Hello!
The support for Answer Choice (A) comes from lines 22-25 of the passage. In these lines, the author is saying that television compromises films through the 'loss of image size and definition' as well as 'other ways.' If you continue reading, you'll see that those other ways include the types of alteration referenced in (A), such as commercial breaks and superimposed messages. While the film in (A) has not been altered to have commercials or messages, we know from lines 22-25 that the author believes simply showing a film on television comes with inherent compromises to image size and definition - so (A) is the correct answer!
Answer choice (B), however, is not supported by the passage. The passage doesn't really contain any information on if art critics consider films to be scholarly, so we can eliminate this answer.
Turning to answer choice (C), we notice right away that the verbiage in the answer choice is strong! (C) says that 'no reproduction of any one film,' so off the bat we know that, for this to be the correct answer, there will need to be strong textual support. Not only does the text not mention 'technical limitations,' but also, there's evidence that the author would disagree with this statement in the text. Lines 41-44 discuss how film is 'an exactly reproducible art form,' which makes it possible the author believes that it
is possible to classify reproduced films as the original work. Therefore, we can eliminate (C).
At first glance, answer choice (D) can seem appealing. However, we don't really know what the author thinks of viewer's responses to uncompromised films. The passage centers largely around how external factors in reproduction - like subtitles and commercials - can compromise viewer's perception of films and thus creates a misalignment between critics and audiences. Looking to the text, there's no mention of how the subjective nature of films/their impact on audiences when uncompromised might hinder the 'aesthetic impact' of the film. Lines 50-54 do indicate a negative impact of critics viewing uncompromised films, but this is because when audiences view the compromised version, they might be expecting something else! So, we still don't know what impact audience's 'variable responses' to uncompromised films might have, and can thus eliminate (D).
Answer choice (E) can be eliminated for a similar lack of textual support. While the author mentions false expectations at the end of the passage, we just don't have enough information about the frequency of films not meeting standards set by writings to infer that 'most' films don't meet the standards.
I hope this helps answer both of your questions!
-Kate
