ࡱ> uwrst bjbjqq < eeD)0     $oJBB  W   jm0 BB : Chapter 1: Looking at Movies MULTIPLE CHOICE 1. In what ways that extend far beyond the multiplex have movies permeated our lives? a.We watch movies on cable and satellite channels, online, and on our iPads and cell phones; we buy them at video stores and through the mail; and so on.b.Half of Americans entertainment budgets go toward purchasing movies.c.Movies have proven their enduring cultural legacy by being the only sector of the entertainment industry to remain unharmed by the digital revolution.d.According to research data, movies influence Americans opinions about culture and politics more than any other form of entertainment.e.Movies are the United States number one export. ANS: A DIF: Difficult REF: Page 2 TOP: Looking at Movies MSC: Remembering 2. For how long were motion pictures popular before they were considered worthy of serious study? a.a year or twob.10 yearsc.20 yearsd.50 yearse.The serious study of motion pictures made them popular: they werent so before. ANS: D DIF: Easy REF: Page 2 TOP: Looking at Movies MSC: Remembering 3. Why are movies worthy of serious study, as opposed to being merely an outlet for escape or entertainment? a.Seriously studying movies allows people to better make movies on their own.b.Seriously studying movies allows people to break the habit of constantly watching them.c.Seriously studying movies allows people to understand how movies shape the way we view the world.d.Seriously studying movies allows people to access the plot synopses of movies they now no longer have to pay to watch.e.Seriously studying movies allows people to also understand literature, art, and other cultural areas. ANS: C DIF: Moderate REF: Page 2 TOP: Looking at Movies MSC: Understanding 4. Because most movies seek to engage viewers emotions and transport them inside the world that is presented on-screen, the visual vocabulary of film is designed to a.play on the same instincts that we use to navigate and interpret the visual and aural information of our real life.b.work against those same instincts that we use to navigate and interpret the visual and aural information of our real life.c.refer to something else, far outside our usual understanding of real life.d.alienate or distance viewers from what they are watching.e.cause disorientation and confusion in viewers. ANS: A DIF: Moderate REF: Page 3 TOP: Looking at Movies MSC: Remembering 5. As opposed to film or cinema, the term movies is applied to a.motion pictures considered by critics and scholars to be serious and challenging.b.groups of films considered to be works of art.c.the physical spaces where people congregate to watch motion pictures.d.motion pictures made during the silent era of filmmaking.e.motion pictures that entertain the masses at the multiplex. ANS: E DIF: Easy REF: Page 3 TOP: What Is a Movie? MSC: Remembering 6. Almost all ubiquitous commercial, feature-length movies share the same basic and important element of a.genre.d.sound.b.narrative.e.format.c.myth. ANS: B DIF: Difficult REF: Page 3 TOP: What Is a Movie? MSC: Remembering 7. Which type of film strives for objective observed reality? a.walk-throughd.Bollywood filmb.documentary filme.fictional narrative filmc.experimental film ANS: B DIF: Easy REF: Page 4 TOP: What Is a Movie? MSC: Remembering 8. The manner in which movies from various countries and societies present their narratives is often profoundly affected by a.funding sources.d.propaganda purposes.b.media coverage.e.Hollywood mimicry.c.cultural tradition. ANS: C DIF: Difficult REF: Page 4 TOP: What Is a Movie? MSC: Remembering 9. Movies can diverge from the model of most North American and Western European films by a.providing dramatic resolution.b.directly addressing the audience.c.being produced and marketed by a large commercial studio.d.arranging subject matter in a cause-and-effect sequence of events.e.running two hours long and being initially screened in a movie theater. ANS: B DIF: Moderate REF: Page 4 TOP: What Is a Movie? MSC: Remembering 10. Which of the following is a characteristic of independent films nowadays? a.They are always unprofitable.b.They only screen at film festivals.c.They have crews as small as a single filmmaker.d.They are only shot digitally.e.They are less affordable to make. ANS: C DIF: Moderate REF: Page 4 TOP: What Is a Movie? MSC: Remembering 11. The essential quality that separates movies from all other two-dimensional pictorial art forms is a.storytelling.d.the arrangement of visual elements.b.movement.e.the interaction of light and shadow.c.mechanical technology. ANS: B DIF: Difficult REF: Page 5 TOP: What Is a Movie? MSC: Remembering 12. Unlike photography and painting, films are constructed from individual a.laborers.d.shots.b.performances.e.lighting setups.c.stories. ANS: D DIF: Easy REF: Page 5 TOP: What Is a Movie? MSC: Remembering 13. A shot is best defined as a.an unbroken span of action captured by an uninterrupted run of a motion-picture camera.b.an unbroken span of action captured by an interrupted run of a motion-picture camera.c.a storytelling unit in which action takes place in a single time and location.d.a collection of scenes united by related thematic or structural material.e.a lighting setup, prop, gesture, and the like, repeated throughout a movie. ANS: A DIF: Difficult REF: Page 5 TOP: What Is a Movie? MSC: Remembering 14. The joining together of discrete shots is called a.mise-en-scne.d.mixing.b.lighting.e.juxtaposition.c.editing. ANS: C DIF: Moderate REF: Page 5 TOP: What Is a Movie? MSC: Remembering 15. One of the unique properties of movies that distinguishes it from any other visual medium is its capacity to a.view action from the same angle and relative size.b.prevent the viewer from witnessing events from multiple vantage points.c.confine the viewer to a single wide-angle view of the action.d.see every character at once and continuously.e.isolate details and juxtapose images within and between shots. ANS: E DIF: Moderate REF: Page 5 TOP: What Is a Movie? MSC: Remembering 16. As opposed to the theater, how is cinema capable of conveying an objects physical properties as well as its narrative significance and emotional meaning? a.Conveying an objects physical properties is impossible.b.only by employing contrived gimmicks that call attention to themselvesc.only by employing awkward shots that take the viewer out of the storyd.via many practical optionse.via limited practical options ANS: D DIF: Moderate REF: Page 6 TOP: What Is a Movie? MSC: Applying 17. In the collaborative art of moviemaking, whose role is basically that of the coordinating lead artist? a.producerd.set designerb.actore.directorc.cinematographer ANS: E DIF: Easy REF: Page 6 TOP: The Movie Director MSC: Remembering 18. Beyond breaking down a movie to identify the tools and techniques that comprise it, film analysis is also primarily concerned with a.the movies box office gross.b.the function and potential effect of its combined tools and techniques.c.how the movie can be neatly categorized in terms of genre or style.d.how marketable or profitable the movie might have been had it used different tools and techniques.e.how the movie compares to a given work of literature or painting. ANS: B DIF: Moderate REF: Page 8 TOP: Ways of Looking at Movies MSC: Remembering 19. The invisibility of meaning in movies is largely due to a.their rapidly and constantly changing images not giving the viewer time to contemplate them.b.their lack of substantive content.c.their difficulty and challenging styles and messages.d.their conflation of real-life action with fictionalized action.e.their inability to move the viewer emotionally or intellectually. ANS: A DIF: Easy REF: Page 8 TOP: Invisibility and Cinematic Language MSC: Remembering 20. What does a fade-out/fade-in usually convey when used in a narrative film? a.the films beginningd.a flashbackb.the films ende.a passage of time in between scenesc.a dream sequence ANS: E DIF: Difficult REF: Page 8 TOP: Invisibility and Cinematic Language MSC: Applying 21. Techniques such as fade-outs/fade-ins and low-angle shots communicate meaning by a.contriving a film grammar bearing no similarities to how people perceive reality.b.only working in concordance with preceding and succeeding shots.c.solely addressing themselves to seasoned film experts and scholars.d.drawing on the way in which we automatically interpret visual information in our real lives.e.constantly confusing and disorienting the viewing audience. ANS: D DIF: Moderate REF: Pages 89 TOP: Invisibility and Cinematic Language MSC: Remembering 22. What does a low-angle shot usually convey when used in a narrative film? a.the weakness or subjugated position of a characterb.the dominance or empowered position of a characterc.the neutrality of a characterd.the centrality of a character within the storye.the natural beauty of a character ANS: B DIF: Easy REF: Pages 89 TOP: Invisibility and Cinematic Language MSC: Applying 23. In order to exploit cinemas capacity for transporting audiences into the world of the story, the commercial filmmaking process stresses a.a rough, disruptive style.b.foregrounding and calling attention to transitions between shots and scenes.c.the maximization of any distractions that might remind viewers they are watching a movie.d.elements having nothing to do with the major concerns of the narrative.e.a polished continuity of lighting, performance, costume, makeup, and movement. ANS: E DIF: Moderate REF: Page 9 TOP: Invisibility and Cinematic Language MSC: Remembering 24. One of the most common editing techniques designed to hide the instantaneous and potentially jarring shift from one camera viewpoint to another is a.montage.d.the high-angle shot.b.cutting on action.e.the low-angle shot.c.direct address. ANS: B DIF: Moderate REF: Page 9 TOP: Invisibility and Cinematic Language MSC: Remembering 25. How have motion pictures been recently liberated from the imposed impermanence that helped foster cinematic invisibility? a.by decreasing in cultural importanceb.by directly addressing political issuesc.by being available on and through DVD, DVR, and streaming videod.by increasingly being produced with digital technologye.by being meticulously archived and catalogued ANS: C DIF: Difficult REF: Page 9 TOP: Invisibility and Cinematic Language MSC: Applying 26. In order to entertain and not provoke its customers, the film industry usually favors stories and themes that a.upset and question their most fundamental desires and beliefs.b.bear a superficial relation to their most fundamental desires and beliefs.c.actively avoid addressing their most fundamental desires and beliefs.d.tap into and reinforce their most fundamental desires and beliefs.e.compare their most fundamental desires and beliefs to those of others. ANS: D DIF: Easy REF: Page 10 TOP: Cultural Invisibility MSC: Remembering 27. In regard to viewers shared belief systems, how can movies deemed controversial or provocative be popular with audiences? a.by tricking them with a misleading advertising campaignb.by triggering emotional responses from viewers that reinforce yearnings that lie deep withinc.by arousing viewers curiosity to see something shockingd.by addressing taboos in a graphic and explicit mannere.by starring famous actors and actresses, as controversial movies without such star power inevitably fail ANS: B DIF: Moderate REF: Page 10 TOP: Cultural Invisibility MSC: Applying 28. Why is cultural invisibility not always a calculated decision on the part of filmmakers? a.because they dont know any betterb.because they arent skilled enough in crafting moviesc.because they misjudge the reactions of their audienced.because they often have to make movies according to monetary rather than aesthetic concernse.because they are products of the same society inhabited by their intended audience ANS: E DIF: Easy REF: Page 10 TOP: Cultural Invisibility MSC: Understanding 29. Juno adheres to cultural invisibility by a.championing a protagonist who rejects convention yet ultimately upholds the traditional institutions she seemingly scorns.b.chastising a protagonist who rejects convention yet ultimately upholds the traditional institutions she seemingly scorns.c.championing a protagonist who accepts convention yet ultimately rejects the traditional institutions she seemingly scorns.d.chastising a protagonist who accepts convention yet ultimately rejects the traditional institutions she seemingly scorns.e.failing to resolve its protagonists attitude toward convention and traditional institutions. ANS: A DIF: Difficult REF: Page 11 TOP: Cultural Invisibility MSC: Applying 30. Even as Juno seems to call into question some of contemporary Americas attitudes about family, it also a.refuses to take itself seriously by employing low-brow humor.b.calls into question some of contemporary Americas attitudes about politics.c.appeals to an arguably more fundamental American value of robust individualism.d.represents a wide diversity of kinds of family.e.suggests the individual should have less significance within the family. ANS: C DIF: Difficult REF: Page 11 TOP: Cultural Invisibility MSC: Applying 31. Implicit meaning is best defined as ________, while explicit meaning is best defined as ________. a.meaning available on the surface of the movie; a deep-level association, connection, or inferenceb.a deep-level association, connection, or inference; meaning available on the surface of the moviec.meaning unavailable on the surface of the movie; a deep-level association, connection, or inferenced.meaning available on the surface of the movie; a superficial-level association, connection, or inferencee.meaning unconnected to the movie; meaning connected to the movie ANS: B DIF: Difficult REF: Page 12 TOP: Implicit and Explicit Meaning MSC: Remembering 32. One way of thinking about implicit meaning is understanding it as a movies a.overall message or a point.d.impact on audiences.b.central character.e.financial success or failure.c.genre. ANS: A DIF: Easy REF: Page 12 TOP: Implicit and Explicit Meaning MSC: Applying 33. In order to possess validity, the interpretation of a movie needs to be a.agreed upon by everybody.b.completely original.c.a fantastical reordering of basic story information.d.grounded in the explicitly presented details of the surface story.e.completely unrelated to the surface story. ANS: D DIF: Easy REF: Page 13 TOP: Implicit and Explicit Meaning MSC: Remembering 34. Just as explicit and implicit meanings need not pertain to the movie as a whole, not all implicit meaning is a.relevant.b.valid.c.interesting.d.tied to broad messages or themes.e.tied to small-scale messages or themes. ANS: D DIF: Easy REF: Page 13 TOP: Implicit and Explicit Meaning MSC: Remembering 35. In the scene from Juno in which the main character applies lipstick before visiting Mark, the implications of this action are a.explicit.b.implicit.c.unimportant to the overall narrative.d.intended to be the most significant detail in the film.e.accidental. ANS: B DIF: Moderate REF: Page 13 TOP: Implicit and Explicit Meaning MSC: Applying 36. Because movies are rich in plot detail, a good analysis must begin by a.disregarding such detail.b.sorting through the details and extracting the most important among them.c.immediately mining for implicit meaning.d.comparing the details to those of other movies.e.taking into account the breadth and diversity of what has been explicitly presented. ANS: E DIF: Difficult REF: Page 13 TOP: Implicit and Explicit Meaning MSC: Applying 37. Which of the following does NOT provide an example of how movies relate to viewer expectations? a.A movie unsuccessfully exploits a standard structure.b.A movie masterfully surprises or misleads its audience.c.A movie goes over budget and thus fails to make a profit at the box office.d.A movie deliberately confounds its audiences presumption of continuity and narrative.e.A movie adheres to a winning formula in which a protagonist pursues a goal by confronting obstacles. ANS: C DIF: Moderate REF: Page 13 TOP: Viewer Expectations MSC: Applying 38. Audience expectations specific to a particular performer can inform an analysis of a.how we approach a character type in one of his or her films.b.how the performers artistic choices are random and never thematically linked.c.the personal motives governing the performers investment in particular projects.d.the editing strategies employed in the film.e.what a particular performer or filmmaker intends for each shot of a movie. ANS: A DIF: Difficult REF: Page 14 TOP: Viewer Expectations MSC: Applying 39. Which of the following would NOT be an appropriate element to comparatively analyze across a directors body of work? a.production designd.recurring themesb.lightinge.critical receptionc.special effects ANS: E DIF: Moderate REF: Page 14 TOP: Viewer Expectations MSC: Applying 40. Formal analysis is the analytical approach primarily concerned with a.the socioeconomic factors influencing the content of a movie.b.the means by which a subject is expressed.c.the industry dynamics that determine the circumstances of a movies production.d.the overall trajectory of a filmmakers body of work.e.the history and evolution of a specific film style, genre, or movement. ANS: B DIF: Difficult REF: Page 15 TOP: Formal Analysis MSC: Remembering 41. Movie meaning is expressed through form in which of the following ways? a.mood, tone, budgetd.location, tone, marketingb.tone, location, significancee.budget, marketing, moodc.location, significance, budget ANS: B DIF: Moderate REF: Page 15 TOP: Formal Analysis MSC: Applying 42. Before attempting any interpretation of the formal elements used to communicate intended meaning to the spectator, the analyst should carefully consider a.the popularity of the movie.b.the marketing campaign of the movie.c.the critical reception of the movie.d.the narrative intent of the moment, scene, or sequence in the movie.e.the previous work of the filmmaker(s) who made the movie. ANS: D DIF: Difficult REF: Page 15 TOP: Formal Analysis MSC: Applying 43. The simple awareness that Junos opening shot is the first image of the movie informs the analyst of the moments a.evocation of setting and time.b.relative unimportance to the rest of the narrative events.c.function as the credit sequence.d.low budget.e.resonance in the context of the directors other work. ANS: A DIF: Difficult REF: Pages 1516 TOP: Formal Analysis MSC: Applying 44. The waiting room scene in Juno depends significantly on ________ to function effectively. a.shock valueb.the dispensation of all mainstream film conventionsc.complicated and disorienting point-of-view shotsd.an antipathy toward abortione.editing patterns ANS: E DIF: Moderate REF: Pages 1617 TOP: Formal Analysis MSC: Applying 45. A cultural analysis of the blue-collar occupations of Junos parents and the white-collar professionals who want to adopt her baby would explore the movies treatment of a.race.d.sexuality.b.class.e.gender.c.ethnicity. ANS: B DIF: Easy REF: Page 20 TOP: Alternative Approaches to Analysis MSC: Applying 46. Alternative approaches to film analysis (approaches other than formal analysis) look at movies more as ________ than as traditional works of art. a.mysterious phenomenad.meaningless entertainmentb.digital exercisese.stylistic experimentsc.cultural artifacts ANS: C DIF: Moderate REF: Page 20 TOP: Alternative Approaches to Analysis MSC: Remembering 47. Alternative approaches to film analysis search beneath a movies form and content in order to expose a.the movie as ultimately without value.b.the filmmakers as ideologically corrupt.c.moviegoers as manipulated dupes of the movies political agenda.d.implicit and hidden meanings that inform our understanding of cinemas function within popular culture.e.the entire entertainment industry as unsuspectingly subject to outside influences. ANS: D DIF: Moderate REF: Page 20 TOP: Alternative Approaches to Analysis MSC: Remembering 48. Which of the following approaches might explore the historical, cultural, or imaginary origins of the highly stylized slang spouted in Juno? a.feministd.societalb.linguistice.culturalc.directorial ANS: B DIF: Difficult REF: Pages 2023 TOP: Alternative Approaches to Analysis MSC: Applying 49. Which of the following would be considered a comparative analysis of Junos attitude toward illegitimate pregnancy? a.an analysis of the movie as well as others made by the same directorb.an analysis of the movie as well as others throughout film history that also deal with pregnancyc.an analysis of the movies successful adherence to a three-act screenplay structured.an analysis of the creative and ideological contributions of the movies screenwriter, Diablo Codye.an analysis of the movies budget compared to blockbuster films ANS: B DIF: Difficult REF: Pages 2023 TOP: Alternative Approaches to Analysis MSC: Applying 50. Which of the following would NOT be illuminated by a comparative analysis of a movie? a.how certain movies represent a particular eras cultural attitudesb.how the relative gender of different films creators affects their representation of cultural attitudesc.the differences between American and European cinematic sensibilitiesd.the differences between genres using the same topical premisee.the repeated use of a color palette in a specific movie ANS: E DIF: Moderate REF: Pages 2023 TOP: Alternative Approaches to Analysis MSC: Applying 51. Why would an analysis of the way Juno uses editing techniques similar to those among other contemporary movies be considered a valid one? a.because it automatically implies that Juno is a derivative work of artb.because it approaches the movie in strictly formal termsc.because it combines formal and comparative analysesd.because it separates the films editing from all other aspects of its aesthetice.because it divorces the film from its cultural context ANS: C DIF: Moderate REF: Pages 2023 TOP: Alternative Approaches to Analysis MSC: Applying 52. An analysis of the decidedly different characters, settings, and stories among an array of contemporary dramatic comedies dealing with pregnancy might reveal a.the reason why certain genres can never successfully depict a certain subject.b.current ideas about women and motherhood.c.the answer to a troubling social problem.d.the most efficacious way to make such a film within the Hollywood system.e.which film audiences will respond to most. ANS: B DIF: Moderate REF: Page 21 TOP: Alternative Approaches to Analysis MSC: Applying 53. Besides the Star Wars films, which other film series features significant figurative or literal character growth? a.Lord of the Ringsd.Harry Potterb.Pirates of the Caribbeane.Supermanc.The Hunger Games ANS: D DIF: Moderate REF: Page 23 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Remembering 54. The narrative origins of Luke Skywalker and Rey can be found in the fundamental story structure called the ________ by mythologist Joseph Campbell. a.heros journeyd.sympathetic questb.multimythe.Hollywood formulac.villains sacrifice ANS: A DIF: Difficult REF: Page 24 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Applying 55. Rogue One: A Star Wars Story is structured like a plot from what Hollywood genre? a.thrillerd.melodramab.Westerne.film noirc.war film ANS: C DIF: Easy REF: Page 24 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Remembering 56. What device functions as a talisman, which is central to the films application of the universal story structure known as the monomyth, in every Star Wars trilogy? a.R2-D2d.the Millennium Falconb.Chewbaccae.the lightsaberc.X-wing fighters ANS: E DIF: Moderate REF: Page 25 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Applying 57. The latest wave of Star Wars films is decidedly forward looking in what significant way? a.castingd.marketingb.special effectse.editingc.sound design ANS: A DIF: Moderate REF: Pages 2526 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Applying 58. General Leia Organas statement to the swashbuckling pilot Poe, Not every problem can be solved by jumping in an X-wing and blowing stuff up, is a reference to what gendered dynamic in The Last Jedi? a.the failure of new Star Wars women to understand the power of self-examinationb.the inability of Star Wars men to learn from their mistakesc.the courage of Star Wars men charging into conflict without considering the inevitable consequencesd.the weakness of Star Wars women in running away from their problemse.the incapacity of Star Wars women to face their own emotions ANS: C DIF: Difficult REF: Page 26 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Remembering 59. According to Box Office Mojo, who made up 43 percent of the audience for the opening weekend of The Last Jedi? a.fansd.twenty-somethingsb.teenagerse.men.c.women ANS: C DIF: Moderate REF: Page 26 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Applying 60. The Bechdel test is an evaluative tool for ________ in the Star Wars trilogies. a.entertainmentd.naturalismb.expressionisme.feminismc.genre ANS: E DIF: Moderate REF: Page 26 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Remembering ESSAY 1. For what reasons is it important to study and analyze movies as more than mere entertainment? ANS: Movies shape the way we view the world and our place in that world, tell us a great deal about the artist, society, or industry that created them, and contain meanings that are often concealed behind an imperceptible cinematic language. DIF: Moderate REF: Pages 23 TOP: Looking at Movies MSC: Understanding 2. Explain some reasons why popular cinema came to be dominated by movies devoted to telling fictional stories. What are the specific qualities of the cinematic medium and our cultural traditions that brought about such an emphasis on narrative? ANS: The linear quality of movies makes them perfectly suited to develop subject matter in a sequential progression, and when a medium so compatible with narrative is introduced to a culture with an already well-established storytelling tradition, narrative usually becomes central to cinema. DIF: Difficult REF: Pages 34 TOP: What Is a Movie? MSC: Remembering 3. Define and explain three characteristics of the cinematic medium that set it apart from all other two-dimensional visual art forms. ANS: Movies are comprised of a series of still images that when viewed in rapid succession appear to be moving; movies are constructed from individual shots that allow visual elements to rearrange themselves and the viewers perspective itself to shift within any composition; movies are constructed of multiple individual shots joined to one another in an extended sequence. DIF: Moderate REF: Page 5 TOP: What Is a Movie? MSC: Remembering 4. What is cinematic invisibility? What are some of the techniques that allow it to function so proficiently, and how do these work? ANS: Cinematic invisibility is a film grammar (or language) that draws upon the way we automatically interpret visual information in our real lives, thus allowing audiences to absorb movie meaning intuitively and instantly. Fade-outs and fade-ins suggest a passage of time by playing on our understanding of passing time by the rising and setting of the sun; low-angle shots make characters look powerful and imposing by playing on the way we look up at revered figures; cutting on action hides the instantaneous and potentially jarring shift from one camera viewpoint to another. DIF: Difficult REF: Pages 810 TOP: Invisibility and Cinematic Language MSC: Applying 5. What is cultural invisibility, and what are some of the ways in which filmmakers exploit it for their movies? ANS: Cultural invisibility is the filmmakers favoring of stories and themes that reinforce viewers shared belief systems. Because the reinforcement of deep yearnings and belief occurs on an unconscious level, the casual viewer may be blind to the implied political, cultural, and ideological messages that help make a movie so appealing. Often filmmakers will wittingly or unwittingly subscribe to cultural invisibility in their films to entertain customers by giving them what they want. DIF: Difficult REF: Pages 1011 TOP: Cultural Invisibility MSC: Applying 6. Using Juno as an example, explain the difference between explicit and implicit meaning. ANS: Explicit meaning is a movies surface-level information; implicit meaning is comprised of the associations, connections, or inferences underneath that surface-level information. In Juno, Vanessa wears an Alice in Chains shirt while painting her nursery (explicit meaning), which suggests that she no longer values the things she once liked when she was younger and is moving on to the next phase of her life (implicit meaning). DIF: Moderate REF: Pages 1213 TOP: Implicit and Explicit Meaning MSC: Applying 7. Discuss some of the ways in which viewer expectations are generated by movies. ANS: Viewer expectations can be created by the information people learn about movies beforehand in previews, commercials, reviews, interviews, and word of mouth. For example, after hearing ones friends rave about Juno, one might be underwhelmed upon actually seeing the film; or one might be disappointed by a slow-moving drama that had featured an ad campaign promising a fast-moving action film. DIF: Easy REF: Page 13 TOP: Viewer Expectations MSC: Applying 8. Explain how expectations specific to a particular performer like Michael Cera inform the way viewers perceive his role in Juno. ANS: Fans of Ceras previous performances as an endearingly awkward adolescent in the film Superbad and television series Arrested Development might watch Juno with a built-in affection for the character he plays in that film, Junos sort-of boyfriend. This predetermined fondness does more than help us like the movie; it dramatically changes the way we approach a character type that our expectations might otherwise lead us to distrust. DIF: Easy REF: Page 14 TOP: Viewer Expectations MSC: Applying 9. Explain some of the several meanings contained in the opening two shots of Juno, especially in regard to how the film conveys basic storytelling information as well as how it evokes the main characters state of mind. ANS: The opening establishing shot informs the viewer that the setting is contemporary middle-class suburbia at dawn; the composition of the shot, with Juno at the far left of the frame and tiny in relationship to the wide-angle frame, also conveys Juno as overwhelmed and made vulnerable by the prospect of her teenage pregnancy. DIF: Difficult REF: Pages 1516 TOP: Formal Analysis MSC: Applying 10. Explain how certain camera movements, shot selections, and elements of sound design allow viewers to understand what the main character is thinking in the abortion clinic sequence in Juno. ANS: Point-of-view shots show that Juno is focusing her attention on the fingernails of other people in the clinic; several tracking shots enlarge Juno within the frame and evoke the sense that she is having a moment of realization; the abnormally loud volume level of drumming fingernails and other fingernail-related noises evokes the sense that these sounds are impinging on Junos consciousness. When combined in this way, these elements allow viewers to understand that Juno is having second thoughts about aborting her pregnancy. DIF: Moderate REF: Pages 1617 TOP: Formal Analysis MSC: Applying 11. How might an alternative analysis place Juno within the context of director Jason Reitmans career? ANS: Both Juno and another one of Reitmans movies, Thank You for Smoking, for instance, take provocative political stances, gradually generate empathy for initially unsympathetic characters, and favor fast-paced expositional montages featuring first-person voice-over narration. DIF: Moderate REF: Page 21 TOP: Alternative Approaches to Analysis MSC: Applying 12. How might one construct an argument that Juno advocates a pro-life message? ANS: In contrast to the welcoming suburban settings that dominate the rest of the story, the ironically named Women Now abortion clinic is an unattractive structure in an unattractive setting; Juno is confronted by clearly stated and compelling arguments against abortion via Su-Chin; the sole on-screen representative of the pro-choice alternative is a sneering cynic. DIF: Moderate REF: Page 21 TOP: Alternative Approaches to Analysis MSC: Applying 13. What genre do the Star Wars films belong to? ANS: It seems logical to assume the Star Wars films belong in the science-fiction genre because they all take place across multiple planets in a universe filled with aliens, spaceships, robots, and other futuristic technology. But science-fiction films are speculative; their stories explore the implications of unfettered science and technology that may threaten as much as enable humanity. In contrast, Star Wars is made up of multiple references to past cultures and traditions: It doesnt presume to forecast our future. After all, the stories take place a long time ago in a galaxy far, far away. The series does have its clone armies and death stars, but the films conflicts and themes are more concerned with human nature and spirituality than with science or technology. DIF: Moderate REF: Page 24 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Applying 14. In what ways did George Lucas engineer the Star Wars series for universal appeal? ANS: Lucas drew upon a number of world religions and philosophies for the spirituality (including the interdependence of positive and negative forces) that underlies and informs the action-packed stories. For the Jedi knights, Lucas blended the traditions of knighthood and chivalry found in medieval Europe with those of the Japanese samurai. He borrowed other stylistic, character, and narrative elements from disparate twentieth-century sources: swashbuckler films beginning in the silent era (e.g., boisterous swordplay and roguish protagonists); space-based action-adventure comics and serialized movies of the 1930s; and The Hidden Fortress, Akira Kurosawas 1958 adventure film set in feudal Japan. All these different influences resulted in a sort of timeless cultural collage that may help explain the enduring international appeal of the Star Wars movies. DIF: Moderate REF: Page 25 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Applying 15. In what ways is the latest wave of Star Wars films multiethnic? ANS: The primary protagonists in The Last Jedi include a white woman, a black man, a Latino man, and a woman of Asian descent. Even one of the seemingly cruel masked antagonists is female. The 2016 prequel spin-off, Rogue One: A Star Wars Story (director Gareth Edwards), also features a female protagonist fighting alongside a band of Latino, Asian, and African American fellow-revolutionaries. These casts, and the characters they play, represent a departure from the previous films, which were dominated by white, male characters. DIF: Difficult REF: Pages 2526 TOP: Cultural and Formal Analysis in the Star Wars Series MSC: Applying -.   y    N O ijkNOP:;<123xyfgh)*+ܱ̽ܒܱܒܱܒܱܒܱܒܱܒܱܒܱܒܱܒh>iB*CJ OJQJaJ phh>ih>iB*OJQJphh>iB*OJQJphh>i5B*OJQJ\phh>iB*CJ$OJQJaJ$phh>iB*CJOJQJaJph%h>i5B*CJOJQJ\aJph9./! " % RGkd$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$^d*$1$7$8$H$d&d0*$1$7$8$H$P0^ % k l o   ^Gkd$$If-0; h64 -aGkdy$$If-0; h64 -a$d$*$7$8$H$If ^PBd*$1$7$8$H$d*$1$7$8$H$Gkd$$If-0; h64 -a$d$*$7$8$H$IfGkdk$$If-0; h64 -a    y | bGkd]$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ ^GkdO$$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -a     ^PBd*$1$7$8$H$d*$1$7$8$H$GkdA$$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -a < O P   i bGkd$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ i j m J^Gkd$$If-0; h64 -a$d$*$7$8$H$IfGkd3$$If-0; h64 -aJKN^PBd*$1$7$8$H$d*$1$7$8$H$Gkd$$If-0; h64 -a$d$*$7$8$H$IfGkd%$$If-0; h64 -a%&)bGkd$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ 5^Gkd $$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -a569hijk^PBd*$1$7$8$H$d*$1$7$8$H$Gkd$$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -akRSVbGkdt $$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$  ^Gkdf $$If-0; h64 -a$d$*$7$8$H$IfGkd $$If-0; h64 -a MNOP^PBd*$1$7$8$H$d*$1$7$8$H$GkdX $$If-0; h64 -a$d$*$7$8$H$IfGkd $$If-0; h64 -aP $d$*$7$8$H$If$d*$7$8$H$$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ $'/$d$*$7$8$H$Ifmkd $$If-\;Y hh64 -a/039:5Ikd $$If-0;Yh64 -a$d$*$7$8$H$Ifmkdv $$If-\;Y hh64 -a:;<t$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ $d$*$7$8$H$Ifmkd $$If-\;Y hh64 -a015Ikd$$If-0;Yh64 -a$d$*$7$8$H$Ifmkd>$$If-\;Y hh64 -a123fyz #$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ #$'7:M$d$*$7$8$H$Ifmkda$$If-\;Y hh64 -aMNQef5Ikd$$If-0;Yh64 -a$d$*$7$8$H$Ifmkd$$If-\;Y hh64 -afgh12TGkd)$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ 25WX[^Gkd$$If-0; h64 -aGkd$$If-0; h64 -a$d$*$7$8$H$If()*+^PBd*$1$7$8$H$d*$1$7$8$H$Gkd $$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -a+buvbGkd$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ +tu?c  AK r!"""""9######S$%%% & &K&'''''D(((())p)***V+W++,,h>iB*CJ OJQJaJ phh>ih>iB*OJQJphh>iB*CJOJQJaJphh>iB*OJQJphMBCFd^Gkdx$$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -adeh^PBd*$1$7$8$H$d*$1$7$8$H$Gkdj$$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -a?BPSw$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$wx{$d$*$7$8$H$Ifmkd$$If-\;Y hh64 -a5Ikd-$$If-0;Yh64 -a$d$*$7$8$H$Ifmkd$$If-\;Y hh64 -acfpsz$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ z{~$d$*$7$8$H$Ifmkd$$If-\;Y hh64 -a5Ikd$$If-0;Yh64 -a$d$*$7$8$H$IfmkdP$$If-\;Y hh64 -aqrTGkds$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ ru"l^Gkde$$If-0; h64 -aGkd$$If-0; h64 -a$d$*$7$8$H$Iflmp^PBd*$1$7$8$H$d*$1$7$8$H$GkdW$$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -a  ADSV^$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$^_blo~$d$*$7$8$H$Ifmkd$$If-\;Y hh64 -a~5Ikd$$If-0;Yh64 -a$d$*$7$8$H$Ifmkdu$$If-\;Y hh64 -aKNTGkd$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$    A ^Gkd$$If-0; h64 -aGkd$$If-0; h64 -a$d$*$7$8$H$IfA B E ^PBd*$1$7$8$H$d*$1$7$8$H$Gkd|$$If-0; h64 -a$d$*$7$8$H$IfGkd$$If-0; h64 -a r!u!!!!!bGkd$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ !!!C"D"G"b"^Gkd $$If-0; h64 -a$d$*$7$8$H$IfGkdn $$If-0; h64 -ab"c"f"""""^PBd*$1$7$8$H$d*$1$7$8$H$Gkd!$$If-0; h64 -a$d$*$7$8$H$IfGkd`!$$If-0; h64 -a""""9#<#E#H#U#$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$U#V#Y#_#b#k#$d$*$7$8$H$IfmkdR"$$If-\;Y hh64 -ak#l#o###5Ikd#$$If-0;Yh64 -a$d$*$7$8$H$Ifmkd"$$If-\;Y hh64 -a######S$V$t$u$TGkd$$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ u$x$$$$% % %o%^Gkd %$$If-0; h64 -aGkd$$$If-0; h64 -a$d$*$7$8$H$Ifo%p%s%%%%%^PBd*$1$7$8$H$d*$1$7$8$H$Gkd%$$If-0; h64 -a$d$*$7$8$H$IfGkd%$$If-0; h64 -a%% & &K&N&&&&&bGkdw&$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ &&& ' ''P'^Gkdi'$$If-0; h64 -a$d$*$7$8$H$IfGkd&$$If-0; h64 -aP'Q'T'''''^PBd*$1$7$8$H$d*$1$7$8$H$Gkd[($$If-0; h64 -a$d$*$7$8$H$IfGkd'$$If-0; h64 -a''''D(G(\(_(k($d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$k(l(o(~((($d$*$7$8$H$Ifmkd($$If-\;Y hh64 -a(((((5Ikd*$$If-0;Yh64 -a$d$*$7$8$H$Ifmkdy)$$If-\;Y hh64 -a(((())p)s)))TGkd*$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ )) * **R*S*V**^Gkd+$$If-0; h64 -aGkd+$$If-0; h64 -a$d$*$7$8$H$If*******^PBd*$1$7$8$H$d*$1$7$8$H$Gkd,$$If-0; h64 -a$d$*$7$8$H$IfGkd,$$If-0; h64 -a*+W+X++++++,bGkd,$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ ,,,5,6,9,h,^Gkd-$$If-0; h64 -a$d$*$7$8$H$IfGkdr-$$If-0; h64 -ah,i,l,,,,,^PBd*$1$7$8$H$d*$1$7$8$H$Gkd.$$If-0; h64 -a$d$*$7$8$H$IfGkdd.$$If-0; h64 -a,,,,z-...F/G//G0H0I000'1-2.2/2222m4n4o444@5666 77m78889999>9;;;;;;;V<=== > >t>[@\@]@@@ AAAAAA&B C CCh>i6B*OJQJ]phh>ih>iB*OJQJphh>iB*CJOJQJaJphh>iB*OJQJphh>iB*CJ OJQJaJ phG,,,,z-}-----bGkdV/$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ ---G.H.K..^GkdH0$$If-0; h64 -a$d$*$7$8$H$IfGkd/$$If-0; h64 -a.......^PBd*$1$7$8$H$d*$1$7$8$H$Gkd:1$$If-0; h64 -a$d$*$7$8$H$IfGkd0$$If-0; h64 -a. /G/H/////0$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$0000020$d$*$7$8$H$Ifmkd1$$If-\;Y hh64 -a203060F0G05Ikd2$$If-0;Yh64 -a$d$*$7$8$H$IfmkdX2$$If-\;Y hh64 -aG0H0I0k000'1*1O1P1TGkd{3$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ P1S1{1|111111^Gkdm4$$If-0; h64 -aGkd3$$If-0; h64 -a$d$*$7$8$H$If111,2-2.2/2^PBd*$1$7$8$H$d*$1$7$8$H$Gkd_5$$If-0; h64 -a$d$*$7$8$H$IfGkd4$$If-0; h64 -a/2R22223A3B3E33bGkd5$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ 333333!4^Gkd6$$If-0; h64 -a$d$*$7$8$H$IfGkdQ6$$If-0; h64 -a!4"4%4l4m4n4o4^PBd*$1$7$8$H$d*$1$7$8$H$Gkd7$$If-0; h64 -a$d$*$7$8$H$IfGkdC7$$If-0; h64 -ao4444@5C5{5|555bGkd58$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ 555666S6^Gkd'9$$If-0; h64 -a$d$*$7$8$H$IfGkd8$$If-0; h64 -aS6T6W66666^PBd*$1$7$8$H$d*$1$7$8$H$Gkd:$$If-0; h64 -a$d$*$7$8$H$IfGkd9$$If-0; h64 -a6777m7p77777bGkd:$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ 77788 8g8^Gkd;$$If-0; h64 -a$d$*$7$8$H$IfGkd ;$$If-0; h64 -ag8h8k88888^PBd*$1$7$8$H$d*$1$7$8$H$Gkdv<$$If-0; h64 -a$d$*$7$8$H$IfGkd;$$If-0; h64 -a8899>9A9999::bGkd<$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ ::;:>::::7;^Gkd=$$If-0; h64 -a$d$*$7$8$H$IfGkdh=$$If-0; h64 -a7;8;;;;;;;^PBd*$1$7$8$H$d*$1$7$8$H$Gkd>$$If-0; h64 -a$d$*$7$8$H$IfGkdZ>$$If-0; h64 -a;;;;V<Y<<<<<bGkdL?$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ <<<<===@=p=^Gkd>@$$If-0; h64 -a$d$*$7$8$H$IfGkd?$$If-0; h64 -ap=q=t=====^PBd*$1$7$8$H$d*$1$7$8$H$Gkd0A$$If-0; h64 -a$d$*$7$8$H$IfGkd@$$If-0; h64 -a== > >t>w>>>>@?bGkdA$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ @?A?D????@^GkdB$$If-0; h64 -a$d$*$7$8$H$IfGkd"B$$If-0; h64 -a@@@Z@[@\@]@^PBd*$1$7$8$H$d*$1$7$8$H$GkdC$$If-0; h64 -a$d$*$7$8$H$IfGkdC$$If-0; h64 -a]@@@@ A A*A-ABA$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$BACAFAYA\AzA$d$*$7$8$H$IfmkdD$$If-\;Y hh64 -azA{A~AAA5IkdPE$$If-0;Yh64 -a$d$*$7$8$H$IfmkdD$$If-\;Y hh64 -aAAAAAA&B)BCBDBTGkdE$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ DBGB\B]B`BBBBB^GkdF$$If-0; h64 -aGkdGF$$If-0; h64 -a$d$*$7$8$H$IfBBB C C CC^PBd*$1$7$8$H$d*$1$7$8$H$GkdG$$If-0; h64 -a$d$*$7$8$H$IfGkd9G$$If-0; h64 -aC-CcCdCCCCCCCbGkd+H$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ CbCcCCRDSDTDDDDD-EEEEFFaFGGGGGDHIIIJJrJKKK'L(LLMMMOMPMMNNN1O2OOPPPYPZPPQQQ:R;R[R_RRSSSSSSS1TTTh>i6B*OJQJ]phh>iB*CJ OJQJaJ phh>ih>iB*OJQJphh>iB*CJOJQJaJphh>iB*OJQJphGCCCCDD%D^GkdI$$If-0; h64 -a$d$*$7$8$H$IfGkdH$$If-0; h64 -a%D&D)DQDRDSDTD^PBd*$1$7$8$H$d*$1$7$8$H$GkdJ$$If-0; h64 -a$d$*$7$8$H$IfGkdI$$If-0; h64 -aTDsDDD-E0E:E;E>EHEbGkdJ$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ HEIELErEsEvEE^GkdzK$$If-0; h64 -a$d$*$7$8$H$IfGkdK$$If-0; h64 -aEEEEEEE^PBd*$1$7$8$H$d*$1$7$8$H$GkdlL$$If-0; h64 -a$d$*$7$8$H$IfGkdK$$If-0; h64 -aEEFFaFdF~FFFFbGkdL$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ FFFFFF-G^GkdM$$If-0; h64 -a$d$*$7$8$H$IfGkd^M$$If-0; h64 -a-G.G1GGGGG^PBd*$1$7$8$H$d*$1$7$8$H$GkdN$$If-0; h64 -a$d$*$7$8$H$IfGkdPN$$If-0; h64 -aGGGGDHGH}H~HHHbGkdBO$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ HHH I I IdI^Gkd4P$$If-0; h64 -a$d$*$7$8$H$IfGkdO$$If-0; h64 -adIeIhIIIII^PBd*$1$7$8$H$d*$1$7$8$H$Gkd&Q$$If-0; h64 -a$d$*$7$8$H$IfGkdP$$If-0; h64 -aI JJJrJuJJJJKbGkdQ$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ KK K[K\K_KK^GkdR$$If-0; h64 -a$d$*$7$8$H$IfGkdR$$If-0; h64 -aKKKKKKK^PBd*$1$7$8$H$d*$1$7$8$H$GkdS$$If-0; h64 -a$d$*$7$8$H$IfGkd S$$If-0; h64 -aKL(L)LLLLLL$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$LLLLLL$d$*$7$8$H$IfmkdS$$If-\;Y hh64 -aLLLMM5IkdFU$$If-0;Yh64 -a$d$*$7$8$H$IfmkdT$$If-\;Y hh64 -aMMMBMPMQMMMMMTGkdU$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ MM N NN^N_NbNN^GkdV$$If-0; h64 -aGkd=V$$If-0; h64 -a$d$*$7$8$H$IfNNNNNNN^PBd*$1$7$8$H$d*$1$7$8$H$GkdW$$If-0; h64 -a$d$*$7$8$H$IfGkd/W$$If-0; h64 -aNO2O3OOOOOO$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$OOOOOO$d$*$7$8$H$Ifmkd!X$$If-\;Y hh64 -aOOOPP5IkdkY$$If-0;Yh64 -a$d$*$7$8$H$IfmkdX$$If-\;Y hh64 -aPPPLPZP[PPPQQTGkdY$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ QQBQCQFQkQlQoQQ^GkdZ$$If-0; h64 -aGkdbZ$$If-0; h64 -a$d$*$7$8$H$IfQQQQQQQ^PBd*$1$7$8$H$d*$1$7$8$H$Gkd[$$If-0; h64 -a$d$*$7$8$H$IfGkdT[$$If-0; h64 -aQ-R;Rih>i6B*OJQJ]phh>i6B*OJQJ]phh>ih>iB*OJQJphh>iB*CJOJQJaJphh>iB*OJQJphh>iB*CJ OJQJaJ ph@T!U/U0UUUUUU$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$UUUVV V$d$*$7$8$H$Ifmkda$$If-\;Y hh64 -a V VVVV5IkdJb$$If-0;Yh64 -a$d$*$7$8$H$Ifmkda$$If-\;Y hh64 -aVVV=VuVvV WW%W(WBW$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ BWCWFWXW[WqW$d$*$7$8$H$Ifmkdb$$If-\;Y hh64 -aqWrWuWWW5Ikdd$$If-0;Yh64 -a$d$*$7$8$H$Ifmkdmc$$If-\;Y hh64 -aWWWWWWTXWX~XXTGkdd$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ XXXXXXXX\Y^Gkde$$If-0; h64 -aGkd e$$If-0; h64 -a$d$*$7$8$H$If\Y]Y`YYYYY^PBd*$1$7$8$H$d*$1$7$8$H$Gkdtf$$If-0; h64 -a$d$*$7$8$H$IfGkde$$If-0; h64 -aYYZZZZZZZ$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ZZZZZZ$d$*$7$8$H$Ifmkdf$$If-\;Y hh64 -aZZZZZ5Ikd7h$$If-0;Yh64 -a$d$*$7$8$H$Ifmkdg$$If-\;Y hh64 -aZZZ[M[N[[[\\TGkdh$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ \\v\w\z\\\\5]^Gkdi$$If-0; h64 -aGkd.i$$If-0; h64 -a$d$*$7$8$H$If5]6]9]y]z]{]|]^PBd*$1$7$8$H$d*$1$7$8$H$Gkdj$$If-0; h64 -a$d$*$7$8$H$IfGkd j$$If-0; h64 -a|]]]]8^;^~^^^^bGkdk$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ ^^^4_5_8_v_^Gkdl$$If-0; h64 -a$d$*$7$8$H$IfGkdk$$If-0; h64 -av_w_z_____^PBd*$1$7$8$H$d*$1$7$8$H$Gkdl$$If-0; h64 -a$d$*$7$8$H$IfGkd}l$$If-0; h64 -a__```````+abGkdom$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ +a,a/acadagaa^Gkdan$$If-0; h64 -a$d$*$7$8$H$IfGkdm$$If-0; h64 -aaaaaaaa^PBd*$1$7$8$H$d*$1$7$8$H$GkdSo$$If-0; h64 -a$d$*$7$8$H$IfGkdn$$If-0; h64 -aabTbUbbbJcKcNcxcbGkdo$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ xcyc|ccccc^Gkdp$$If-0; h64 -a$d$*$7$8$H$IfGkdEp$$If-0; h64 -accc#d$d%d&d^PBd*$1$7$8$H$d*$1$7$8$H$Gkdq$$If-0; h64 -a$d$*$7$8$H$IfGkd7q$$If-0; h64 -a&dIdddddeee$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$ee"e;e>eGe$d$*$7$8$H$Ifmkd)r$$If-\;Y hh64 -aGeHeKe\e]e5Ikdss$$If-0;Yh64 -a$d$*$7$8$H$Ifmkdr$$If-\;Y hh64 -ad]e^e_eeegffff7g8g>gZggggg;hi?iii jRjSjTjjjkkkmmmmmmmm;niB*CJ$OJQJaJ$ph#h>ih>i6B*OJQJ]phh>i6B*OJQJ]phh>iB*OJQJphh>iB*CJ OJQJaJ phh>iB*CJOJQJaJphh>ih>iB*OJQJph8]e^e_eeeegfjfyf|ff$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ ffffff$d$*$7$8$H$Ifmkds$$If-\;Y hh64 -afffff5Ikd;u$$If-0;Yh64 -a$d$*$7$8$H$Ifmkdt$$If-\;Y hh64 -affff8g9gggggg$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ gggggg$d$*$7$8$H$Ifmkdu$$If-\;Y hh64 -aggggg5Ikdw$$If-0;Yh64 -a$d$*$7$8$H$Ifmkd^v$$If-\;Y hh64 -aggggi?ibiii j jjj!j$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ !j"j%j5j8j@j$d$*$7$8$H$IfmkdIy$$If-\;Y hh64 -a@jAjDjQjRj5Ikdz$$If-0;Yh64 -a$d$*$7$8$H$Ifmkdy$$If-\;Y hh64 -aRjSjTj{jjjkkkkTGkd{$$If-0; h64 -a$d$*$7$8$H$If$ Ld*$7$8$H$` z Lld*$1$7$8$H$d*$1$7$8$H$d*$1$7$8$H$ kk%l&l)lllll^Gkd|$$If-0; h64 -aGkd{$$If-0; h64 -a$d$*$7$8$H$Iflllmmmm^PBd*$1$7$8$H$d*$1$7$8$H$Gkd|$$If-0; h64 -a$d$*$7$8$H$IfGkd||$$If-0; h64 -am=mmmmnnnn$d$*$7$8$H$If$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$nnn(n+n0n$d$*$7$8$H$Ifmkdn}$$If-\;Y hh64 -a0n1n4n:n;n5Ikd~$$If-0;Yh64 -a$d$*$7$8$H$Ifmkd~$$If-\;Y hh64 -a;nB̃̓^_ !"h>i6B*OJQJ]phh>iB*OJQJphh>iB*CJOJQJaJphh>i5B*OJQJ\phNYrZr`rsssssRtStYtuuuvvvvv$ Ld*$7$8$H$`d*$1$7$8$H$$d*$7$8$H$ z Lld*$1$7$8$H$d*$1$7$8$H$vxx,y:y;yyyy{{{{{F|G|M|}}$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$d*$1$7$8$H$$d*$7$8$H$}<~J~K~~~~/0aop$d*$7$8$H$d*$1$7$8$H$$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$̓΃ԃQ_`"#)<=r$d*$7$8$H$ z Lld*$1$7$8$H$d*$1$7$8$H$$ Ld*$7$8$H$`d*$1$7$8$H$";< 5UVmnmnѓғ67|}Wsh>i6B*OJQJ]phh>iB*CJOJQJaJphh>iB*OJQJph/HVW`no$ Ld*$7$8$H$`d*$1$7$8$H$$d*$7$8$H$ z Lld*$1$7$8$H$d*$1$7$8$H$Ώnouғӓ78}~$ Ld*$7$8$H$`d*$1$7$8$H$ z Lld*$1$7$8$H$d*$1$7$8$H$$d*$7$8$H$ z Lld*$1$7$8$H$:P/ =!"8#$%0 #Dpw$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -w$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -$$If!vh5h55h5#vh#v#vh#v:V -65h55h5/ 44 -|$$If!vh5h5#vh#v:V -65h5/ 44 -f 666666666vvvvvvvvv666666>6666666666666666666666666666666666666666666666666hH6666666666666666666666666666666666666666666666666666666666666666662 0@P`p2( 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p8XV~OJQJ_HmH nH sH tH J`J Normal dCJ_HaJmH sH tH DA D Default Paragraph FontRi@R 0 Table Normal4 l4a (k ( 0No List PK![Content_Types].xmlj0Eжr(΢Iw},-j4 wP-t#bΙ{UTU^hd}㨫)*1P' ^W0)T9<l#$yi};~@(Hu* Dנz/0ǰ $ X3aZ,D0j~3߶b~i>3\`?/[G\!-Rk.sԻ..a濭?PK!֧6 _rels/.relsj0 }Q%v/C/}(h"O = C?hv=Ʌ%[xp{۵_Pѣ<1H0ORBdJE4b$q_6LR7`0̞O,En7Lib/SeеPK!kytheme/theme/themeManager.xml M @}w7c(EbˮCAǠҟ7՛K Y, e.|,H,lxɴIsQ}#Ր ֵ+!,^$j=GW)E+& 8PK!Ptheme/theme/theme1.xmlYOo6w toc'vuر-MniP@I}úama[إ4:lЯGRX^6؊>$ !)O^rC$y@/yH*񄴽)޵߻UDb`}"qۋJחX^)I`nEp)liV[]1M<OP6r=zgbIguSebORD۫qu gZo~ٺlAplxpT0+[}`jzAV2Fi@qv֬5\|ʜ̭NleXdsjcs7f W+Ն7`g ȘJj|h(KD- dXiJ؇(x$( :;˹! I_TS 1?E??ZBΪmU/?~xY'y5g&΋/ɋ>GMGeD3Vq%'#q$8K)fw9:ĵ x}rxwr:\TZaG*y8IjbRc|XŻǿI u3KGnD1NIBs RuK>V.EL+M2#'fi ~V vl{u8zH *:(W☕ ~JTe\O*tHGHY}KNP*ݾ˦TѼ9/#A7qZ$*c?qUnwN%Oi4 =3ڗP 1Pm \\9Mؓ2aD];Yt\[x]}Wr|]g- eW )6-rCSj id DЇAΜIqbJ#x꺃 6k#ASh&ʌt(Q%p%m&]caSl=X\P1Mh9MVdDAaVB[݈fJíP|8 քAV^f Hn- "d>znNJ ة>b&2vKyϼD:,AGm\nziÙ.uχYC6OMf3or$5NHT[XF64T,ќM0E)`#5XY`פ;%1U٥m;R>QD DcpU'&LE/pm%]8firS4d 7y\`JnίI R3U~7+׸#m qBiDi*L69mY&iHE=(K&N!V.KeLDĕ{D vEꦚdeNƟe(MN9ߜR6&3(a/DUz<{ˊYȳV)9Z[4^n5!J?Q3eBoCM m<.vpIYfZY_p[=al-Y}Nc͙ŋ4vfavl'SA8|*u{-ߟ0%M07%<ҍPK! ѐ'theme/theme/_rels/themeManager.xml.relsM 0wooӺ&݈Э5 6?$Q ,.aic21h:qm@RN;d`o7gK(M&$R(.1r'JЊT8V"AȻHu}|$b{P8g/]QAsم(#L[PK-![Content_Types].xmlPK-!֧6 +_rels/.relsPK-!kytheme/theme/themeManager.xmlPK-!Ptheme/theme/theme1.xmlPK-! ѐ' theme/theme/_rels/themeManager.xml.relsPK]   +,CTdo"Li %  i J5k P/:1#Mf2+dwzrl^~A !b""U#k##u$o%%&P''k((()**,h,,-..020G0P11/23!4o45S667g88::7;;<p==@?@]@BAzAADBBCC%DTDHEEEF-GGHdIIKKKLLMMNNOOPQQQSISSxTTTU VVBWqWWX\YYZZZ\5]|]^v__+aaaxcc&deGe]efffgggi(i=i!j@jRjklmn0n;no;oFoYrv}MNOPQRSTUVWXYZ[\]^_`abcdefghjklmnopqrstuvwxyz{|}~    8@0(  B S  ?R*>i@@6p@UnknownG* Times New Roman5Symbol3. * Arial7.@ CalibriA$BCambria Math"hkkWyIWyIyxx3$PR*2!xxGraphicsGraphicsOh+'0$ px    Graphics Normal.dotm Graphics2Microsoft Office Word@@}j@}jWy՜.+,0 hp|  I  Title  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQSTUVWXYZ[\]^_`acdefghiklmnopqvRoot Entry F>jxData 1TableRWordDocument< SummaryInformation(bDocumentSummaryInformation8jCompObjy  F'Microsoft Office Word 97-2003 Document MSWordDocWord.Document.89q