You are going to read four extracts which are all concerned in some way with the power of visual images. For questions 19-24, choose the answer (A, B, C or D) which you think fits best according to the text. Mark your answers on the separate answer sheet.

Screen Learning
A few days ago I noticed my six-year-old eating noodles in a funny way. He was pulling them up with his teeth while trying to look fierce. I'm a little dinosaur,' he said. He was play-acting a scene from a recent TV programme, so I quizzed him about what he remembered about dinosaurs. The answer was, not a lot.

There is a modish rush to embrace internet and computer learning, but is learning via a screen a good method? One writer tells how he tried out an interactive programme with his son. The father diligently read the words while the son fiddled with the pictures. 'Had he spent ten minutes in front of a book, he might possibly have learned something,' said his father.

Television, as my son and his noodles demonstrate, is an impressionistic, suggestive medium. Research about television and learning shows that learning goes on in a learning environment where dialogue is taking place with teachers or parents. It needs to be mediated. There is nothing wrong with harnessing new technology to teach our children, but there is still a big role for formal education.

19 In order to be used successfully in teaching, TV programmes must
        A be shown in a conventional classroom.
        B focus on dialogue.
        C be accompanied by discussion with adults.
        D appeal to adults and children.

20 The writer believes that 'screen learning' should be used
        A with enthusiasm.
        B in moderation.
        C without preconceptions.
        D in isolation.

Hollywood
By 1918, four-fifths of the film-making capacity of the world had relocated to Hollywood. Locals disapproved, seeing their suburb of Los Angeles infected by these new vulgarians. But in the end snobbery yielded to the true American value, success. And success is the box-office gross. Hollywood knows a good film when it sees one: one that may make a star, but must make somebody's fortune.

In less than a century, Hollywood has grown from a toffee-nosed village to a town as famous as New York, Rome or Paris. And physically, of course, it has changed beyond recognition: a century ago, you would walk through orange groves to the village store. Yet in a way, it is still a village - parochial, with limited horizons - just a little bit of Los Angeles. For all who live and work in it, there is one topic of conversation - films: how much they have made, who is dating whom, who's been stabbed in the back, who is 'attached' to which project. Those who have been successful often try to get away: to work there, but live somewhere else. Yet it is still the one place in the world to which almost everyone who is anyone in show-business (and plenty who aren't) eventually line 16 gravitates.

21 What does the writer say about present-day Hollywood?
        A The local people still look down on the film industry.
        B It retains some characteristics of a small community.
        C It has been adversely affected by its reputation.
        D People who live there are worried by the violence.

22 Who does 'and plenty who aren't' refer to in line 16?
        A people less well-known in the world of entertainment
        B people not resident in Hollywood
        C people unlikely to achieve celebrity status
        D people not welcome in Hollywood

Photography
Photography was invented by nineteenth century artists as an art form for their own purposes. These men were seeking a lasting, literal record of their visual surroundings and they found it. The new combination of illumination, lens, shutter, and flat surface coated with chemicals sensitive to light produced images more lasting, more convincing in their reality, and more richly detailed than painters could produce manually in weeks and months of effort. This alone was enough to throw consternation into the ranks of fellow artists; and, after their first reaction of pleasure in a new kind of image, art critics rallied with the haughty charge that photography was not, and could not be, an art. The actual world in which we live had too strong a grip on photography, they said, and pictures so dependent upon mechanical means could not be called acts of man's creative imagination.

Despite the critics, photographers knew that they had found a new art form, a new mode of expression. They used the new tools as other artists before and after them have used brush and pencil - to interpret the world, to present a vision of nature and its structure as well as the things and the people in it.

23 What are we told about the artists who first used photography?
        A They appreciated what photography could offer.
        B They preferred taking photographs to painting pictures.
        C They did not want anyone else to benefit from photography.
        D They thought painting pictures was too arduous.

24 Art critics disapproved of photography because they thought
        A it needed too little effort to interpret it.
        B the images were visually displeasing.
        C it used overly complicated equipment.
        D it did not go beyond the literal.