In this task, you're given a question, a context passage, and four options which are terms from the passage. After reading a passage, you will get a brief understanding of the terms. Your job is to determine by searching and reading further information of which term you can answer the question. Indicate your choice as 'a', 'b', 'c', or 'd'. If you think more than one option is plausible, choose the more probable option to help you answer the question.

Q: Question: How many different directors did Prada work with in 1976 and 1977? Passage:When Jaya Prada was a teenager, she performed a dance at her school's annual function. A film director in the audience offered her a three-minute dance number in the Telugu film Bhoomi Kosam. She was hesitant, but her family encouraged her to accept it. She was paid only 10 rupees for her work in the film, but the rushes of those three minutes of film were shown to the major figures of the Telugu film industry. Major filmmakers offered her starring roles in quality films, and she accepted them. She became a huge star in 1976 with major hit films. Director K. Balachander's black-and-white film Anthuleni Katha (1976) showcased her dramatic skills; K. Viswanath's color film Siri Siri Muvva (1976) showed her playing a mute girl with excellent dancing skills; and her title role as Sita in the big-budget mythological film Seetha Kalyanam confirmed her versatility. In 1977, she starred in Adavi Ramudu, which broke box office records and which permanently cemented her star status. The song "Aaresukoboyi Paresukunnanu" performed by Prada and co-star N.T. Rama Rao became a mass hit. Important filmmakers were casting her and repeating her in their films. Filmmaker Vijay introduced her to Kannada cinema in his 1977 super-hit movie Sanadi Appanna alongside Kannada matinee idol Raj Kumar. The movie is also known to be the only movie to feature shehnai rendition by Ustad Bismillah Khan. Jaya Prada repeated her successful pairing with Rajkumar in films such as Huliya Halina Mevu (1979), Kaviratna Kalidasa (1983) and Shabdavedhi (2000). In 1979, K. Balachander repeated her in the Tamil film Ninaithale Inikkum opposite Kamal Haasan and Rajinikanth in which she played a terminally-ill patient. She continued to act in more films in Telugu opposite actors such NTR, ANR, Krishna, Krishnam Raju and Sobhan Babu throughout the 70s and 80s. K. Viswanath remade Siri Siri Muvva (1976) in Hindi as Sargam, introducing Jayaprada to Bollywood in 1979. The film was successful and she became a star there as well. She earned her first Filmfare nomination as Best Actress but couldn't capitalize on her success since she couldn't speak Hindi.
 Links: a. Adavi Ramudu (1977 film) b. Filmfare c. Shehnai d. Anthuleni Katha

A: d
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Q: Question: How old was Norimasa kaeriyama when he directed The Glow of Life? Passage:Among intellectuals, critiques of Japanese cinema grew in the 1910s and eventually developed into a movement that transformed Japanese film. Film criticism began with early film magazines such as Katsudō shashinkai (begun in 1909) and a full-length book written by Yasunosuke Gonda in 1914, but many early film critics often focused on chastising the work of studios like Nikkatsu and Tenkatsu for being too theatrical (using, for instance, elements from kabuki and shinpa such as onnagata) and for not utilizing what were considered more cinematic techniques to tell stories, instead relying on benshi. In what was later named the Pure Film Movement, writers in magazines such as Kinema Record called for a broader use of such cinematic techniques. Some of these critics, such as Norimasa Kaeriyama, went on to put their ideas into practice by directing such films as The Glow of Life (1918), which was one of the first films to use actresses (in this case, Harumi Hanayagi). There were parallel efforts elsewhere in the film industry. In his 1917 film The Captain's Daughter, Masao Inoue started using techniques new to the silent film era, such as the close-up and cut back. The Pure Film Movement was central in the development of the gendaigeki and scriptwriting.
 Links: a. Pure Film Movement b. Kabuki c. Norimasa Kaeriyama d. The Glow of Life

A: c
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Q: Question: How many years did Yitzhak Rabin serve in government? Passage:At the very beginning of the Occupation the devout rabbi and philosopher Yeshayahu Leibowitz thought the occupation of the West Bank and Gaza would imperil Judaism itself, and advocated immediate withdrawal. As the years passed, his antagonism to Israel's military successes led him to speak of "Judeo-Nazis" and the "Nazification of Israeli society", a position which did not stop him being nominated for the Israel Prize in 1993 by the government of Yitzhak Rabin. Israeli demographer Oren Yiftachel considers not only the settlement policy in the West Bank, but the state of Israel itself as an example of a Judaizing ethnocratic regime, which he defines as one that "promote(s) the expansion of the dominant group in contested territory and its domination of power structures while maintaining a democratic façade." The activist Jeff Halper speaks of a "matrix of control" underlying the occupation, while the Israeli philosopher Avishai Margalit, following the Indologist David Dean Shulman, speaks of its "intricate machinery". Neve Gordon analyses at length the attempts to so normalize things that an "invisible occupation" is created.
 Links: a. Yeshayahu Leibowitz b. Yitzhak Rabin c. Yitzhak Rabin d. Avishai Margalit

A:
b
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