- Thu May 11, 2017 10:49 am
#34744
Complete Question Explanation
(See the complete passage discussion here: lsat/viewtopic.php?t=12785)
The correct answer choice is (B)
The author discusses the suspension of disbelief in the second paragraph to contrast narrative photographs, including Cameron’s fancy-subject pictures, with narrative paintings and theatrical productions. While the suspension of disbelief is possible in narrative paintings and theatrical productions, it can never be achieved in narrative photographs, which “can never escape being pictures of actors.” Our prephrase is that the author discusses the suspension of disbelief to describe this contrast.
Answer choice (A): This answer choice is incorrect because Cameron’s pictures are not a case study used to support a broader argument about the difference between narrative photography and narrative paintings or theatrical productions.
Answer choice (B): This is the correct answer choice because it properly describes the author’s purpose in discussing the suspension of disbelief. Since we cannot suspend our disbelief when looking at photographs of actors, a doubleness characterizes Cameron’s work and contributes to the author’s view of her work as “treasures of photography of an unfathomably peculiar sort.” (Lines 44-45).
Answer choice (C): Here, the answer choice is inconsistent with the passage because the author did not have a negative appraisal of narrative photography.
Answer choice (D): Although the inability of narrative photographs to effect a suspension of disbelief in the viewer could be viewed as a criticism of the art form, the passage does not present a criticism of Cameron’s fancy-subject pictures to which the author responds.
Answer choice (E): It is true that the author uses the idea of suspension of disbelief to introduce a contrast, as described in the prephrase and in relation to answer choice (B). However, this answer choice is incorrect because it misstates the contrast drawn by the author. Further, the author does not conclude that the fancy-subject pictures are more like narrative paintings than they are like dramas.
(See the complete passage discussion here: lsat/viewtopic.php?t=12785)
The correct answer choice is (B)
The author discusses the suspension of disbelief in the second paragraph to contrast narrative photographs, including Cameron’s fancy-subject pictures, with narrative paintings and theatrical productions. While the suspension of disbelief is possible in narrative paintings and theatrical productions, it can never be achieved in narrative photographs, which “can never escape being pictures of actors.” Our prephrase is that the author discusses the suspension of disbelief to describe this contrast.
Answer choice (A): This answer choice is incorrect because Cameron’s pictures are not a case study used to support a broader argument about the difference between narrative photography and narrative paintings or theatrical productions.
Answer choice (B): This is the correct answer choice because it properly describes the author’s purpose in discussing the suspension of disbelief. Since we cannot suspend our disbelief when looking at photographs of actors, a doubleness characterizes Cameron’s work and contributes to the author’s view of her work as “treasures of photography of an unfathomably peculiar sort.” (Lines 44-45).
Answer choice (C): Here, the answer choice is inconsistent with the passage because the author did not have a negative appraisal of narrative photography.
Answer choice (D): Although the inability of narrative photographs to effect a suspension of disbelief in the viewer could be viewed as a criticism of the art form, the passage does not present a criticism of Cameron’s fancy-subject pictures to which the author responds.
Answer choice (E): It is true that the author uses the idea of suspension of disbelief to introduce a contrast, as described in the prephrase and in relation to answer choice (B). However, this answer choice is incorrect because it misstates the contrast drawn by the author. Further, the author does not conclude that the fancy-subject pictures are more like narrative paintings than they are like dramas.
Thanks James!