The Most Important Aspect of Moviemaking is Conveying a Scene’s Rhythm.

Question: The most important aspect of moviemaking is conveying a scene’s rhythm. Conveying rhythm depends less on the artistic quality of the individual photographic images than on how the shots go together and the order in which they highlight different aspects of the action taking place in front of the camera.

If the statements above are true, which of the following must be true on the basis of them?

(A) The artistic quality of the individual photographic image is unimportant in movie photography.
(B) Photographers known for the superb artistic quality of their photographs are seldom effective as moviemakers.
(C) Having the ability to produce photographs of superb artistic quality does not in itself guarantee having the ability to be a good movie maker.
(D) Movie photographers who are good at their jobs rarely give serious thought to the artistic quality of the photographs they take.
(E) To convey a scene’s rhythm effectively, a movie maker must highlight many different aspects of the action taking place.

“The most important aspect of moviemaking is conveying a scene’s rhythm” – is a GMAT Critical question. This particular GMAT Critical Reasoning topic has been taken from the book ‘GMAT Official Guide Verbal Review, 2016 Edition’. This weakens the argument type of GMAT CR question. To answer the question, a candidate can by either finding a piece of evidence that would weaken the argument or logical flaws in the argument. GMAT critical reasoning tests the logical and analytical skills of the candidates. This topic requires candidates to find the strengths and weaknesses of the argument, or find the logical flaw in the argument. The GMAT CR section contains 10 -13 GMAT critical reasoning questions out of 36 GMAT verbal questions.

Answer: C

Explanation: GMAT critical reasoning tests the reasoning skills along with the candidate's logical and analytical thinking abilities. The candidate has to deduce the correct option by finding the logically correct argument.

Let us check an assumption on which the argument depends:

(A) The artistic quality of the individual photographic image is unimportant in movie photography. I am unable to say whether moviemaking and movie photography are similar terms; they do not seem like it. whether or not they're, this selection goes to an extreme in saying that the artistic quality of the individual photographic image is unimportant. It just might not be as important as conveying a scene’s rhythm.
(B) Photographers known for the superb artistic quality of their photographs are seldom effective as moviemakers. We cannot say this obviously. 'Seldom' is the problematic word here. One can counter this statement by saying that photographers having superb artistic quality are generally good at moviemaking too.
(C) Having the ability to provide photographs of superb artistic quality doesn't in itself guarantee having the flexibility to be an honest movie maker. This looks good to me. you would like to possess other qualities too (for ex., conveying a scene’s rhythm effectively) for becoming an honest movie maker. Though the excerpt talks about 'aspects of moviemaking' and not about 'qualities of an honest movie maker', this seems like something which will be true supported by the data provided.
(D) Movie photographers who are good at their jobs rarely give serious thought to the artistic quality of the images they take. Again, this statement takes an extreme stand by stating that moviemakers 'rarely' give serious thought to the artistic quality of the images they take. they will not be as fascinated by the artistic quality of the photographs as they're in conveying a scene's rhythm.
(E) To convey a scene’s rhythm effectively, a movie maker must highlight many alternative aspects of the action happening. The excerpt emphasises the 'order' within which different aspects are highlighted. This feature also looks wrong because the excerpt talks about 'highlighting different aspects' NOT 'highlighting many various aspects'.

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