Q74.Direction of the question: The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer. 1. ‘Literature on screen’ suggests something more capacious and defining than citation: the possibility that literary adaptations are at once cinema and literature. 2. Even though a growing number of films eligible for Academy Awards for Best Screenplay Based on Material from Another Medium borrow that material from print journalism, franchise characters, television series, comic books, video games and toys, academic studies of adaptation remain stubbornly attached to literature as cinema’s natural progenitor. 3. It is as if adaptation studies, by borrowing the cultural cachet of literature, sought to claim its institutional respectability and gravitas even while insuring adaptation’s enduring aesthetic and methodological subordination to literature proper. 4. Beneath this contradictory notion of film adaptations as not merely hybrid texts but texts holding dual citizenship in two modes of presentation is an even more pervasive legacy that haunts adaptation studies: the assumption that the primary context within which adaptations are to be studied is literature.
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Q74
30 Nov 2025
Q74.Direction of the question: The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer. 1. ‘Literature on screen’ suggests something more capacious and defining than citation: the possibility that literary adaptations are at once cinema and literature. 2. Even though a growing number of films eligible for Academy Awards for Best Screenplay Based on Material from Another Medium borrow that material from print journalism, franchise characters, television series, comic books, video games and toys, academic studies of adaptation remain stubbornly attached to literature as cinema’s natural progenitor. 3. It is as if adaptation studies, by borrowing the cultural cachet of literature, sought to claim its institutional respectability and gravitas even while insuring adaptation’s enduring aesthetic and methodological subordination to literature proper. 4. Beneath this contradictory notion of film adaptations as not merely hybrid texts but texts holding dual citizenship in two modes of presentation is an even more pervasive legacy that haunts adaptation studies: the assumption that the primary context within which adaptations are to be studied is literature.
