Question: David Gauntlett makes a good point in his newest book (Making Media Studies: The Creativity Turn in Media and Communications Studies) and that is that traditional forms of media studies are no longer applicable. Gone are the days of massive institutions and production companies, gone are the traditional audiences and simplistic texts. In, is the new age media companies, the everyday media makers, the consistent consumers and the fantastical mess of The WWW. While universities are pumping out the same content areas since the 1980’s (e.g. institutions, production, audiences and texts) that are only relevant to a handful of media forms (cinema, television, online broadcasting and publications), the rest of the world is moving on. David Gauntlett so rightly says that creativity in media, should also refer to thinking creatively about the subject. What are the new ways of running media and communication studies? How has the subject itself changed? What approaches and methods can help media and communications studies to become innovative and useful in spheres beyond itself? David Gauntlett encourages a kind of call to arms, an acquiescence of the incapacities of the old system and a redirected gaze to the future needs of media students and media studies programs. Inspired by Tim Ingold’s book Making, David believes media studies should have making at it’s front and centre. He also believes the ability to do things with media should be embraced over and above the ability to talk about what others do with media, or what media does to us. The notion is that media studies should be hands on, that it should be all about ideas and critical engagement and this should be expressed through actual making. To borrow three key distinctions from the anthropologist Tim Ingold: 1. It’s about learning WITH media rather than ABOUT media. 2. There is an intent to move FORWARD rather than looking BACKWARDS at how things are. 3. It’s aims are TRANSFORMATIONAL rather than DOCUMENTARY. According to the above context, answer the following question. Why did David Gauntlett feel the need to write his new book?
Answer: because traditional forms of media studies are no longer applicable

Question: The night when she thought she would finally be a star, Maria Isabella du'l Cielo struggled to calm the trembling of her hands, reached over to cut the tether that tied her to the ground, and thought of that morning many years before when she'd first caught a glimpse of Lorenzo du Vicenzio ei Salvadore: tall, thick-browed and handsome, his eyes closed, oblivious to the cacophony of the accident waiting to occur around him. Maria Isabella had just turned sixteen then, and each set of her padrinos had given her (along with the sequined brida du caballo, the dresses of rare tulle, organza, and seda, and the diadema floral du'l dama -- the requisite floral circlet of young womanhood) a purse filled with coins to spend on anything she wanted. And so she'd gone past the Calle du Leones (where sleek cats of various pedigrees sometimes allowed themselves to be purchased, though if so, only until they tired of their new owners), walked through the Avenida du'l Conquistadores (where the statues of the conquerors of Ciudad Meiora lined the entirety of the broad promenade) and made her way to the Encantu lu Caminata (that maze-like series of interconnected streets, each leading to some wonder or marvel for sale), where little musical conch shells from the islets near Palao'an could be found. Those she liked very much. In the vicinity of the Plaza Emperyal, she saw a young man dressed in a coat embroidered with stars walk almost surely to his death. In that instant, Maria Isabella knew two things with the conviction reserved only for the very young: first, that she almost certainly loved this reckless man; and second, that if she simply stepped on a dog's tail -- the very dog watching the same scene unfold right next to her -- she could avert the man's seemingly senseless death. According to the above context, answer the following question. Why did Maria think she would be a star?
Answer: not enough information

Question: "Because all of you of Earth are idiots!" shouted Tom, wearily wiping the glass counter, removing coconut oil from the reflections of overpriced candy bars. Inside the theater the movie echoed him: "Because all of you of Earth are idiots!" Tom sighed, not for the first time that evening. The Manager, who paid in cash every Sunday, had decided to take advantage of the bizarre tastes of his Generation X clients and offer an Ed Wood film festival. Bride of the Monster, Plan 9 From Outer Space, and Night of the Ghouls ran on the second, smaller screen on Friday, Saturday, and Sunday, two bucks a head. The Manager was making a killing. Tom, who needed the job in order to move out of his parents' trailer home, found little about the Ed Wood canon amusing, although it was light-years beyond anything by Coleman Francis. Even so, Tom had been forced to hear the dialog of each film, on Friday, Saturday, and Sunday... He only had to watch them once, having filled in for the Manager's weasel-featured nephew/projectionist Neoldner, who had called in sick to buy grass in Beloit. But he would have been able to forget the experience had it not been for the penetrating soundtrack which bled into the lobby. The ordeal, for tonight, was almost over - the concession stand closed after Plan 9. He hoped he had sold enough to keep his job - there was the worry that the Manager would increase his profit margin by manning the concession stand himself. But the Manager strolled out of the second theater with a broad grin, revealing his cutting overbite. "I don't know why," the Manager exclaimed, "but they love it!" "Most of them are from the 'Ed 9 Film Society,'" Tom replied. "By the way, I need to restock the chocolates." According to the above context, answer the following question. Who was was making good money from saling movie tickets?
Answer:
The manager of the store