A beautiful, sexy redhead sat across from Greg Tenorly. He was nervous about the closed door, but she had insisted. The slightest hint of impropriety would spark a blaze of rumors. Greg tried to concentrate on her story. But his mind wandered to his 34-year-old receding hairline and bulging stomach. The part-time music minister had been feeling good about himself ten minutes ago. Time to start exercising again. "I grew up in Marshall. Graduated from East Texas State, and got a job at a bank in Greenville. Three years ago, I moved here so I could be closer to Mom. She still lives in Marshall. I met Troy at a high school football game. He was fun, down-to-earth. We've been married for two years." Cynthia Blockerman was a vice president at First State Bank, yet only in her late 20's. She certainly looked the part, dressed in an expensive brown business suit, matching shoes and tasteful jewelry. And her shoulder-length hair was the kind you only see in shampoo commercials. Greg felt underdressed in his faded golf shirt, baggy slacks, and generic running shoes. "Everything was fine for the first six months or so. But I guess he was just playing the part of a good husband. Then I started to see his real personality. As soon as he gets home from work, he goes straight for the beer. By nine, there's a pile of cans next to his recliner, and he's calling me names, and throwing things. "Sometimes he hits me. He did it one time before we got married, but he said he was so sorry. And even broke down and cried. He promised he'd never do it again." "Is there anything in particular you say or do that seems to set him off?" It was a dumb question, but the only one he could think of. "No. It doesn't matter. I can be extra sweet, or mean, or just ignore him. He still gets mad and crazy. I don't know what to do. I want to leave him, but I'm afraid he'll come after me." According to the above context, choose the correct option to answer the following question. Question: What physical features of himself is Greg self conscious about? Options: - Legs and feet - Hairline and stomach - Breath and hygiene - not enough information
Hairline and stomach

David Gauntlett makes a good point in his newest book (Making Media Studies: The Creativity Turn in Media and Communications Studies) and that is that traditional forms of media studies are no longer applicable. Gone are the days of massive institutions and production companies, gone are the traditional audiences and simplistic texts. In, is the new age media companies, the everyday media makers, the consistent consumers and the fantastical mess of The WWW. While universities are pumping out the same content areas since the 1980's (e.g. institutions, production, audiences and texts) that are only relevant to a handful of media forms (cinema, television, online broadcasting and publications), the rest of the world is moving on. David Gauntlett so rightly says that creativity in media, should also refer to thinking creatively about the subject. What are the new ways of running media and communication studies? How has the subject itself changed? What approaches and methods can help media and communications studies to become innovative and useful in spheres beyond itself? David Gauntlett encourages a kind of call to arms, an acquiescence of the incapacities of the old system and a redirected gaze to the future needs of media students and media studies programs. Inspired by Tim Ingold's book Making, David believes media studies should have making at it's front and centre. He also believes the ability to do things with media should be embraced over and above the ability to talk about what others do with media, or what media does to us. The notion is that media studies should be hands on, that it should be all about ideas and critical engagement and this should be expressed through actual making. To borrow three key distinctions from the anthropologist Tim Ingold: 1. It's about learning WITH media rather than ABOUT media. 2. There is an intent to move FORWARD rather than looking BACKWARDS at how things are. 3. It's aims are TRANSFORMATIONAL rather than DOCUMENTARY. According to the above context, choose the correct option to answer the following question. Question: How long does it probably take to read David Gauntlett's book? Options: - not enough information - 20 minutes - a few days - a week
a few days

(Question)
The filming was kind of a long process, but maybe it didn't need to be? Or maybe it did? The first night of filming at the Thornbury Bowls Club was for a test shoot with mine and Rosie's camera, to work out which one we wanted to use for her film. The second night of filming involved us getting establishing shots of the location. The third night of filming involved us mainly shooting Rosie's script. And the fourth night of shooting involved us mainly shooting Bell's script and getting any other shots we needed to get. Perhaps we didn't need an entire night of filming just to get establishing shots and filler shots, but it certainly made it a lot easier having multiple shots to choose from. For the two nights of shooting we certainly didn't get that much coverage, which meant in the edit we were somewhat stuck using certain shots because we didn't have other options. This was mainly because of time limitations with actors and batteries on cameras dying and such. I'm so neurotic I would have happily spent two nights shooting establishing shots and filler shots and two nights on each shoot, but not everyone wants to rearrange the rest of their life to fit around such projects. I get a tad obsessive if I'm allowed, which can often benefit me, although I do become a giant pain in everyone else's ass. The main thing I learnt from the filming process was that you can plan out exactly what you want to do, and how your going to do it, but once you get into the location with the actors this plan often changes however, you are still much better of having the plan than none at all! As the neurotic freak I am, I had all the shots I wanted to use storyboarded. I had originally planned to shoot all the establishing shots, stick them in a timeline and then also shoot the other shots (with fill in actors) and add them to the timeline to see how it looked. Of course no one else was interested in spending an entire night shooting the film but with them as stands in just so I could complete my psychotic endeavour of... According to the above context, choose the correct option to answer the following question. Question: Actors tend to change the modalities of a film shooting Options: - Yes - not enough information - Probably - No
(Answer)
Yes