The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
In the summer of 2022, subscribers to the US streaming service HBO MAX were alarmed to discover that dozens of the platform’s offerings - from the Covid-themed heist thriller Locked Down to the recent remake of The Witches - had been quietly removed from the service . . . The news seemed like vindication to those who had long warned that streaming was more about controlling access to the cultural commons than expanding it, as did reports (since denied by the show’s creators) that Netflix had begun editing old episodes of Stranger Things to retroactively improve their visual effects.
What’s less clear is whether the commonly prescribed cure for these cultural ills - a return to the material pleasures of physical media - is the right one. While the makers of Blu-ray discs claim they have a shelf life of 100 years, such statistics remain largely theoretical until they come to pass, and are dependent on storage conditions, not to mention the continued availability of playback equipment. The humble DVD has already proved far less resilient, with many early releases already beginning to deteriorate in quality Digital movie purchases provide even less security. Any film “bought” on iTunes could disappear if you move to another territory with a different rights agreement and try to redownload it. It’s a bold new frontier in the commodification of art: the birth of the product recall. After a man took to Twitter to bemoan losing access to Cars 2 after moving from Canada to Australia, Apple clarified that users who downloaded films to their devices would retain permanent access to those downloads, even if they relocated to a hemisphere where the [content was] subject to a different set of rights agreements. Thanks to the company’s ironclad digital rights management technology, however, such files cannot be moved or backed up, locking you into watching with your Apple account.
Anyone who does manage to acquire Digital Rights Management free (DRM-free) copies of their favourite films must nonetheless grapple with ever-changing file format standards, not to mention data decay - the gradual process by which electronic information slowly but surely corrupts. Only the regular migration of files from hard drive to hard drive can delay the inevitable, in a sisyphean battle against the ravages of digital time.
In a sense, none of this is new. Charlie Chaplin burned the negative of his 1926 film A Woman of the Sea as a tax write-off. Many more films have been lost through accident, negligence or plain indifference. During a heatwave in July 1937, a Fox film vault in New Jersey burned down, destroying a majority of the silent films produced by the studio.
Back then, at least, cinema was defined by its ephemerality: the sense that a film was as good as gone once it left your local cinema. Today, with film studios keen to stress the breadth of their back catalogues (or to put in Hollywood terms, the value of their IPs), audiences may start to wonder why those same studios seem happy to set the vault alight themselves if it’ll help next quarter’s numbers.
“Netflix had begun editing old episodes of Stranger Things to retroactively improve their visual effects.” What is the purpose of this example used in the passage?
Option C is the correct answer. The passage highlights that the practice of streaming services, like Netflix, editing old episodes of Stranger Things retroactively raised concerns. The alteration of a popular show’s content without consent or transparency supports the concern that such platforms can tamper with or erase parts of culture at their discretion, rather than preserve them as they were originally created.
Option A: This option touches on a central theme of the passage (that streaming services control access to content), but it doesn't fully capture the specific concern raised by the example of Stranger Things editing. The example is more about how content is altered (not just removed or restricted), which is not directly about controlling access. Instead, it's about manipulating the content, which is different from simply restricting access.
Option B: The passage notes that reports about Netflix editing Stranger Things were "since denied by the show’s creators," but this is not the main focus. The passage is more concerned with the possibility and practice of editing content on streaming platforms, not the specific issue of whether the reports are unsubstantiated.
Option D: The example of Stranger Things is not necessarily about changing films to suit new tastes or technology. Rather, it’s about the platform’s ability to alter existing content without transparency or input from the original creators. The issue is less about "art in the digital age" and more about trust and preservation, which is the focus of the passage.
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