Cinematic renditions of historic pieces of literature provide an informative glimpse into the cultural and social context in which the films were made. Shakespeare's Henry $V$ is a prime example, as it has been in circulation within the English-speaking world for over 400 years and has been reinterpreted in a number of different milieus. Since the source material has not changed, the way in which different artists and directors treat the play indicates not only the predispositions of the interpreter, but also the prevailing social and political views of the audience. This is acutely noticeable in a play like Henry $V$, which is highly charged with nationalistic concerns.

The play was written during the reign of Elizabeth I, when English national identity (and the modern English language) had begun to crystallize and the language and culture we know today approached their present form. It is a historical biography of King Henry V of England, who waged a bloody campaign during The Hundred Years War with the aim of conquering France. The introduction of the play features an adviser to the King explaining, in a confusing and nearly incomprehensible fashion, the justification for Henry's claim to the French throne. The text of the play itself has been interpreted as being ambiguous in its treatment of Henry's character. Henry has a number of rousing, heroic speeches, but he is also shown to be coldly unmerciful, as in the case of his refusal to pardon petty thieves.

Shakespeare's play has been adapted in two famous film versions. The first, directed by Laurence Olivier, was made during the Second World War, immediately before the invasion of Normandy was launched in 1944. Critics of the film have emphasized the pageantry, bravado, and nationalistic undertones of this version. The battle scenes in the film are understated and tame, with little of the carnage that would be expected of a medieval melee. They are shot in beautiful weather, and the actors are clad in radiant colors. The scene with Henry's harsh justice is omitted. The film was funded, in part, by the British government and is widely understood to have been intended as a propaganda film, made in anticipation of D-day. The second version, directed by Kenneth Branagh, was made in 1989, only a few years after the Falklands War, and was much harsher in tone. The battle scenes are gory and are shot in gray, dismal weather. The actors wear muddy, blood-smeared costumes reflective of the period. The scene with Henry's harsh justice is included.

The primary purpose of this passage is to

(A) describe Shakespeare's Henry V.
(B) denounce the intrusion of government involvement with the arts.
(C) describe cinematic interpretation of literature.
(D) teach the reader about cinematic versions of theater.
(E) explain the effect of contemporary situations upon interpretation of literature.



Consider each of the following choices separately and select all that apply.

18. The author would most likely agree with which of the following?

A. Original works of art are more reflective of their societal contexts than are cinematic adaptations of such works.
B. Contemporary events influence the adaptation of historical source material.
C. War is likely to produce good cinema.



Which of the following most accurately describes the relationship between the highlighted sentences?

(A) The first is an example of an argument; the second is a counterexample.
(B) The first is a synthesis of disparate ideas; the second is one of the components of that synthesis.
(C) The first is the topic of the passage; the second is an argument in support of it.
(D) The first presents an assertion; the second provides an example to support that assertion.
(E) The first is a thesis; the second is the antithesis.



It can be inferred that the author

(A) regards texts as being open to interpretation.
(B) prefers the Olivier version.
(C) dislikes Henry.
(D) prefers Branagh's version.
(E) believes directors should remain as faithful to the original as possible.