1. Mass communication gets filtered by
(A) Audience
(B) Media
(C) Gatekeepers
(D) Encoders
Answer: (C)
2. New India was established by
(A) S. Sadanand
(B) Mrs. Annie Besant
(C) B.G. Horniman
(D) Phiroze Shah Mehta
Answer: (B)
3. New media have facilitated the type of communication which is
(A) Abstract
(B) Conceptual
(C) Public
(D) Interactive
Answer: (D)
4. The Times of India has launched its edition in the month of February, 2012 from
(A) Gangtok
(B) Amritsar
(C) Thiruvananthapuram
(D) Panaji
Answer: (C)
5. For some feminist critics, mass media are used to portray women as belonging to
(A) Aristocratic culture
(B) Sentimental culture
(C) Rustic culture
(D) Middle brow culture
Answer: (B)
6. Which of the following is the latest development in the field of television set production?
(A) LCD sets
(B) LED sets
(C) Smart sets
(D) HDTV sets
Answer: (C)
7. Searchlight was a newspaper published from
(A) Bihar
(B) Assam
(C) Punjab
(D) Uttarakhand
Answer: (A)
8. In Britain, the Press Council was replaced by
(A) The Royal Press Commission
(B) The Media Complaints Commission
(C) The News Council
(D) The Media Ombudsman
Answer: (B)
9. The National news agency of Indonesia is
(A) Kyodo
(B) Novosti
(C) Garuda
(D) Antara
Answer: (D)
10. The Second Press Commission of India recommended the establishment of
(A) Press Council of India
(B) National Media Training Institute
(C) Newspaper Development Corporation
(D) Media Competition Commission
Answer: (C)
11. The word ‘journalist’ is derived from
(A) Journalography
(B) Diurnalis
(C) Diurna
(D) Journology
Answer: (B)
12. Trans personal communication is
(A) Conversing with relatives
(B) Conversing with spirits and ancestors
(C) Conversing with the divine
(D) Conversing with the sages
Answer: (B)
13. ‘Deep throat’ was the source of information for the reporters investigating
(A) The Watergate scandal
(B) The Irangate scandal
(C) The Profumo-Christine Keeler scandal
(D) The Mundhra scandal
Answer: (A)
14. The first amendment to Article 19(1) (a) of the Indian Constitution was mainly aimed to include ______ as a cause for reasonable restriction.
(A) Public order
(B) Censorship
(C) Newspaper registration
(D) Licensing printing press
Answer: (A)
15. The post-industrial society is identified with
(A) Traditional media
(B) Print media
(C) Visual media
(D) New media
Answer: (D)
16. Development, for some modernization theorists, is
(A) Evolution
(B) Differentiation
(C) Discrimination
(D) Affirmation
Answer: (B)
17. Modern mass media have made, by providing diverse choices, their audiences
(A) Homogeneous
(B) Massive
(C) Fragmented
(D) Integrated
Answer: (C)
18. A newspaper can infringe others’ copyright provided it is in
(A) Business interest
(B) Protection of privacy
(C) Corporate domain
(D) Fair dealing
Answer: (D)
19. In public information model of public relations, importance is given to
(A) Impact
(B) Reception
(C) Truth
(D) Fair deal
Answer: (C)
20. Scientific research in mass communication demands the demonstration of
(A) Continuity
(B) Permanence
(C) Transitivity
(D) Co-variation
Answer: (D)
21. A specific communication task to be accomplished with a specific target audience during a specific period of time is termed
(A) Advertising campaign
(B) Advertising objective
(C) Advertising criterion
(D) Advertising evaluation
Answer: (B)
22. Which form of advertising is heavily used to introduce a new product?
(A) Persuasive advertising
(B) Reminder advertising
(C) Inferential advertising
(D) Informative advertising
Answer: (D)
23. In offset printing, the plate image is transferred to
(A) Rubber blanket
(B) Paper sheets
(C) Paper maché plate
(D) Plastic foils
Answer: (A)
24. Monopoly of cultural products at the global level has led to
(A) Political hegemony
(B) Economic colonization
(C) Social domination
(D) Information imperialism
Answer: (D)
25. The writers for media have adopted the narrative technique of
(A) convolution
(B) Deconstruction
(C) Story telling
(D) Over-dramatization
Answer: (C)
26. Assertion (A): Mass media in India now suffer from celebrity syndrome.
Reason (R): Inter-media competition has compelled them to opt for it to survive in the field.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (B)
27. Assertion (A): The idea of controlling social media through legislation in India is controversial.
Reason (R): The third sector has opposed the proposal because it has found the social media effective for reacting the educated sections of the society.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (A)
28. Assertion (A): Media cannot set any agenda for national debates.
Reason (R): Media audience select contents of their choice.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (D)
29. Assertion (A): Media manufactured culture is transient and keep on changing.
Reason (R): Mediated culture is vulgar and does not have any artistic value.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (C)
30. Assertion (A): Indian media have national development as a high priority area for coverage.
Reason (R): India is an emerging economic power and has to compete with China in the global market.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (D)
31. Assertion (A): Historical research in mass communication is more than chronological.
Reason (R): It is more events oriented including social, political and economic developments to provide a holistic interpretation than a statement of dates and facts.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (A)
32. Assertion (A): Sting journalism has infused fear among the corrupt power wielders.
Reason (R): Sting journalism often invades the privacy of the individuals.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (A)
33. Assertion (A): Feminist discourse in media has lost its importance and relevance.
Reason (R): Women celebrities have replaced the larger issues concerning women.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (B)
34. Assertion (A): The post-modernist approach has affected both visual and textual communication in recent times.
Reason (R): Because the architecture of media contents is technology driven.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (A)
35. Assertion (A): Inter-personal communication has more credibility than mediated communication in extension.
Reason (R): Farmers do not have access to media and media contents are highly deceptive in nature.
Codes:
(A) Both (A) and (R) are true.
(B) Both (A) and (R) are true, but (R) is not the correct explanation of (A).
(C) (A) is true, but (R) is false.
(D) (A) is false, but (R) is true.
Answer: (C)
36. Identify the correct sequence of the following newspapers on the basis of their origin.
(A) Bombay Darpan, Bombay Samachar, Bombay Courier, Bengal Gazette.
(B) Bengal Gazette, Bombay Courier, Bombay Samachar, Bombay Darpan.
(C) Bombay Samachar, Bombay Courier, Bombay Darpan, Bengal Gazette.
(D) Bombay Courier, Bombay Samachar, Bombay Darpan, Bengal Gazette.
Answer: (B)
37. Identify the correct sequence of the following in term of authorship of theories.
(A) Walter Lippmann, Daniel Boorstin, Noam Chomski, Daniel Bell.
(B) Daniel Bell, Walter Lippmann, Daniel Boorstin, Noam Chomski.
(C) Noam Chomski, Daniel Bell, Walter Lippman, Daniel Boorstin.
(D) Daniel Boorstin, Noam Chomski, Daniel Bell, Walter Lippmann.
Answer: (A)
38. Identify the correct chronological sequence of the following theories:
(A) Information theory, Public opinion theory, Magic bullet theory, Selectivity theory.
(B) Public opinion theory, Magic bullet theory, Selectivity theory, Information theory.
(C) Magic bullet theory, Public opinion theory, Information theory, Selectivity theory.
(D) Selectivity theory, Information theory, Public opinion theory, Magic bullet theory.
Answer: (B)
39. Identify the correct sequence of the Ministers of Information and Broadcasting in India.
(A) Indira Gandhi, B.V. Keskar, Vallabh Bhai Patel, Nandini Satapathy.
(B) Nandini Satapathy, B.V. Keskar,Vallabh Bhai Patel, Indira Gandhi.
(C) B.V. Keskar, Vallabh Bhai Patel, Indira Gandhi, Nandini Satapathy.
(D) Vallabh Bahi Patel, B.V. Keskar, Indira Gandhi, Nandini Satapathy.
Answer: (D)
40. Identify the correct chronological sequence of the following editors:
(A) Robert Knight, Frank Moraes, V.K. Narasimhan, Vinod Mehta.
(B) V.K. Narasimhan, Vinod Mehta, Frank Moraes, Robert Knight.
(C) Frank Moraes, V.K. Narasimhan, Robert Knight, Vinod Mehta.
(D) Vinod Mehta, Robert Knight, Frank Moraes, V.K. Narasimhan.
Answer: (A)
41. Match the List-I with List-II:
List – I List – II
(Theory) (Theorists)
a. Balance Theory 1. Two-step flow of Information
b. Congruity Theory 2. Charles Osgood
c. Elihu Katz 3. Diffusion of Innovation
d. Everett Rogers 4. Fritz Heider
Codes:
a b c d
(A) 1 3 2 4
(B) 2 4 3 1
(C) 3 1 4 2
(D) 4 2 1 3
Answer: (D)
42. Match List-I with List-II:
List – I List – II
(Films) (Directors)
a. Fire 1. Shakti Samanta
b. Aradhana 2. Nandita Das
c. Wild Straberries 3. Deepa Mehta
d. Firaaq 4. Ingmar Bergman
Codes:
a b c d
(A) 1 2 3 4
(B) 2 4 1 3
(C) 3 1 4 2
(D) 4 3 2 1
Answer: (C)
43. Match List-I with List-II:
List – I List – II
(Terms) (Explanation)
a. Focus out 1. Camera cover to lessen the sound of a camera.
b. Focus 2. Tape to paste on a spliced film to reduce sound.
c. Blimp 3. Editing device
d. Bloop 4. Camera operation to sharpen the image.
Codes:
a b c d
(A) 1 2 3 4
(B) 4 3 2 1
(C) 3 4 1 2
(D) 2 1 4 3
Answer: (C)
44. Match List-I with List-II:
List – I List – II
(Software) (Purpose to use)
a. Director 1. To create webpage
b. Protool 2. To edit sound
c. Quark express 3. To create animation/multimedia film
d. Dreamweaver 4. To layout the page
Codes:
a b c d
(A) 1 3 2 4
(B) 3 2 4 1
(C) 4 1 3 2
(D) 2 4 1 3
Answer: (B)
45. Match List-I with List-II:
List – I List – II
a. Circulation war 1. Pothen Joseph
b. Check book Journalism 2. Money to journalists
c. Paid news 3. Money to source
d. Column 4. Joseph pulitzer
Codes:
a b c d
(A) 4 3 2 1
(B) 3 2 1 3
(C) 2 4 3 1
(D) 1 2 3 4
Answer: (A)
Read the following passage and answer question Nos. 46-50.
The matter of adaptation of literary or theatrical works to the Cinema has been taken for granted by most early filmmakers including – not the least among them – Sergei Eisenstein. The Lessons With Eisenstein, as recorded by one of his students, Vladimir Nizhny, are, in fact, lessons in film adaptation … Reading Lessons with Eisenstein gives the impression that filmmaking is adaptation. We’re not some of our most memorable film experiences derived from novels, plays, Broadway shows? So, what is the problem? The author is dead – or nearly so. Texts are open – or can be opened. Plagiarism is an empty concept.
Adaptation has been an issue in both classic and post-classic – that is, pre-mid- 1960s and post-mid-1960s – film theory. But whereas classical theory dealt with the transfer of a work from one set of codes to another set, recent film theory of adaptation offers but variations on the theme of authorship. For, to paraphrase Robin Wood, if you have a masterpiece, sooner or later the presence of the master will be felt. This is why film adaptation remains an important issue today in as much as auteurism endures.
One could, of course, allude here to the observation of McLuhan that any new medium absorbs the products of earlier media. That is what film did with regard to literary and theatrical works. And we can see the same phenomenon occurring today with television. This new comer, indeed, absorbs everything; journalism, education, religion, entertainment, sports, arts, business – all. But McLuhan has not done much more, in this respect, than to help us to take note of a rather obvious phenomenon. This phenomenon creates problems for the filmmaker. The latter shows that a screening of his or her film on the TV network has important implications regarding the very perception of the film – let alone necessary market implications. While making film, a filmmaker may have to keep in mind that his or her film may eventually be shown on TV and this may mean disaster to the complex sound track, to image composition where the values of colour and masses may be neutralized, and, above all, to framing. It is not a purists matter of the work being unaltered, faithfully reproduced. It is a matter of life or death: there are film segments that just won’t go on the small screen.
Similarly, the adaptation of a literary or theatrical work to film can be a matter of life or death for the work concerned. As Andrey Tarkovsky has noticed:
Some works have a wholeness, and are endowed with a precise and original literary image, characters are drawn in unfathomable depths, the composition has an extraordinary capacity for enchantment, and the book is indivisible; through the pages comes the astonishing, unique personality of the author; books like that are master pieces, and only someone who is actually indifferent both to fine prose and to the Cinema can conceive the urge to screen them. It is all the more important to emphasize this point now, when the time has come for literature to be separated, once and for all, from cinema.
46. What did the Lessons with Eisenstein talk about?
(A) Lessons of adaptation of literary works to cinema
(B) Eisenstein’s life
(C) About cinema making
(D) About what Eisenstein taught his students
Answer: (A)
47. What is the difference between the classical theory and recent film theory on adaptation?
(A) The difference in authorship of the adapted film.
(B) The variations on film themes.
(C) The classical one talks about the original while the recent one talks about the new theme.
(D) Classical theories talk about changes of codes, whereas the recent theories talk of variations of authorship of themes.
Answer: (D)
48. What is the opinion of McLuhan on adaptation?
(A) A new work of art is created through adaptation.
(B) The new medium takes in the past works of art and absorbs.
(C) All art works are absorbed by television.
(D) All works of art are destroyed by emerging media.
Answer: (B)
49. Identify the areas of negative influence that television may have on an adapted film?
(A) The director’s business
(B) The story, character and dialogue
(C) The sound track, colour and framing
(D) The screening of a film in TV
Answer: (C)
50. What is the suggestion of Tarkovsky to solve the problem of ‘life and death for a film’?
(A) Showing a film in television to be made compulsory.
(B) Adaptation from literature is a must for films.
(C) Separate the author from the film.
(D) Separate literature from Cinema completely.
Answer: (D)
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