Christian and perhaps a Hellenic ideal. I propose to illustrate here these general statements by some remarks on Punishment. Darwinism, I have said, has not even modified our ideas of the Chief Good. We may take that as - the welfare of the community realised in its members. There is, of course, a question as to meaning to be given to welfare. We may identify that with mere pleasure, or gain with mere system, or may rather view both as inseparable aspects of perfection and individuality. And the extent and nature of the community would once more be a subject for some discussion. But we are forced to enter on these controversies here. We may leave welfare undefined, and for present purpose need not distinguish the community from the state. The welfare of this whole exists, of course, nowhere outside the individuals, and the individuals again have rights and duties only as members in the whole. Q. According to the author, the moral code of Christianity

is dragged and frittered away by some people.

is in danger due to opposition of Darwinism.

is followed by a vast majority of people.

is not followed by most people.

That the doctrines connected with the name of Mr Darwin are altering our principles has become a sort of commonplace thing to say. And moral principles are said to share in this general transformation. Now, to pass by other subjects, I do not see why Darwinism need change our ultimate moral ideas. It was not to modify our conception of the end, either for the community, or the individual, unless we have been holding views, which long before Darwin were out of date. As to the principles of ethics I perceive, in short, no sign of revolution. Darwinism has indeed helped many to truer conception of the end, but I cannot admit that it has either originated or modified that conception. And yet in ethics Darwinism after all perhaps may be revolutionary, it may lead not to another view about the end, but to a different way of regarding the relative importance of the means. For in the ordinary moral creed those means seem estimated on no rational principle. Our creed appears rather to be an irrational mixture of jarring elements. We have the moral code of Christianity, accepted in part; rejected practically by all save a few fanatics. But we do not realise how in its very principle the Christian ideals are false. And when we reject this code for another and in part a sounder morality, we are in the same condition of blindness and of practical confusion. It is here that Darwinism, with all the tendencies we may group under that name, seems destined to intervene. It will make itself felt, I believe, more and more effectually. It may force on us in some points a correction of our moral views, and a return to a non-Christian and perhaps a Hellenic ideal. I propose to illustrate here these general statements by some remarks on Punishment. Darwinism, I have said, has not even modified our ideas of the Chief Good. We may take that as - the welfare of the community realised in its members. There is, of course, a question as to meaning to be given to welfare. We may identify that with mere pleasure, or gain with mere system, or may rather view both as inseparable aspects of perfection and individuality. And the extent and nature of the community would once more be a subject for some discussion. But we are forced to enter on these controversies here. We may leave welfare undefined, and for present purpose need not distinguish the community from the state. The welfare of this whole exists, of course, nowhere outside the individuals, and the individuals again have rights and duties only as members in the whole. Q. According to the author, the doctrines of Mr Darwin

have changed our physical and moral principles.

have to be re-evaluated to correct the faults endemic in them.

do not have to change our moral ideas.

are actually new versions of old moral rules.

That the doctrines connected with the name of Mr Darwin are altering our principles has become a sort of commonplace thing to say. And moral principles are said to share in this general transformation. Now, to pass by other subjects, I do not see why Darwinism need change our ultimate moral ideas. It was not to modify our conception of the end, either for the community, or the individual, unless we have been holding views, which long before Darwin were out of date. As to the principles of ethics I perceive, in short, no sign of revolution. Darwinism has indeed helped many to truer conception of the end, but I cannot admit that it has either originated or modified that conception. And yet in ethics Darwinism after all perhaps may be revolutionary, it may lead not to another view about the end, but to a different way of regarding the relative importance of the means. For in the ordinary moral creed those means seem estimated on no rational principle. Our creed appears rather to be an irrational mixture of shaking elements. We have the moral code of Christianity, accepted in part; rejected practically by all save a few fanatics. But we do not realise how in its very principle the Christian ideals are false. And when we reject this code for another and in part a sounder morality, we are in the same condition of blindness and of practical confusion. It is here that Darwinism, with all the tendencies we may group under that name, seems destined to intervene. It will make itself felt, I believe, more and more effectually. It may force on us in some points a correction of our moral views, and a return to a non-Christian and perhaps a Hellenic ideal. I propose to illustrate here these general statements by some remarks on Retribution. Darwinism, I have said, has not even modified our ideas of the Chief Good. We may take that as - the welfare of the community realised in its members. There is, of course, a question as to meaning to be given to welfare. We may identify that with mere pleasure, or gain with mere system, or may rather view both as inseparable aspects of perfection and individuality. And the extent and nature of the community would once more be a subject for some discussion. But we are forced to enter on these controversies here. We may leave welfare undefined, and for present purpose need not distinguish the community from the state. The welfare of this whole exists, of course, nowhere outside the individuals, and the individuals again have rights and duties only as members in the whole. Q. It is implied in the passage that

a Hellenic ideal is not a proper substitute of the Christian ideal.

what mankind needs is a Hellenic ideal rather than a Christian one.

Darwinism is more Christian than Hellenic.

fanatics do not understand what Darwinism really is.

That the doctrines connected with the name of Mr Darwin are altering our principles has become a sort of commonplace thing to say. And moral principles are said to share in this general transformation. Now, to pass by other subjects, I do not see why Darwinism need change our ultimate moral ideas. It was not to modify our conception of the end, either for the community, or the individual, unless we have been holding views, which long before Darwin were out of date. As to the principles of ethics I perceive, in short, no sign of revolution. Darwinism has indeed helped many to truer conception of the end, but I cannot admit that it has either originated or modified that conception. And yet in ethics Darwinism after all perhaps may be revolutionary, it may lead not to another view about the end, but to a different way of regarding the relative importance of the means. For in the ordinary moral creed those means seem estimated on no rational principle. Our creed appears rather to be an irrational mixture of shaking elements. We have the moral code of Christianity, accepted in part; rejected practically by all save a few fanatics. But we do not realise how in its very principle the Christian ideals are false. And when we reject this code for another and in part a sounder morality, we are in the same condition of blindness and of practical confusion. It is here that Darwinism, with all the tendencies we may group under that name, seems destined to intervene. It will make itself felt, I believe, more and more effectually. It may force on us in some points a correction of our moral views, and a return to a non-Christian and perhaps a Hellenic ideal. I propose to illustrate here these general statements by some remarks on Retribution. Darwinism, I have said, has not even modified our ideas of the Chief Good. We may take that as - the welfare of the community realised in its members. There is, of course, a question as to meaning to be given to welfare. We may identify that with mere pleasure, or gain with mere system, or may rather view both as inseparable aspects of perfection and individuality. And the extent and nature of the community would once more be a subject for some discussion. But we are forced to enter on these controversies here. We may leave welfare undefined, and for present purpose need not distinguish the community from the state. The welfare of this whole exists, of course, nowhere outside the individuals, and the individuals again have rights and duties only as members in the whole. Q. What is most probably the author's opinion of the existing moral principles of the people?

He thinks they have to be revamped in the light of Darwinism.

He thinks that they are okay as they are and do not need any major change.

He thinks that it may be a good idea to have a modicum of the immortal Darwinism in us.

He thinks that Darwanism has influenced moral principles of the people.

Beauty is a valuable commodity in our image-obsessed society, so it's not surprising that Miss Indias and Miss Worlds make headlines. These young women aren't just beautiful; they're most often thin too. But Chloe Marshall, the 2008 Miss England runner-up, was size 16 ('full figured' or 'ample,' to put it politely) and therefore made even more news. A full-figured beauty pageant finalist creating a stop-the-press moment highlights the fact that larger women are not usually considered 'the fairest of them all.' Indeed, pick up a magazine or newspaper on any other day and the message is loud and clear -thin is in. With the average woman hovering around a size 14 or above, the comparison is odious. A recent survey revealed only six percent of women aged 18 to 64 were 'very satisfied' with their looks. That leaves 94 percent of women critical of their appearance. In other words, the majority of the women sitting with you in the metro this morning woke up feeling judgmental and negative about their looks. 'If every woman in the world woke up, slapped herself on the head and said: 'I'm happy with who I am,' entire economies would collapse,' says Jane Caro, an award-winning advertising writer. The media is often portrayed as the bogeyman in the body-image debate, but experts say it's only part of the picture. Paxton notes women are getting messages from family from an early age. The way in which parents view their bodies impacts their children's attitudes. 'A mother who is always dieting or being critical of her body is sending a clear message to her daughters,' says Tiggemann. 'That sense of body dissatisfaction is passed on.' The anti-obesity push is also unhelpful. 'It's shifted the focus away from health and onto weight and looks,' she says. 'It's perpetuating the notion that fat is bad, thin is good, and thinner is better.' And it's a notion that has recently been proved to be untrue. Q. Which of the following statements can be inferred from the passage?

Thin girls are beautiful and hav e the potential to make headlines.

Anti-obesity programmes have helped in reducing obesity.

The author agrees that economies would collapse if all the women in the world start admiring the way they look.

Children have e a tendency to get influenced by what they see at home.

Beauty is a valuable commodity in our image-obsessed society, so it's not surprising that Miss Indias and Miss Worlds make headlines. These young women aren't just beautiful; they're most often thin too. But Chloe Marshall, the 2008 Miss England runner-up, was size 16 ('full figured' or 'ample,' to put it politely) and therefore made even more news. A full-figured beauty pageant finalist creating a stop-the-press moment highlights the fact that larger women are not usually considered 'the fairest of them all.' Indeed, pick up a magazine or newspaper on any other day and the message is loud and clear -thin is in. With the average woman hovering around a size 14 or above, the comparison is odious. A recent survey revealed only six percent of women aged 18 to 64 were 'very satisfied' with their looks. That leaves 94 percent of women critical of their appearance. In other words, the majority of the women sitting with you in the metro this morning woke up feeling judgmental and negative about their looks. 'If every woman in the world woke up, slapped herself on the head and said: 'I'm happy with who I am,' entire economies would collapse,' says Jane Caro, an award-winning advertising writer. The media is often portrayed as the bogeyman in the body-image debate, but experts say it's only part of the picture. Paxton notes women are getting messages from family from an early age. The way in which parents view their bodies impacts their children's attitudes. 'A mother who is always dieting or being critical of her body is sending a clear message to her daughters,' says Tiggemann. 'That sense of body dissatisfaction is passed on.' The anti-obesity push is also unhelpful. 'It's shifted the focus away from health and onto weight and looks,' she says. 'It's perpetuating the notion that fat is bad, thin is good, and thinner is better.' And it's a notion that has recently been proved to be untrue. Q. Which notion is being talked about in the last line of the passage?

Women's obsession with a slim figure is unhealthy.

Fat is bad and slim is good is true.

The anti obesity push is not helpful.

Beauty is a valuable commodity in our image-obsessed society, so it's not surprising that Miss Indias and Miss Worlds make headlines. These young women aren't just beautiful; they're most often thin too. But Chloe Marshall, the 2008 Miss England runner-up, was size 16 ('full figured' or 'ample,' to put it politely) and therefore made even more news. A full-figured beauty pageant finalist creating a stop-the-press moment highlights the fact that larger women are not usually considered 'the fairest of them all.' Indeed, pick up a magazine or newspaper on any other day and the message is loud and clear -thin is in. With the average woman hovering around a size 14 or above, the comparison is odious. A recent survey revealed only six percent of women aged 18 to 64 were 'very satisfied' with their looks. That leaves 94 percent of women critical of their appearance. In other words, the majority of the women sitting with you in the metro this morning woke up feeling judgmental and negative about their looks. 'If every woman in the world woke up, slapped herself on the head and said: 'I'm happy with who I am,' entire economies would collapse,' says Jane Caro, an award-winning advertising writer. The media is often portrayed as the bogeyman in the body-image debate, but experts say it's only part of the picture. Paxton notes women are getting messages from family from an early age. The way in which parents view their bodies impacts their children's attitudes. 'A mother who is always dieting or being critical of her body is sending a clear message to her daughters,' says Tiggemann. 'That sense of body dissatisfaction is passed on.' The anti-obesity push is also unhelpful. 'It's shifted the focus away from health and onto weight and looks,' she says. 'It's perpetuating the notion that fat is bad, thin is good, and thinner is better.' And it's a notion that has recently been proved to be untrue. Q. Why did Chloe Marshall make headlines?

She was not unlike the others who believed that 'thin is in'.

She was not considered 'fairest of them all'.

She was not as 'image obsessed' as the other winners.

She was a 'full figured' 2008 Miss England runner up.

The problem with backdating taxes is that the taxpayer will have to continuously guess how much of his current income will be taken away at a later date. This is the crux of the Parthasarathi Shome committee report on retrospective taxation of cross-border acquisition of Indian assets, like Vodafone’s $11.2 billion purchase of Hutchison’s stake in the country’s third largest telecom service provider in 2007. The Supreme Court in January ruled against the taxman, who was claiming Rs. 11,200 crore in tax, penalty and interest. The court conceded that Indian law was incapable of plugging a widely used tax dodge by inbound foreign investment. The message for the government in the verdict was that the law needed to be changed to curb treaty shopping, the practice of routing investments through letter-box companies in havens like Mauritius to avoid paying taxes in India. Presenting his last budget in March, the then finance minister Pranab Mukherjee, altered the Income Tax Act to tax such deals with retrospective effect. His argument was since the court felt the intent of the law was not clear, it had to be explicitly clarified for the entire past life of the Income Tax Act, which was enacted in 1962. This last bit - that deals done earlier could be taxed -raised a chorus of protest from the investing community, and the finance ministry under P Chidambaram sought an independent review of its stand. Mr Shome, a tax expert of international standing, has now told the government what it knew all this while: taxes in retrospect are best avoided. Specifically, they must never be used to merely raise tax revenue. In the Vodafone case, the Shome committee is unequivocal: the company to claim tax from is Hutchison, which made the profit from the sale of its stake in the telecom company. Vodafone was not required by the extant law to withhold capital gains tax. Since Vodafone made no profit in the deal, the question of interest and penalties on back taxes does not arise. Mr Chidambaram has indicated his desire to reverse the decision as soon as possible, even before the next budget when, normally, amendments to the Income Tax Act are undertaken. He reckons investors will return to the table once the fog over retrospective taxes is lifted. Q. Which one of these options best explains the reference the author makes to the practice of treaty shopping?

Foreign investors route their investments to India through illegal means to avoid paying taxes.

It is easier to invest in India by setting up a company in a tax free country like Mauritius.

In order to avoid tax, it is possible for investors to bring in their investments into India by using obsolete tax laws.

In order to avoid paying tax in India, it is possible for investors to bring in their investments into India through companies set up for this purpose in a different country.

The problem with backdating taxes is that the taxpayer will have to continuously guess how much of his current income will be taken away at a later date. This is the crux of the Parthasarathi Shome committee report on retrospective taxation of cross-border acquisition of Indian assets, like Vodafone’s $11.2 billion purchase of Hutchison’s stake in the country’s third largest telecom service provider in 2007. The Supreme Court in January ruled against the taxman, who was claiming Rs. 11,200 crore in tax, penalty and interest. The court conceded that Indian law was incapable of plugging a widely used tax dodge by inbound foreign investment. The message for the government in the verdict was that the law needed to be changed to curb treaty shopping, the practice of routing investments through letter-box companies in havens like Mauritius to avoid paying taxes in India. Presenting his last budget in March, the then finance minister Pranab Mukherjee, altered the Income Tax Act to tax such deals with retrospective effect. His argument was since the court felt the intent of the law was not clear, it had to be explicitly clarified for the entire past life of the Income Tax Act, which was enacted in 1962. This last bit - that deals done earlier could be taxed -raised a chorus of protest from the investing community, and the finance ministry under P Chidambaram sought an independent review of its stand. Mr Shome, a tax expert of international standing, has now told the government what it knew all this while: taxes in retrospect are best avoided. Specifically, they must never be used to merely raise tax revenue. In the Vodafone case, the Shome committee is unequivocal: the company to claim tax from is Hutchison, which made the profit from the sale of its stake in the telecom company. Vodafone was not required by the extant law to withhold capital gains tax. Since Vodafone made no profit in the deal, the question of interest and penalties on back taxes does not arise. Mr Chidambaram has indicated his desire to reverse the decision as soon as possible, even before the next budget when, normally, amendments to the Income Tax Act are undertaken. He reckons investors will return to the table once the fog over retrospective taxes is lifted. Q. As per the information in the passage, the author is most likely to agree with which of the following?

The legal system in India needs a change and archaic laws that have no purpose should be relegated.

At present, there is a lack of clarity on the issue of retrospective taxes.

Tax revenues can be raised from other methods and not just through taxes in retrospect.

The finance minister should place greater focus on a good budget and leave out retrospective taxation altogether.

Film is an inherently illusionist and enormously powerful medium, one that even acknowledged masters of the form claim not to fully understand. Film may be the most pervasive and influential art form of the twentieth century, changing our culture and our perception of it, especially since television was introduced and the public began spending 40 percent of its free time watching. For many people, knowledge of a particular place, culture or historical event is likely to have been gleaned only from the movies. There are three principle influences on film: art, business and technology. Ideally, the artist would create films unencumbered by the other two, but the high costs and extreme technical demands of filmmaking ensure that every movie is inevitably the result of a collaboration or compromise between these three elements. As literature has its own language and grammar, so does film, and the setup for a simple idea such as the opening of a horror film involves a complicated series of ingredients - long shots, closeups, lighting effects, set decoration, music, camera movement, and every one of these demands the involvement of several artists and technicians. Movies are invaluable reflectors of twentieth century culture, not only from filmic commentary by intelligent and socially aware filmmakers, but often inadvertently; the escapist musical Top Hat (1935) tells us something about the grim realities of the Depression. Movies will often shape themselves to appeal to perceived cultural attitudes, and as a result they will not only reflect their culture but actively influence it. This penchant for distorting a reflected vision of reality can often lead movies to create myths, with the heroic leads of action melodramas and presentations of historical characters that succeed more by their emotional resonance than their accuracy. A continuing question of the movies is whether or not they can ever fully be welcomed into the arts and accorded the same degree of respect that has long been given to other, older forms and mediums; universities were slow to offer courses in cinema, and indeed the avalanche of formula films makes it difficult to find the quality buried in the schlock. Mostly it seems to depend on the difference between art and entertainment, which several filmmakers and critics have offered opinions on. Q. What makes movies such a powerful medium of expressive art?

It is massively consumed by the masses.

It incorporates both technology and art.

It is capital intensive and carries ulterior motives of many people.

It is perceived as a recreational activity.

Film is an inherently illusionist and enormously powerful medium, one that even acknowledged masters of the form claim not to fully understand. Film may be the most pervasive and influential art form of the twentieth century, changing our culture and our perception of it, especially since television was introduced and the public began spending 40 percent of its free time watching. For many people, knowledge of a particular place, culture or historical event is likely to have been gleaned only from the movies. There are three principle influences on film: art, business and technology. Ideally, the artist would create films unencumbered by the other two, but the high costs and extreme technical demands of filmmaking ensure that every movie is inevitably the result of a collaboration or compromise between these three elements. As literature has its own language and grammar, so does film, and the setup for a simple idea such as the opening of a horror film involves a complicated series of ingredients - long shots, closeups, lighting effects, set decoration, music, camera movement, and every one of these demands the involvement of several artists and technicians. Movies are invaluable reflectors of twentieth century culture, not only from filmic commentary by intelligent and socially aware filmmakers, but often inadvertently; the escapist musical Top Hat (1935) tells us something about the grim realities of the Depression. Movies will often shape themselves to appeal to perceived cultural attitudes, and as a result they will not only reflect their culture but actively influence it. This penchant for distorting a reflected vision of reality can often lead movies to create myths, with the heroic leads of action melodramas and presentations of historical characters that succeed more by their emotional resonance than their accuracy. A continuing question of the movies is whether or not they can ever fully be welcomed into the arts and accorded the same degree of respect that has long been given to other, older forms and mediums; universities were slow to offer courses in cinema, and indeed the avalanche of formula films makes it difficult to find the quality buried in the schlock. Mostly it seems to depend on the difference between art and entertainment, which several filmmakers and critics have offered opinions on. Q. Why do movies tend to often reflect the culture and prevalent norms of a society?

The filmmakers are also part of the society from where the stories are drawn.

Movies are designed to be culturally relatable and easily perceivable.

The profitability of movies depends on how convincingly they create their story.

Movies offer an outlet to socially active and intelligent filmmakers.

Film is an inherently illusionist and enormously powerful medium, one that even acknowledged masters of the form claim not to fully understand. Film may be the most pervasive and influential art form of the twentieth century, changing our culture and our perception of it, especially since television was introduced and the public began spending 40 percent of its free time watching. For many people, knowledge of a particular place, culture or historical event is likely to have been gleaned only from the movies. There are three principle influences on film: art, business and technology. Ideally, the artist would create films unencumbered by the other two, but the high costs and extreme technical demands of filmmaking ensure that every movie is inevitably the result of a collaboration or compromise between these three elements. As literature has its own language and grammar, so does film, and the setup for a simple idea such as the opening of a horror film involves a complicated series of ingredients - long shots, closeups, lighting effects, set decoration, music, camera movement, and every one of these demands the involvement of several artists and technicians. Movies are invaluable reflectors of twentieth century culture, not only from filmic commentary by intelligent and socially aware filmmakers, but often inadvertently; the escapist musical Top Hat (1935) tells us something about the grim realities of the Depression. Movies will often shape themselves to appeal to perceived cultural attitudes, and as a result they will not only reflect their culture but actively influence it. This penchant for distorting a reflected vision of reality can often lead movies to create myths, with the heroic leads of action melodramas and presentations of historical characters that succeed more by their emotional resonance than their accuracy. A continuing question of the movies is whether or not they can ever fully be welcomed into the arts and accorded the same degree of respect that has long been given to other, older forms and mediums; universities were slow to offer courses in cinema, and indeed the avalanche of formula films makes it difficult to find the quality buried in the schlock. Mostly it seems to depend on the difference between art and entertainment, which several filmmakers and critics have offered opinions on. Q. Which of the following is the biggest cause for the lack of respect imparted to movies in comparison to other art forms?

The difference between art and entertainment.

The prevalent opinions of most filmmakers and critics.

The slow entry of film studies in universities.

The mediocrity and sub-standard nature of formula film.

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