Many critics agree that the primary characteristic of Senegalese filmmaker Ousmane Sembène’s work is its sociopolitical commitment. Sembène was trained in Moscow in the cinematic methods of socialist realism, and he asserts that his films are not meant to entertain his compatriots, but rather to raise their awareness of the past and present realities of their society. But his originality as a filmmaker lies most strikingly in his having successfully adapted film, originally a Western cultural medium, to the needs, pace, and structures of West African culture. In particular, Sembène has found within African oral culture techniques and strategies that enable him to express his views and to reach both literate and nonliterate Senegalese viewers.

A number of Sembène’s characters and motifs can be traced to those found in traditional West African storytelling. The tree, for instance, which in countless West African tales symbolizes knowledge, life, death, and rebirth, is a salient motif in Emitaï. The trickster, usually a dishonest individual who personifies antisocial traits appear in Borom Sarret, Mandabi, and Xala as a thief, a corrupted civil servant, and a member of the elite, respectively. In fact, most of Sembène’s characters, like those of many oral West African narratives, are types embodying collective ideas or attitudes. And in the oral tradition, these types face archetypal predicaments, as is true, for example, of the protagonist of Borom Sarret, who has no name and is recognizable instead by his trade—he is a street merchant—and by the difficulties he encounters but is unable to overcome.

Moreover, many of Sembène’s films derive their structure from West African dilemma tales, the outcomes of which are debated and decided by their audiences. The open-endedness of most of his plots reveals that Sembène similarly leaves it to his viewers to complete his narratives: in such films as Borom Sarret, Mandabi, and Ceddo, for example, he provides his spectators with several alternatives as the films end. The openness of his narratives is also evidenced by his frequent use of freeze-frames, which carry the suggestion of continued action.

Finally, like many West African oral tales, Sembène’s narratives take the form of initiatory journeys that bring about a basic change in the worldview of the protagonist and ultimately, Sembène hopes, in that of the viewer. His films denounce social and political injustice. and his protagonists’ social consciousness emerges from an acute self-consciousness brought about by the juxtaposition of opposites within the films’ social context: good versus evil, powerlessness versus power, or poverty versus wealth. Such binary oppositions are used analogously in West African tales, and it seems likely that these dialectical elements are related to African oral storytelling more than, as many critics have supposed, to the Marxist components of his ideology.

1. Which one of the following most accurately states the main point of the passage?

Many critics agree that the primary characteristic of Senegalese filmmaker Ousmane Sembène’s work is its sociopolitical commitment. Sembène was trained in Moscow in the cinematic methods of socialist realism, and he asserts that his films are not meant to entertain his compatriots, but rather to raise their awareness of the past and present realities of their society. But his originality as a filmmaker lies most strikingly in his having successfully adapted film, originally a Western cultural medium, to the needs, pace, and structures of West African culture. In particular, Sembène has found within African oral culture techniques and strategies that enable him to express his views and to reach both literate and nonliterate Senegalese viewers.

A number of Sembène’s characters and motifs can be traced to those found in traditional West African storytelling. The tree, for instance, which in countless West African tales symbolizes knowledge, life, death, and rebirth, is a salient motif in Emitaï. The trickster, usually a dishonest individual who personifies antisocial traits appear in Borom Sarret, Mandabi, and Xala as a thief, a corrupted civil servant, and a member of the elite, respectively. In fact, most of Sembène’s characters, like those of many oral West African narratives, are types embodying collective ideas or attitudes. And in the oral tradition, these types face archetypal predicaments, as is true, for example, of the protagonist of Borom Sarret, who has no name and is recognizable instead by his trade—he is a street merchant—and by the difficulties he encounters but is unable to overcome.

Moreover, many of Sembène’s films derive their structure from West African dilemma tales, the outcomes of which are debated and decided by their audiences. The open-endedness of most of his plots reveals that Sembène similarly leaves it to his viewers to complete his narratives: in such films as Borom Sarret, Mandabi, and Ceddo, for example, he provides his spectators with several alternatives as the films end. The openness of his narratives is also evidenced by his frequent use of freeze-frames, which carry the suggestion of continued action.

Finally, like many West African oral tales, Sembène’s narratives take the form of initiatory journeys that bring about a basic change in the worldview of the protagonist and ultimately, Sembène hopes, in that of the viewer. His films denounce social and political injustice. and his protagonists’ social consciousness emerges from an acute self-consciousness brought about by the juxtaposition of opposites within the films’ social context: good versus evil, powerlessness versus power, or poverty versus wealth. Such binary oppositions are used analogously in West African tales, and it seems likely that these dialectical elements are related to African oral storytelling more than, as many critics have supposed, to the Marxist components of his ideology.

2. The author says that Sembène does which one of the following in at least some of his films?

Many critics agree that the primary characteristic of Senegalese filmmaker Ousmane Sembène’s work is its sociopolitical commitment. Sembène was trained in Moscow in the cinematic methods of socialist realism, and he asserts that his films are not meant to entertain his compatriots, but rather to raise their awareness of the past and present realities of their society. But his originality as a filmmaker lies most strikingly in his having successfully adapted film, originally a Western cultural medium, to the needs, pace, and structures of West African culture. In particular, Sembène has found within African oral culture techniques and strategies that enable him to express his views and to reach both literate and nonliterate Senegalese viewers.

A number of Sembène’s characters and motifs can be traced to those found in traditional West African storytelling. The tree, for instance, which in countless West African tales symbolizes knowledge, life, death, and rebirth, is a salient motif in Emitaï. The trickster, usually a dishonest individual who personifies antisocial traits appear in Borom Sarret, Mandabi, and Xala as a thief, a corrupted civil servant, and a member of the elite, respectively. In fact, most of Sembène’s characters, like those of many oral West African narratives, are types embodying collective ideas or attitudes. And in the oral tradition, these types face archetypal predicaments, as is true, for example, of the protagonist of Borom Sarret, who has no name and is recognizable instead by his trade—he is a street merchant—and by the difficulties he encounters but is unable to overcome.

Moreover, many of Sembène’s films derive their structure from West African dilemma tales, the outcomes of which are debated and decided by their audiences. The open-endedness of most of his plots reveals that Sembène similarly leaves it to his viewers to complete his narratives: in such films as Borom Sarret, Mandabi, and Ceddo, for example, he provides his spectators with several alternatives as the films end. The openness of his narratives is also evidenced by his frequent use of freeze-frames, which carry the suggestion of continued action.

Finally, like many West African oral tales, Sembène’s narratives take the form of initiatory journeys that bring about a basic change in the worldview of the protagonist and ultimately, Sembène hopes, in that of the viewer. His films denounce social and political injustice. and his protagonists’ social consciousness emerges from an acute self-consciousness brought about by the juxtaposition of opposites within the films’ social context: good versus evil, powerlessness versus power, or poverty versus wealth. (54) Such binary oppositions are used analogously in West African tales, and it seems likely that these dialectical elements are related to African oral storytelling more than, as many critics have supposed, to the Marxist components of his ideology. (58)

3. Which one of the following would, if true, most strengthen the claim made by the author in the last sentence of the passage (lines 54–58)?

Many critics agree that the primary characteristic of Senegalese filmmaker Ousmane Sembène’s work is its sociopolitical commitment. Sembène was trained in Moscow in the cinematic methods of socialist realism, and he asserts that his films are not meant to entertain his compatriots, but rather to raise their awareness of the past and present realities of their society. But his originality as a filmmaker lies most strikingly in his having successfully adapted film, originally a Western cultural medium, to the needs, pace, and structures of West African culture. In particular, Sembène has found within African oral culture techniques and strategies that enable him to express his views and to reach both literate and nonliterate Senegalese viewers.

A number of Sembène’s characters and motifs can be traced to those found in traditional West African storytelling. The tree, for instance, which in countless West African tales symbolizes knowledge, life, death, and rebirth, is a salient motif in Emitaï. The trickster, usually a dishonest individual who personifies antisocial traits appear in Borom Sarret, Mandabi, and Xala as a thief, a corrupted civil servant, and a member of the elite, respectively. In fact, most of Sembène’s characters, like those of many oral West African narratives, are types embodying collective ideas or attitudes. And in the oral tradition, these types face archetypal predicaments, as is true, for example, of the protagonist of Borom Sarret, who has no name and is recognizable instead by his trade—he is a street merchant—and by the difficulties he encounters but is unable to overcome.

Moreover, many of Sembène’s films derive their structure from West African dilemma tales, the outcomes of which are debated and decided by their audiences. The open-endedness of most of his plots reveals that Sembène similarly leaves it to his viewers to complete his narratives: in such films as Borom Sarret, Mandabi, and Ceddo, for example, he provides his spectators with several alternatives as the films end. The openness of his narratives is also evidenced by his frequent use of freeze-frames, which carry the suggestion of continued action.

Finally, like many West African oral tales, Sembène’s narratives take the form of initiatory journeys that bring about a basic change in the worldview of the protagonist and ultimately, Sembène hopes, in that of the viewer. His films denounce social and political injustice. and his protagonists’ social consciousness emerges from an acute self-consciousness brought about by the juxtaposition of opposites within the films’ social context: good versus evil, powerlessness versus power, or poverty versus wealth. Such binary oppositions are used analogously in West African tales, and it seems likely that these dialectical elements are related to African oral storytelling more than, as many critics have supposed, to the Marxist components of his ideology.

4. Which one of the following inferences about Sembène is most strongly supported by the passage?

Many critics agree that the primary characteristic of Senegalese filmmaker Ousmane Sembène’s work is its sociopolitical commitment. Sembène was trained in Moscow in the cinematic methods of socialist realism, and he asserts that his films are not meant to entertain his compatriots, but rather to raise their awareness of the past and present realities of their society. But his originality as a filmmaker lies most strikingly in his having successfully adapted film, originally a Western cultural medium, to the needs, pace, and structures of West African culture. In particular, Sembène has found within African oral culture techniques and strategies that enable him to express his views and to reach both literate and nonliterate Senegalese viewers.

A number of Sembène’s characters and motifs can be traced to those found in traditional West African storytelling. The tree, for instance, which in countless West African tales symbolizes knowledge, life, death, and rebirth, is a salient motif in Emitaï. The trickster, usually a dishonest individual who personifies antisocial traits appear in Borom Sarret, Mandabi, and Xala as a thief, a corrupted civil servant, and a member of the elite, respectively. In fact, most of Sembène’s characters, like those of many oral West African narratives, are types embodying collective ideas or attitudes. And in the oral tradition, these types face archetypal predicaments, as is true, for example, of the protagonist of Borom Sarret, who has no name and is recognizable instead by his trade—he is a street merchant—and by the difficulties he encounters but is unable to overcome.

Moreover, many of Sembène’s films derive their structure from West African dilemma tales, the outcomes of which are debated and decided by their audiences. The open-endedness of most of his plots reveals that Sembène similarly leaves it to his viewers to complete his narratives: in such films as Borom Sarret, Mandabi, and Ceddo, for example, he provides his spectators with several alternatives as the films end. The openness of his narratives is also evidenced by his frequent use of freeze-frames, which carry the suggestion of continued action.

Finally, like many West African oral tales, (45) Sembène’s narratives take the form of initiatory journeys that bring about a basic change in the worldview of the protagonist and ultimately, Sembène hopes, in that of the viewer. His films denounce social and political injustice. and his protagonists’ social consciousness emerges from an acute self-consciousness brought about by the juxtaposition of opposites within the films’ social context: good versus evil, powerlessness versus power, or poverty versus wealth. Such binary oppositions are used analogously in West African tales, and it seems likely that these dialectical elements are related to African oral storytelling more than, as many critics have supposed, to the Marxist components of his ideology.

5. Which one of the following most closely expresses the author’s intended meaning in using the word “initiatory” (line 45)?

Many critics agree that the primary characteristic of Senegalese filmmaker Ousmane Sembène’s work is its sociopolitical commitment. Sembène was trained in Moscow in the cinematic methods of socialist realism, and he asserts that his films are not meant to entertain his compatriots, but rather to raise their awareness of the past and present realities of their society. But his originality as a filmmaker lies most strikingly in his having successfully adapted film, originally a Western cultural medium, to the needs, pace, and structures of West African culture. In particular, Sembène has found within African oral culture techniques and strategies that enable him to express his views and to reach both literate and nonliterate Senegalese viewers.

A number of Sembène’s characters and motifs can be traced to those found in traditional West African storytelling. The tree, for instance, which in countless West African tales symbolizes knowledge, life, death, and rebirth, is a salient motif in Emitaï. The trickster, usually a dishonest individual who personifies antisocial traits appear in Borom Sarret, Mandabi, and Xala as a thief, a corrupted civil servant, and a member of the elite, respectively. In fact, most of Sembène’s characters, like those of many oral West African narratives, are types embodying collective ideas or attitudes. And in the oral tradition, these types face archetypal predicaments, as is true, for example, of the protagonist of Borom Sarret, who has no name and is recognizable instead by his trade—he is a street merchant—and by the difficulties he encounters but is unable to overcome.

Moreover, many of Sembène’s films derive their structure from West African dilemma tales, the outcomes of which are debated and decided by their audiences. The open-endedness of most of his plots reveals that Sembène similarly leaves it to his viewers to complete his narratives: in such films as Borom Sarret, Mandabi, and Ceddo, for example, he provides his spectators with several alternatives as the films end. The openness of his narratives is also evidenced by his frequent use of freeze-frames, which carry the suggestion of continued action.

Finally, like many West African oral tales, Sembène’s narratives take the form of initiatory journeys that bring about a basic change in the worldview of the protagonist and ultimately, Sembène hopes, in that of the viewer. His films denounce social and political injustice. and his protagonists’ social consciousness emerges from an acute self-consciousness brought about by the juxtaposition of opposites within the films’ social context: good versus evil, powerlessness versus power, or poverty versus wealth. Such binary oppositions are used analogously in West African tales, and it seems likely that these dialectical elements are related to African oral storytelling more than, as many critics have supposed, to the Marxist components of his ideology.

6. The passage does NOT provide evidence that Sembène exhibits which one of the following attitudes in one or more of his films?