Think outside the box, whilst inside the box (studio): As this studio is about working with constraints, I thought i’d google ‘constraints in filmmaking’ and see what comes up. One of the first links was to a journal article by Heidi Philipsen entitled ‘Constraints in Film Making Processes Offer an Exercise to the Imagination’. Interestingly enough the first sentence of her article states: “I would like filmmakers interested in thinking “outside the box” to recognize that they can benefit from being placed “inside a box.” I wonder if Paul had contemplated this whilst choosing the name for this studio. Throughout her article Philipsen challenges the notion that creativity is an intangible innate quality, existing within the mind of one source, but rather creativity arises from a multitude of sources. Alike all things shared she suggests that creativity is easier to enhance by changing environmental conditions, rather than encouraging people to ‘think more creatively’. Perceiving creativity in this way allows you to see it as an organisationally influenced phenomenon, rather than a psychological  and individual phenomenon. Which enables you to have more control over creativity and to encourage creativity once being aware of how it can be environmentally enhanced. As Csikzentmihalyi (1996) states “a genuinely creative accomplishment is almost never the result of a sudden insight, a lightbulb flashing on in the dark, but comes after years of hard work”. Constraints, as Philipsen suggests is one such way to manipulate the environment to enhance creativity. Students who attended The Film School in Denmark, who were forced into working with constraints for their  projects eventually considered constraints to be both useful and inspirational. Such constraints included: making a scene with a specific theme, within a specific deadline and with other specific conditions concerning the use of camera, sound, actors etc. Students stated that these constraints ultimately made them feel secure, inspired and focused and... After this passage, the writer probably  A. thought about it  B. researched more about it  C. wrote more  D. not enough information
B
(Question)
I thought I might get some good ideas if I went down to the hospital. I always have stayed away from hospitals. People died or were born. But now I thought I might get some idea if I went down to where it was all happening, the being born and the dying. Mostly the dying. It was the dying that interested me. I sat on a bench in a sort of waiting room. I wanted to call it a green room; it wasn't a place where the patients would wait to be called by the doctor; it was a place where the relatives would wait while the patient was in their room. It had a coffee bar, and comfortable couches, with trendy, muted colors on the walls and floor. Everything was clean and modern without being cold, a homogenized balancing act designed to keep everyone calm during their stressful time. It was a green room; patients were "guests"; their families were "guests" as well. Here was where the families would sit and be feted while they waited to be called out to perform, to smile and encourage or to don faces of appropriate mournfulness. The old ones would put on smiles, the young ones would look sad. I think I went there because it seemed to me that it was the place richest in emotional impact. It reeked of spent emotions, and the emotions were made all the stronger, here in the green room, by the efforts at suppression--the muted walls and gourmet coffees and scones, the overstuffed loveseats and couches, as if those in grief should not be permitted to sit on benches or folding chairs. It absolutely reeked of hush and hidden feeling. It was worse than a church. It was worse than a highschool hallway. It was more universal, more basic, something even the children could comprehend. Who is waiting in the green room?  A. not enough information  B. Relatives of patients.  C. The doctors.  D. The nurses.
(Answer)
B
Ques: I had the joy, absolute joy, of observing an ER nurse just about lose it and the poor pompous MD (who had left the room) was still clueless. I was in the ER with my dad and my sister. It was late. Dad had taken a tumble, hit his head and because he was on a blood thinner, he had to be checked out at the ER. This ER was in the same hospital we always went to. As we completed the history etc. I noted “stroke effecting speech.” They had a complete synopsis of dad’s history which I gave them as we checked in. Dad is getting tired and his speech was getting more slurred. My Dad was in work clothes. I was in something pretty casual and my sister was in the same clothes (business attire) that she had put on at 6 a.m. I am sure we looked pretty ragged. In waltzes Dr. Hotshot. He looks around and asks my sister and I who we are. My sister introduced us making sure to introduce me as “Dr. Lea (I think that was the first, last, and only time she called me ‘Dr.”). He then turns to my dad and asked what happened. Knowing how difficult it is to understand Dad, I start to answer. My bad. The doctor abruptly stops me and says, “I didn’t ask you. I want him to tell me.” In hindsight, I realize he wanted to hear dad’s speech as a part of his assessment. Dad begins. His speech is slow and very very slurred. Dr. Hotshot looks totally befuddled. Dad had gotten out about 3 sentences out when Dr. Hotshot stops him and abruptly asks, “Does he always talk like that?” My sister, without missing a beat, replies, “No, sometimes he speaks French.” As I am trying to not swallow my head to keep from laughing, I notice the nurse in the room has buried her mouth in her shoulder. Dr. Hotshot exits. A scan shows no damage. And, for the record, Dad never did learn to speak French. After the end of the story, everyone:  A. left the hospital  B. stayed at the hospital  C. not enough information  D. went to find Dr. Hotshot
Ans: A
Question: For those of us who struggle with thoughts about our size and shape, sometimes we don’t like our bodies and our behaviour very much. It seems like an impossible task to transform our self loathing into self-love, but it is possible with these five simple steps. I started to write some examples of the self loathing dialogue I occasionally have in my head and I found I couldn’t do it. It felt as wrong as criticising my closest friend. I guess it goes to prove that the shift from loathing to love is not always huge and momentous, but subtle and gradual. When I look in the mirror and see a part of my body I don’t like, I run through these five steps in my head. This following example is the kind of internal conversation I might have about my belly. 1. POSITIVE INTENT (THE GIFT) Recognise the gift your body is giving you. My belly fat is protecting and cushioning my intestines and reproductive system. By having a higher body fat percentage my hormones are functioning as they should, enabling me to have a normal transition through perimenopause. I fit my skin and the wrinkly empty skin folds are gone. 2. FORGIVENESS Acknowledge the way you have treated your body in the past. I am sorry that I have been either starving you or stuffing you with toxic food and that I have accused you of betraying me. I now realise that my body is a reflection of my thoughts and beliefs so I was hating myself. Please forgive me for treating you so badly. 3. GRATITUDE Notice the miracles your body performs even though you have abused it. I am so thankful that even though I have treated you so badly you are still healthy and functioning. I am amazed at your ability to heal a lifetime of digestive and hormonal issues within a short amount of time. Thank you for your forgiveness and that’s it’s not too late to take great care of you. The narrator was thankful:  A. during the time she treated her body badly  B. not enough information  C. after she treated her body badly  D. before she treated her body badly
Answer:
C