12S (March 2021 Official SAT)(12

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Hillsborough Community College *

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1605

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English

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Apr 3, 2024

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pdf

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SAT ® INTRODUCTION Fill out the answer sheets completely: 1 - Student Name — Print your first and last name in the box at the top of each page. 2 - Test Form Code — Fill in the “1 2 ” and “ S ” bubbles. FORMAT This SAT ® assessment is made up of five tests: Reading, Writing and Language, Math (Calculator Not Permitted), Math (Calculator Permitted), and the Essay. Test 1 is the Reading Test; it has a 65-minute time limit. Test 2 is the Writing and Language Test; it has a 35-minute time limit. Test 3 is the Math Test (Calculator Not Permitted); it has a 25-minute time limit. Test 4 is the Math Test (Calculator Permitted); it has a 55-minute time limit. Test 5 is the Essay; it has a 50-minute time limit. During a given test, you may work ONLY on that test. You may not go back to earlier tests or skip ahead to later tests. EXAM SCORING Download the App “Revolution Prep” via the Apple App store if you have an Apple device or via the Google Play store if you have an Android device. To score your optional essay, login to your student dashboard at https://student.revolutionprep.com. If you forgot your Revolution Prep student username, reference your welcome email which contains your username and a link to set up your password. TEST BOOKLET The test booklet is yours to keep. You can use the test booklet to review questions from the exam. ©2018 Revolution Prep All rights reserved. TEST FORM CODE 12S
Reading Test 65 MINUTES, 52 QUESTIONS Turn to Section 1 of your answer sheet to answer the questions in this section. MhHiiM~H Each passage or pair of passages below is followed by a number of questions. After reading each passage or pair, choose the best answer to each question based on what is stated or implied in the passage or passages and in any accompanying graphics (such as a table or graph). Questions 1-10 are based on the following passage. This passage is adapted from Nina Revoyr, The Age of Dreaming. ©2008 by Nina Revoyr. The narrator describes acting in silent films in the early 1900s. Moran owns the production company that employs the narrator. It is amusing, in retrospect, to think how primitive our efforts were in those early years. For my first two films, all of the interiors were shot on Line outdoor sets, with canvases draped over them to 5 soften the sun. All copies of Jamestown Junction have long been lost, but if the film had survived, and if you could see it, you would notice that during the office scene the papers on my desk are disturbed by a mysterious breeze. And in the very next scene, you 10 would see a shadow moving in the corner, caused by the canvas flapping in the wind. These were the conditions in which we shot at that time, and because we worked without the benefit of artificial light, there was always a rush to complete the day's filming 75 before the shadows grew too deep in the afternoon. In late May, when we endured an unexpected heat wave, Moran had giant ice blocks delivered to the sets, and powerful fans placed behind them to blow the cool air in the direction or the players. If it rained, 20 filming would halt altogether, and we would scramble to move all the furniture and props under the complex's few permanent roofs. But despite lhese challenges, everyone remained in good spirits. We were working, yes, but it fell like play, and it was )'> hard to comprehend the tremendous good fortune that had suddenly befallen me. Unauthorized copying or reuse of any part of this page is illegal. 2 Through the making of both films, Hanako gave me constant guidance, which I eagerly accepted. And I immediately discerned the difference between 30 myself, an untrained amateur, and a seasoned professional who knew everything about the art of acting. Indeed, she was perhaps the largest influence on my development as an actor. "There is no audience to see you," she said one 35 day in Japanese, as I gestured expansively to convey my anguish at the death of one of my fellow soldiers. "You don't need to project like you would in the theater, as if you're trying to be seen by the person in the last row. Pretend the camera is the one man 40 you're playing to." On another occasion when I was perhaps too understated, Hanako approached me after Moran called "cut." "You're painting a picture with your body," she said. "Think of pantomime. You must 45 express physically what you can't with your voice. And use your face, your eyes. You have such eyes. They alone speak volumes." Moran nodded in agreement, although he couldn't have understood, and I adjusted my actions 50 accordingly. I was surprised by the extent to which he let Hanako direct things-not only my own performance, but also lhe placement of pro~s, even the movements of the other actors. Yet allot her suggestions improved the films. And between her '>'> advice and Moran's direction, I was slowly learning what to <lo. The transition from theater, which depends on dialogue, was more difficult than I had imagined-indeed, many slage actors, even those who didn't disdain the new medium or moving
60 pictures, did not make the change successfully. Hanako Minatoya was one of the few who was equally accomplished in both realms. I was learning under her tutelage every day. On certain days, when we weren't in scenes, 65 Hanako and I would leave the sets and walk into the hills. They were vibrant with color, with flowers wherever one looked-blue brodiaea and lupin, Mariposa lilacs, the wispy orange California poppies. The beauty of that landscape, when the air was cool, 10 the sun glinting off the ocean, and the breeze carrying the scent of the flowers, was so dramatic I could hardly believe it real. And I was seeing it, feeling it, in the company of an artist whose work I had admired for years. 75 One day on our walk we were discussing a well-known actor, and Hanako surprised me by her reaction to his name. "He is nothing but a face for the fan magazines," she said dismissively. "He is not a genuine actor." 80 "What do you mean?" I asked, although I didn't disagree. "It is impossible to distinguish one of his roles from another. He is always the same, and it is obvious why. In order to project a believable fiction, 85 the actor himself must have substance. You must possess something internally to perform it externally. He has only a fraction of the talent of an artist such as you." I was, of course, deeply flattered by her 90 compliment, and I did not know how to respond. Hanako continued talking of this actor and that, without noting my reaction. As used in line 2, "primitive" most nearly means A) basic. B) ancient. C) original. D) nalural. Unauthorized copying or reuse of any part of this page is illegal. 3 The narrator references Jamestown Junction (line 5) primarily in order to A) highlight a film that features acting that the narrator aims to emulate. B) provide context for the tensions that later surface between the narrator and others on the set. C) contrast the responsibilities of the director and the actors in film production. D) showcase the challenges posed by filming in an outdoor setting. The passage is written from the perspective of someone who A) realizes he cannot meet the challenges of pivoting to a new career. B) regrets not making more of an effort to achieve his professional goals. C) is enthusiastic about recent technological developments affecting his profession. D) is nostalgic about experiences toward the beginning of his career. It can most reasonably be inferred from the passage that, as a young man, the narrator attributed his employment in films to A) his wide range of acting skills. B) the fan base he acquired as a stage actor. C) a lucky happenstance. D) his friendship with Hanako.
Which choice provides the best evidence for the answer to the previous question? A) Lines 11-15 ("These ... afternoon") B) Lines 24-26 ("We were ... befallen me") C) Lines 27-28 ("Through ... accepted") D) Lines 29-32 ("And I ... acting") As used in line 35, "convey" most nearly means A) communicate. B) conduct. C) guide. D) experience. Based on the passage, in what way does Hanako most directly influence the narrator's development? A) She praises his skill as an actor to boost his confidence. B) She advises him on balancing popularity with artistic integrity. C) She shares lessons learned from having made the same career shift that he is making. D) She convinces Moran to allow the narrator to take on more prominent roles in his films. Which choice provides the best evidence for the answer to the previous question? A) Lines 53-56 ("Yet ... to do") B) Lines 61-63 ("Hanako ... day") C) Lines 64-66 ("On cerlain ... hills") D) Lines 89-90 ("I was ... respond") Unauthorized copying or reuse of any part of this page is illegal. 4 The passage indicates that when Hanako criticizes a well-known actor, the narrator A) fears that Hanako will address him with the same criticism but is relieved when she praises him instead. B) concurs with Hanako' s opinion of the actor but is curious about the reasoning behind her criticism. C) is disappointed that Hanako does not respect the actor but continues to admire the actor himself. D) understands Hanako's argument but respectfully disagrees with her characterization of the actor. It can most reasonably be inferred from the passage that Hanako believes that an actor's merit depends on the A) caliber of training that the actor receives from mentors. B) depth of the actor's own feelings and perceptions. C) actor's willingness to take on roles that others find unappealing. D) actor's ability to overlook unfavorable audience reactions.
Questions 11-20 are based on the following passage and supplementary material. This passage is adapted from Giorgia Guglielmi, "Small News Outlets Influence Us More Than We Think." ©2017 by American Association for the Advancement of Science. Assessing the influence of news media is tricky. Researchers can't peer into voting booths or people's living rooms, and news organizations aren't typically Line willing to have outsiders interfere with their content. 5 That's why it took a team of social scientists 5 years to get 48 U.S. news organizations to agree to run an unusual set of experiments. Instead of simply tracking what the outlets were publishing and analyzing their impact on public opinion, the 10 researchers took an approach similar to that used in clinical trials to evaluate the effects of new drugs. They manipulated the type of news stories run, and then assigned a "treatment" week when the stories would run and a "control" week when they wouldn't. 75 This way they could tell whether those particular stories were having any effect on public discussion. Most participating outlets were small, with fewer than an estimated 200,000 pageviews per month, and a few were midsized, like the Wisconsin-based 20 magazine The Progressive, which had more than 250,000 pageviews per month. The nonprofit news organization Truthout, based in Chicago, Illinois, represented a large outlet, with an estimated 2 million pageviews per month. 25 The researchers, led by Gary King of Harvard University, asked groups of two to five of these news outlets to write stories on broad policy areas, including race, immigration, and climate. For example, if the broad area was technology policy, the 30 specific story might be what Uber drivers think about self-driving cars. The outlets could choose the policy area, the stories to cover, and the type of articles to write, such as investigative reports or opinion pieces. However, the researchers could reject a story if it was 35 outside a specific policy area. (The outlets were free to publish whatever story they wanted outside of the experiment.) Then, the researchers flipped a coin to decide during which of lwo consecutive weeks these clusters 40 of stories, all on the same topic, would run. Finally, they measured the number of tweets about bolh lhe specific stories and the broader policy issues during the week when the slories ran compared to the week when they didn't. Unauthorized copying or reuse of any part of this page is illegal. 5 45 Twitter posts on these topics increased by nearly 63% over the week in which the stories were posted. On average, Americans wrote more than 13,000 additional social media posts about a specific policy area on the day the stories ran and in the 50 following 5 days. What's more, the cluster of stories swayed people's opinion by 2.3% in the ideological direction of opinion articles, suggesting that news media might in some cases change people's beliefs. The team repeated the experiment 35 times, and 55 observed that stories boosted posting by men and women alike, as well as by people living in different U.S. regions, with different political orientations and influence on Twitter. Removing larger outlets from the analysis didn't change the effect on public 60 conversation much, suggesting that no single large news organization was responsible for the increase. However, if the researchers had recruited large mainstream outlets, the spike in discussion might have been much bigger: When they looked at stories 65 published by The New York Times on little-discussed topics, such as how £racking affects the quality of drinking water, they found that Twitter posts about the broader issue of water quality increased by 300% in just 1 day. 10 Though excited by the study, economist Matthew Gentzkow points out that only about 20% of Americans use Twitter, so the results might not be widely applicable outside social media. But to King, Twitter users are a valuable resource to assess the 75 agenda-setting power of media because they represent those people who are willing to speak up to influence policy. Figure 1 Modeled Effect of Experimental News Stories on Twitter Posts 5,000~---.----,--,-----,---, 2 3 4 5 Days following publication of experimental news stories 6
V 100 4--, bl) 0 ro ,..., ,..., V 80 V ~ ..0 s V ;:l ...c:: 60 ~ ..., 0 ~ ..., ..... "d 40 V V bl) ,..., ~ ro ro o.. ...c:: s 20 u 0 ..., u ~ (/) V 0 u ro ,..., (/) V ..., 0.. (/) 0 -20 0.. 1 Figure 2 Modeled Effect of Experimental News Stories on Twitter Posts, by User Influence -o- high influence -+- all users --o- low influence 2 3 4 5 Days following publication of experimental news stories Figures adapted from Gary King, Benjamin Schneer, and Ariel White, "How the News Media Activate Public Expression and Influence National Agendas." ©2017 by Gary King, Benjamin Schneer, and Ariel White. The main purpose of the passage is to 6 A) summarize an open question with respect to social media and propose a study to examine the question in greater depth. B) introduce a common misunderstanding about mainstream media outlets and describe a study that challenges that misunderstanding. C) outline a study that compares trends in social media use among different demographic groups and suggest an explanation for the results of that study. D) describe a study' s novel way of assessing the impact of news media on public opinion and report the findings of that study. Unauthorized copying or reuse of any part of this page is illegal. 6 As used in line 4, "interfere with" most nearly means A) oppose. B) prevent. C) modify. D) suspend. Which choice best supports the idea that the researchers needed a mechanism to determine whether changes in public opinion were the result of the experimental stories and not some other factor? A) Lines 1-4 ("Assessing ... content") B) Lines 5-7 ("That's ... experiments") C) Lines 7-11 ("Instead ... drugs") D) Lines 12-16 ("They ... discussion") According to the passage, the opinion articles used in the study had what impact on the opinions of Twitter users? A) Twitter users' opinions changed to be increasingly negative toward a specific policy area over the five-day period following the articles' publication. B) Twitter users' opinions changed somewhat toward favoring the articles' position on the policy area. C) Twitter users' opinions showed no measurable change throughout the two-week experiment. D) Twitter users' opinions changed only in response to stories on policy areas that already interested them.
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