LSAT Forum
3 postsPage 1 of 1
-
- ohthatpatrick
-
Thanks Received: 3808
-
Atticus Finch
- Posts: 4661
- Joined: April 01st, 2011
- This post thanked 2 times.
Re: Q12
Sure, the relevant part of bringing up musical films of the 1930s was to question whether they fit into the classical style, which is driven by straightforward narrative storytelling.
These musical films have little "music video" moments, in which the overall story of the movie takes a break and we essentially get artsy and abstract with the filmmaking, the way you might expect out of a music video.
So if we want a hypothetical novel that's going to do this, we want a novel that takes a break from its narrative storytelling, and engages in a fanciful detour that has nothing to do with the story. It's just a weird interlude in which the author can be abstract, experimental, decorative for no reason other than to be artistic.
(A) we need a novel that takes BREAKS from narrative, but this one seems to have no overarching story
(B) this seems thin on overarching story. It's like lots of dangling threads that finally make sense together at the end. We want an obvious story from start to finish, but with random detours that are just self-indulgent author explorations.
(C) don't see where the music video breaks are in this answer
(D) YES ... follows a protag through events = narrative
pausing throughout with fanciful flashbacks = music videos interspersed
(E) YES ... follows a protag through events = narrative
pausing throughout with stylistically elaborate = music videos interspersed
Okay, so we have to figure out which is a tighter fit for the language of the passage.
AH! (D) says that the flashbacks are relevant to the events. That kills (D). The whole point of the musical interludes in the musical films is that they are NOT connected to the narrative.
(E) is trying to make this clear by clarifying that the narrative is about a single day, whereas these "music videos" throughout are disconnected thoughts and fantasies about life in general.
Hope this helps.
These musical films have little "music video" moments, in which the overall story of the movie takes a break and we essentially get artsy and abstract with the filmmaking, the way you might expect out of a music video.
So if we want a hypothetical novel that's going to do this, we want a novel that takes a break from its narrative storytelling, and engages in a fanciful detour that has nothing to do with the story. It's just a weird interlude in which the author can be abstract, experimental, decorative for no reason other than to be artistic.
(A) we need a novel that takes BREAKS from narrative, but this one seems to have no overarching story
(B) this seems thin on overarching story. It's like lots of dangling threads that finally make sense together at the end. We want an obvious story from start to finish, but with random detours that are just self-indulgent author explorations.
(C) don't see where the music video breaks are in this answer
(D) YES ... follows a protag through events = narrative
pausing throughout with fanciful flashbacks = music videos interspersed
(E) YES ... follows a protag through events = narrative
pausing throughout with stylistically elaborate = music videos interspersed
Okay, so we have to figure out which is a tighter fit for the language of the passage.
AH! (D) says that the flashbacks are relevant to the events. That kills (D). The whole point of the musical interludes in the musical films is that they are NOT connected to the narrative.
(E) is trying to make this clear by clarifying that the narrative is about a single day, whereas these "music videos" throughout are disconnected thoughts and fantasies about life in general.
Hope this helps.
3 posts Page 1 of 1