16. The passage will test you on vocabulary. read the underlined words carefully and answer the below-given questions.On screen as well on the page, cosy crime has been a staple of our cultural consumption long before we used the term. Go back to the 1980s and think of Angela Lansbury's author-turned-sleuth Jessica Fletcher in the phenomenally successful Murder She Wrote; the US TV series was perhaps the epitome of cosy crime, and indeed shows that the US stole something of a march in presenting contemporary shows that deliberately harked back to the Agatha Christie mould of storytelling.More recently, British series such as Midsomer Murders, a procedural set within country villages where increasingly outlandish murders (burned alive in a wicker man? Drowned in a bowl of jellied eels? Death by numerous medieval weapons?) and Death in Paradise, set on the idyllic Caribbean island of Saint-Marie, have been quintessential cosy crime hits.Q16-The word cosy means in the context.*Unsettlingwarm and comfortableConvenientPleasant

On screen as well on the page, cosy crime has been a staple of our cultural consumption long before we used the term. Go back to the 1980s and think of Angela Lansbury's author-turned-sleuth Jessica Fletcher in the phenomenally successful Murder She Wrote; the US TV series was perhaps the epitome of cosy crime, and indeed shows that the US stole something of a march in presenting contemporary shows that deliberately harked back to the Agatha Christie mould of storytelling.More recently, British series such as Midsomer Murders, a procedural set within country villages where increasingly outlandish murders (burned alive in a wicker man? Drowned in a bowl of jellied eels? Death by numerous medieval weapons?) and Death in Paradise, set on the idyllic Caribbean island of Saint-Marie, have been quintessential cosy crime hits.

What is crime?The breaking of unwritten lawsThe breaking of written lawsThe breaking of rulersThe breaking of social norms

What is crime?The breaking of unwritten lawsThe breaking of written lawsThe breaking of rulersThe breaking of social norms

In the late 1940s, most American crime films could be divided into two distinctive categories, with two different points of view. The first category was film noir, which focused on the perspective of the criminal, the outsider, the trapped antihero, or the private investigator; the second was labeled procedural drama, which shifted the perspective to the professional police force, the FBI, and other respectable institutions charged with maintaining public order (Ousborne 13). Which of the following is the best paraphrase of this passage?Multiple choice question.Both film noir and procedural dramas flourished as the two main types of crime film in the decade after World War II. Movies In the former category presented the stories—and viewpoints—of hunted criminals and struggling antiheroes. In contrast, movies in the latter category highlighted respectable, impersonal public institutions that maintained law and order (Ousborne 13).In the years after World War II, many US movies focused on crime could be seen as part of two different types, with different perspectives. One was called film noir, which presented stories from the view of criminals, outsiders, antiheroes, and private investigators. The other was called procedural dramas, which changed the focus to police departments, government law enforcement agencies, and other organizations whose purpose was to uphold law and order.In the years after World War II, crime films usually fit into two general categories: film noir or the procedural drama.After World War II, “many US movies focused on crime could be seen as part of two different types, with different perspective. One was called film noir, which presented stories from the view of criminals, outsiders, antiheroes, and private investigators. The other was called procedural dramas, which changed the focus to police departments, government law enforcement agencies, and other organizations whose purpose was to uphold law and order” (Ousborne 13).

Multiple Choice QuestionRead the following passage on the history of crime films, and then answer the question. In the late 1940s, most American crime films could be divided into two distinctive categories, with two different points of view. The first category was film noir, which focused on the perspective of the criminal, the outsider, the trapped antihero, or the private investigator; the second was labeled procedural drama, which shifted the perspective to the professional police force, the FBI, and other respectable institutions charged with maintaining public order (Ousborne 13). Which of the following is the best summary of this passage?Multiple choice question.Both film noir and procedural dramas flourished as the two main types of crime film in the decade after World War II. In the former category, movies such as Double Indemnity, Out of the Past, and Gun Crazy presented the stories—and viewpoints—of hunted criminals and struggling antiheroes. In contrast, the latter category, illustrated by films such as The Naked City, T-Men, and He Walked By Night, highlighted respectable, impersonal public institutions that maintained law and order (Ousborne 13).In the years after World War II, many US movies focused on crime could be seen as part of two different types, with different perspective. One was called film noir, which presented stories from the view of criminals, outsiders, antiheroes, and private investigators. The other was called the procedural dramas, which changed the focus to police departments, government law enforcement agencies, and other organizations whose purpose was to uphold law and order (Ousborne 13).Ousborne notes that in the years after World War II, crime films usually fit into two general categories: film noir, which focused on villains and antiheroes, or the procedural dramas, which focused on public law enforcement agencies (13).In the years after World War II, film noir “focused on the perspective of the criminal, the outsider, the trapped antihero, or the private investigator” (Ousborne 13).