Tuesday, December 8, 2020

CINE 20B-Film History-932

Meet Your Instructor



Hi, my name is Denah Johnston and I'm a teacher, writer, filmmaker and curator working in San Francisco as Film Studies professor and Chair of the Cinema Department at CCSF. I've been working in the department since 2015. With a background in photography I moved to San Francisco in 2001 to attend the graduate Film program at SFAI and study with Ernie Gehr, George Kuchar, Janis Lipzin, Craig Baldwin, Steve Anker and others. I continued my line of inquiry as a post-graduate student at the European Graduate School and completed a PhD in Media & Communication in 2011. 

I worked at Frameline in educational distribution and later as the Executive Director of Canyon Cinema Foundation (Links to an external site.) – the West coast source for experimental film, guiding the organization to attain nonprofit status in 2014. Involved in Bay Area film and arts since 2002, I have worked as programmer and pre-screener for the San Francisco LGBT Film Festival and the San Francisco International Film Festival; organized and moderated a panel on Queer Underground Film supported by the NEA and Warhol Foundation; and presented screenings at institutions, festivals and micro cinemas from San Francisco to Oaxaca, Mexico, Berlin to Melbourne facilitating partnerships with local, international and national organizations to make experimental film more accessible.

Some of my written work can be seen on agnesfilms.com (Links to an external site.) and in my book No Future Now: A Nomadology of Resistance and Subversion, which considers the core of artistic rebellion, its antecedents and descendants through post-war American avant-garde cinema and the resulting influence on punk and no wave filmmaking and music to the Cinema of Transgression. If you want to know more about my work outside of CCSF take a look at my website (Links to an external site.).

Looking forward to a great class!



The history of cinema as a unique expressive medium from the mid 20th century to the present. CINE 20B covers the post-WWII film renaissance: movements, genres, changing technologies, the expansion of filmmaking to newly represented people, and cinema in the digital age.

Course Textbook: A Short History of the Movies (11th ed.)



 Module 1: Course Introduction
 Module 2: Hollywood in Transition: 1946-1965
 Module 3: Italian Neorealism
 Module 4: Italian Modernism
 Module 5: France Postwar Classicism
 Module 6: The French New Wave and Beyond
 Module 7: National Cinemas Post 1945: Sweden, Denmark, England
 Module 8: National Cinemas Post 1945: Czechoslovakia, Poland, Hungary, Yugoslavia
 Module 9: Midterm
 Module 10: National Cinemas Post 1945: Japan, India, China
 Module 11: Hollywood Renaissance: 1964-1976
 Module 12: National Cinemas Post 1968: Germany, Australia, Canada, Third Cinema
 Module 13: National Cinemas Post 1968: Russia, Iran, Spain
 Module 14: The Return of the Myths: 1977-
 Module 15: Conglomerates and Video: 1975-
 Module 16: Digital Cinema: 1999-
 Module 17: Final

Course Introduction : 
  • Please tell us about yourself: Where you are from? What is your major? What are your career goals and future educational or career plans at CCSF or beyond? Also, please let us know if you prefer to be addressed by a different name than what is reflected in Canvas.
  • Why are you taking this course? For fun or for a degree program or certificate? What is your interest in studying film? Are you interested in making films?
  • Please let the class know what films/genres you enjoy and share favorite directors, actors etc. Please refrain from talking exclusively about television or serialized programs in our discussion posts. The focus of the course is the history of feature films distributed in theaters, festivals, and via digital streaming platforms.
  • Post a profile picture.
Collapse SubdiscussionIda Daroza

My name is Ida Z. daRoza, please call me Ida. I live in San Francisco in the Richmond District which I enjoy. Especially being right across from the park. I have degrees in Italian Literature and Library Science. I’m especially looking forward to the Italian films we will cover in the beginning of the class. I’m familiar with the Neorealism movies of Fellini my favorites of that period are La Strada and Nights of Cabiria.  I’m looking forward to learning about Antonini. I’ve seen most of Fellini’s films.

I’ve taken the cinema classes on Women in Film and Hitchcock. This opened a new world for me of directors like Agnes Varda, Maya Dern and Hitchcock. Since I started taking classes I’ve joined Facebook groups of the Criterion Collection and Pure Cinema. I’ve learned a lot through posts of others and I write down films I want to see on Letterboxd.com. For example, I’m a fan of Werner Herzog so wrote down the film pictured for this class of Stroszek it is now on my watch list in Letterboxd.

This will be my first time taking a comprehensive class on film and I’m looking forward to it. I’m starting with 20B because in my other two classes especially Women in Film we covered the beginning of cinema, how it started and when women had a more powerful role as directors until that was taken away by studios. 

During the quarantine I’ve been enjoying watching and growing a film collection of auteur directors.  I recently found out there is a Cinema Studies certificate at CCSF. The classes look amazing and I’d like to try to get the certificate.

I tried the CCSF class in Production to make films. I was terrible at it. So much of it had to do with lighting and apertures. I don’t know anything about that and it went really quickly. I did one film on film with the class and one film on digital. The next assignment required knowing the editing software which I didn’t and most of the class did, so I dropped.

I follow films based on the directors not the actors. On my Letterboxd lists I made categories for each director whose complete works I want to know. In this list I have: Hitchcock; Kubrick; Bergman; Wes Anderson; Herzog; Allen; Jarmusch; Almodovar; Fellini; Lynch and then general categories of French and Asian Cinema. I need to add Spanish/Latin Cinema as well.   I’m looking forward to adding more categories and directors to this list.

I don’t know how to answer the question about genre, I’m not sure what that would be for me. I still have a lot to learn about cinema, I'm just self taught by reading and discussing film with friends who know cinema well.IMG_3044.jpg

 

Denah Johnston

Ida - nice to "see" you here! Nights of Cabiria is one of my favorites too.

I think you will enjoy this trek through time and continents to get a wider look at the development of film production and industries around the world. You gathered quite a bit about how things were done during Hitchcock's career span from the UK to US and back again and how women have been marginalized in the industry around the world in Women in Film. Now to get an even more comprehensive look from the 1940s until now. I think you might find some other filmmakers to add to your list!


Discussion with other student:

Course Introduction

My name is Citlaly Silva, I am from Mexico and I am currently studying at CCSF as an internarnational student. My major is Cinematography and Film/ Video Production. My future career goals consist in basically working at any position that my major involves and hopefully work my way up from there. I am taking this class since is an important one for my major, and I will also have fun and learn a lot.

My interest for film began when I was about 13  and ever since I knew that I wanted to pursue a career in the film industry. There are many reasons why I admire filmaking; films have the power to change your reality, to change your perception of life and to make you feel so many different emotions. It is also a form of art and expression, which I have always been interested in.  I would love to some day be able to make films of my own perspective and ideas.

Some of the genres I enjoy the most are horror, thriller, drama and science fiction. Among the directors whose craft I appreciate are Alfonso Cuaron, Christopher Nolan, Alejandro González Iñárritu, Greta Gerwig, and Luca Guadagnino, just to name a few. Some of my favorite actors would be Timothée Chalamet, Laura Dern, Nicole Kidman, Leonardo DiCaprio, Jake Gyllenhaal, Al Pacino, again just to name a few. 

I am excited to be in this class!

profilePic.jpg

Me: 

Thanks for mentioning Luca Guadagnino. I've seen Call me by your Name. What other film do you suggest?

Citlaly:
Hello Ida! Yes, Suspiria is a solid film and the tone is completely different from Call me by your name, check it out! 

Denah: 

Citlaly, nice to have you here! I have spent a bit of time in Mexico City and Oaxaca at festivals and really enjoyed the serious love Mexicans have for cinema and art, both places have such vibrant creative communities that have been inspiring to me. We do go around the world in this class, but I must admit we have been wanting to add an International Cinema class that would focus solely on non-western cinema. Hopefully in the next year or two we can make that happen!

It is great to have a mixture of filmmakers and film lovers/enthusiasts to get a few different points of view on things. 


Tuesday, December 1, 2020

SCREENING - SEARCHING AND DISCUSSION

Searching - Digital Cinema: 1999-

Searching (Aneesh Chaganty, 2018)

In an article for Wired, Brian Rafferty describes the production history of Aneesh Chaganty's Searching:

"It was 2016, and Aneesh Chaganty was fumbling through the most important phone call of his barely-begun career. The young filmmaker had been given 15 minutes to convince actor John Cho to star in Search, a mystery about a father trying to track down his missing teenage daughter. The characters’ ordeal—and their entire relationship—would be told via a series of screens, as its hero uses everything from Facebook to FaceTime to Reddit to solve his kid’s disappearance.

Other films have taken the same web-centered approach, like 2015’s horror hit Unfriended, but Chaganty wanted to do something different: 'The Memento of screen movies,' he says. For Cho, however, the concept didn’t click. 'It was the first time I’d spoken to a celebrity in my life, and I completely botched the call,' says Chaganty. 'I didn’t tell him we were trying to do something new. His hesitation was that this wouldn't be a movie movie—that it would just be a YouTube video.'

Chaganty, 27, didn’t give up. He still had Cho’s number, so he decided to text him, to see if they could get some actual face-time together. The two eventually met for coffee in Los Angeles, no longer separated by a device. 'He sat down, and I stood up and just pitched my ass off,' Chaganty says. He wound up selling Cho on the film, and a year and a half later, Search was screening at the Sundance Film Festival, where it would win multiple awards—and be scooped up for $5 million by Sony’s Screen Gems division. Newly retitled Searching, the movie opens today in several cities, following a highly promising limited-release opening weekend.

Co-written with Sev Ohanian—who produced Fruitvale Station, Ryan Coogler’s breakout debut—Searching is the latest film to deftly employ small-screen habits to tell a big-screen story: This year alone, there’s been the speedy text-message chain that kicks off Crazy Rich Asians; the soul-baring YouTube videos of Eighth Grade; and the parent-baffling emoji-missives of Blockers. It’s a marked change from the countless goofy interfaces and Finder-Spyder searches that dominated movies and TV shows starting in the ‘90s. Now a new generation of filmmakers, many of whom came of age in the digital era, are finding ways to ensure the online experience is presented as IRL-ish as possible.

'Ever since [1998’s] You've Got Mail, people have been this trying to figure out how technology falls into a story,' says Chaganty. 'House of Cards was one of the first shows to have text messages pop up, and that was revolutionary in its own time. But I think the success stories we’re seeing now is because people are saying, ‘How can we keep it accurate and realistic, and still serve the tone of the movie?’'

In Searching, Cho plays David Kim, a recent widower who’s constantly in touch with his only daughter, Margot (Michelle La). When Margot doesn’t come home after school one day, David begins scouring her online life—Venmo transactions, Facebook friends, livestream archives, even old Tumblr posts—in an attempt to figure out where she went. He also enlists the support of a deeply concerned detective (Will & Grace’s Debra Messing), whom he communicates with largely by FaceTime.

Much of the early part of the film plays out on David’s computer, including an opening montage that condenses the first 16 years of his daughter’s life, as well as the final years of his wife’s cancer battle, into a series of clickable videos, calendar events, and email exchanges. It’s a niftily constructed and unexpectedly moving sequence, one that serves as a reminder of just how much of our existence plays out in front of us on-screen.

Chaganty began thinking about filmmaking when he was 8 years old, having seen a photo of writer-director M. Night Shyamalan in the newspaper India West. 'I vividly remember thinking, ‘He looks like me. I want to do that,’' Chaganty wrote in a letter he posted to Twitter last week. As a middle-school student growing up in San Jose, California, he began using hand-me-down, slightly outdated cameras he’d been gifted by his parents, two movie-loving software entrepreneurs. Chaganty made home movies with titles like The Shed and The Attic, inspired in part by the no-budget short films Shyamalan had made as a kid. 'I thought, ‘Oh, he made movies using the means I have now—which is no means,' says Chaganty. 'Those really got me into filmmaking.'

He and Ohanian, 31, first met at University of Southern California’s School of Cinematic Arts. Afterward, the two collaborated on Seeds, a touching short-form travelogue shot using Google Glass. Chaganty would end up working in the company’s Creative Labs division for two years until quitting his job to pursue Searching. 'I called my dad up after I started at Google, and told him about my day,' says Chaganty. 'He was like, ‘Awesome. But remember: You’re coming back here to make movies.’' They’ve been very much, ‘Don’t chase a paycheck, chase your dream’ since I was growing up.'

While writing Searching, Chaganty and Ohanian took in as many crime-culture artifacts as possible, from the big-screen version of Gone Girl to Netflix’s Making a Murderer to episodes of Serial. Because the movie takes place on screen, the two wrote what they called 'a scriptment'—essentially a 50-page outline featuring dialogue and action descriptions, but downplaying the technical specifics.

'Early on, we realized this couldn't be a script that said, ‘INT. — GOOGLE CHROME — FACEBOOK — TAGGED PHOTOS — NIGHT,' says Chaganty.'If you're trying to convince actors to be in a movie, that’s the worst way to do it.' And while the film itself was shot in less than two weeks, Searching’s editors spent months putting together the David Kim’s on-screen world: 'Every single asset you see‚—whether it's a line of text on a text message, or an email window—had to be created from scratch.'

The glut of online ephemera in Searching means the filmmakers were able to spread hidden in-jokes, clues, and messages throughout the film—including a nod to the man who unknowingly helped launch Chaganty’s career nearly two decades ago. 'There's a moment where we log onto Facebook,' he says, 'and a news item that says, ‘M. Night Shyamalan: Filmmaker agrees to meet with super-fan director after director’s surprise cameo in film.’ Hopefully, someone will send him a screenshot, or tell him, ‘Go watch Searching.’ If so, it would give Chaganty a near-perfect twist ending of his own.

Click on the play icon to access the streaming video.  Trailer to Searching

ESSAY

Digital Cinema 1999-

I was lucky enough to see Searching (2018) in 2018 when it did the national film festival circuit. It was presented at the 2018 San Francisco International Film Festival on April 9, 2018 and had a question and answer session with director Aneesh Chaganty and co-writer/producer Sev Ohanian.

I’ve kept a film festival blog for years and I blogged about my impressions of this thriller film which used digital technologies and the director question and answer session.

I wrote that the first half of the film with the computer screens technology was interesting but seemed like it lasted for two hours. When they moved away from doing the narrative on the screens in the last part with the conclusion and action scenes with Debra Messing and Jon Cho I really enjoyed that part but it felt too quick. I wish they could have had the discovery of the crime be longer instead a post script after doing an obituary.

They did portray action scenes in the last part through media clips on the desktop but there was more acting involved instead of computer typing narrative. I’d say that my opinion has stayed the same although I was looking at the film from a lot of different angles now after this film class.

searching picture.png

This picture shows John Cho and how I felt at this point in the movie. The neat desktop is now a mess with the files all disorganized as is his mental state. Also, he is not playing off his emotions with another actor. Those scenes worked better like the confrontation with his brother or Debra Messing.

In my film blog post I wrote that Changanty and his crew discussed the production process Link (Links to an external site.). They said that they used 25 editors and about $400,000 in computer equipment to make this film. 85% of the film was shown on computer screens. The process of coordinating all the editors and working with PCs they said was exhausting and they would never do it again.

searching crew at SF Film festival-1.jpg

Here is a picture I took during the question and answer session with the creators at the film festival. John Cho is not there.  Here is another picture I included in my blog, a screenshot of the SFFILM Instagram page with a close up of director Aneesh Chaganty. It’s ironic that I’m also using digital technologies of a blog, my cellphone and Instagram in the making of a paper on digital technologies.

instagram IMG_3080.PNG

Per the Wired article by Brian Rafferty, Chaganty grew up taking videos and experimenting with cameras. He was influenced by M.Night Shyamalan. “Chaganty made home movies with titles like The Shed and The Attic, inspired in part by the no-budget short films Shyamalan had made as a kid.” He went to USC where he met Ohanian.

I mention this because he is different than Oren Peli from Paranormal Activity (2007) who got into film to make money and was lucky. Chaganty worked hard. He discussed his in-person pitch to John Cho and I could see that he was very charismatic and told him that they wanted to use a Korean family to show a film with diversity. I think that had a lot to do with Cho’s decision to do the project and also they were able to get him between projects. John Cho brought the clout that made the film be able to be sold as a regular feature film in cinemas. John Cho was also nominated for Best Male Lead for the Independent Spirit awards, so I think it worked well for his career too.

During the q and a they compared this new format of film to the break out film Tangerine (2015) which was done on cell phones. I also saw this film (Tangerine) at the SF film festival in 2015 and blogged about it Link (Links to an external site.). I quoted this from the film festival program about Tangerine:

"The film was shot entirely on several iPhone 5S cameras (with a prototype adapter lens). The end product combines intimate wide-angle photography with a saturated palette as colorful as its central characters and a soundtrack as vibrant and varied as the neighborhood."

In the q and a of Tangerine one of the filmmakers said that he watched Vine videos (which I don’t think is around anymore). One Vine clip had music he liked that was made by a 17 year old. They reached out to the Vine star to buy it from them and he just gave it to them. This was part of the film’s soundtrack.

It shows you that with digital gives everyone access and opportunities.

Edited by Ida Daroza on Dec 3 at 11:27pm

Grade 3/3
Feedback from Denah (teacher)
Ida, thanks for sharing your personal experience having seen the film and written about it in 2018!

Responses to my post: 
Robert Keitel

Hi Ida

Thank you for personalizing your experience with director Aneesh Chaganty's Searching debut at the SF International Film Festival in 2018.  What a special opportunity to connect what we are studying to your life experience.

Your comment on Oren Peli is right on. From the interview I read, Peli came off flippant and not a serious film maker. I have not followed Peli's career so maybe a bit pre-judging on my part.

In my reflection, I am interested in the "product placement". I used "You've Got Mail" from AOL.  Maybe $5 million changed hands? Also AOL restricted how their product was used.

How did Chananty handle this situation? Were there payments from the different search companies? How did he handle the use of these companies' products in his film?

 

Thanks for your insightful discussion.

bob

Hi Bob, 

That is a really good question about product placement. I don't think they were slick enough or had enough clout (sp?) to get sponsorship on their first feature film which didn't have distribution at the time they made it. They probably had to get permission to show the companies that they used to search and place in the movie - is just my guess. It wasn't brought up. 

From Robert: 

Hi Ida

So exploring John Cho, I discovered the Harold and Kumar films! A series of bad taste parodies.  The Film is titled Harold and Kumar Go to White Castle.  Product placement at its best. Quite a contrast between John Cho in Searching and the Harold and Kumar films.

Bob

Andrew OConnorWatts

Hello Ida! I agree that the moments in the beginning that are mostly screen moments did feel like they dragged on for a bit, however I thought the movie worked surprisingly well considering the limitations imposed by the formal design. I do feel that it didn't need to to rely so heavily on the formal structure and might have benefitted from only using it in certain instances. The fact that it was used pretty much throughout, did feel a bit gimmicky to me, but ultimately worked as a storytelling device in this instance. 

Don Gonzalez

Hi, Ida!

The resolution may seem "rushed" but personally, I felt that it was just right. I just wanted Margot's ordeal to be over. I felt I just wanted her to be well and alive, even if she was injured! Hehe. Knowing she made it was enough for me because if she did not survive it, I would really be disappointed. In this regard, the film fits the "Happy Ending" predictability Hollywood is known for. In a way, I was kind of expecting that they would really find her "alive" - and I did figure that out when I "cheated" and saw that there is still a lot of time on the counter. The suspenseful score we hear as David is about to shut down Margot's computer but stopped and saw this mysterious image of a lake is also a hopeful give-away. 

By the way, thank you for sharing your first-hand experience meeting the director. It's definitely an enviable position to be in! I would also bookmark your blogsite. I'm impressed! I know I'd learn a lot of stuff there. Thank you for sharing, Ida! 

Ida


Robert's Essay: 

Digital Cinema

Searching (Aneesh Chaganty, 2018)

Aneesh Chaganty's Searching (2018) grabs to me on many levels. I am a big fan of the thriller genre. Searching holds together from start to finish.  First, I am captivated by the Asian family life and the tragedy of Pam's death in the first 15 minutes of the film. That’s just the beginning. The theme of a grief-stricken father unable to communicate with his daughter is compelling. Now let's add the technology. The daughter disappears and the search begins. The technology of searching through emails and social media networks is truly impressing impressive. The use of technology in checking banking accounts, in connecting cameras to the daughter’s whereabouts, in connecting to friends, in identity thief, money laundering and other nefarious activities captivated me. The use of technology really enables an effective thriller genre film.

 

 This screen shot from Searching captures the layers of computer search tools while including John Cho intensity as a distraught father. This technology strengthens the thriller genre experience of the film.

Screen Shot 2020-12-02 at 8.01.22 PM.png

 

Now let's go back to the early days of techonology in the comedy You’ve Got Mail. Two people unhappy with their current relationships start to surf the net. Just like in Searching, they are anonymous in their social media names.

“Using the screen name "Shopgirl” (Meg Ryan), she reads an email from "NY152"(Tom Hanks), the screen name of Joe Fox, whom she first met in an "over-30s" chatroom.” (Wikimedia Foundation, Inc. (2020) https://en.wikipedia.org/wiki/You%27ve_Got_Mail) (Links to an external site.)

 

Screen Shot 2020-12-02 at 7.51.48 PM.png

Finally, they agreed to meet, and the comedy continues to develop. So on and so on and so on… This is not my type of film, but it demonstrates early computer technology as an intricate part of this comedy genre. (Movie Classic Trailers (2014) You've Got Mail (1998) Official Trailer - Tom Hanks, Meg Ryan Movie HDhttps://www.youtube.com/watch?v=bjP4s7UUnK8)

Searching used social media networking and internet search tools effectively without appearing to be gimmicky. In contrast You've Got Mail appeared slow and gimmicky. Even the sound of the You’ve Got Mail notice was not shortened or cut.  It dragged on taking away from the action of the film. Maybe AOL paid for this commercial!

In earlier chapters we read about product placement as a means of developing revenues for the movie maker. In You've Got Mail, what was AOL's fees for product placement?

Screen Shot 2020-12-02 at 7.55.36 PM.png

 

https://www.youtube.com/watch?v=dudJjUU9Nhs (Links to an external site.)  AOL picture and product placement screen shot.

AOL spokeswoman Pam McGraw denied widespread rumors that AOL paid in the range of $5 million for its part in the movie. "We're not getting into the details of the business arrangement," says McGraw. "Nora [Ephron] came to us, saying 'I want to use AOL' and we agreed because we wanted to make sure AOL is portrayed authentically in the movie." (Weaver, J. (1998. Dec.) AOL's got a marketing hit. https://www.zdnet.com/article/aols-got-a-marketing-hit/)

Likewise, in Searching many names in social media such as Google, Facebook, and other social media networks were mentioned, were fees paid?

In conclusion I was impressed with Searching on a different level. Aneesh Chaganty as an East Asian American was able to break into Hollywood, casting a Korean American family in a thriller is genre and attracting John Cho in the leading role. This diversity is really remarkable for a new film director. I highly recommend and enjoy this film.

 

Student's post i replied to:

Hello Robert, 

Wonderful analysis. I was also very impressed with the pro-active diversity chosen for this film which could've been risky for him. They could have used any race as the computer actions could be done by anyone. Mostly though someone in Silicon Valley. I think this film is also a testament to the adept computer knowledge and type of modern family in Silicon Valley. 

Some of the most touching scenes were when the (deceased) mother was showing the daughter how to make family home made Korean food, then the brother asking for it as well. 

It seems to me like the next time Mast and Kawin update their text, there will be a new chapter on the breakthrough of diversity in film with the new cinema we've seen like Black Panther (2018) and Crazy Rich Asians (2018). They are a start in the right direction.

Robert's Response to me: 

Hi Ida

I was really hooked on the family emotional development. a lot was packed in the first 15 minutes. then the thriller began.

Bob


I Also commented to Don Gonzalez;

Hi Don, 

Thanks for the great comments on my films this semester, It helped me a lot. You've done wonderful analysis of films. You can absolutely follow my blog or view it occasionally for film critiques it is https://idazeep.blogspot.com/ (Links to an external site.)

I also am active in Facebook in the group Pure Cinema. You have to take a test to get into but there are wonderful film teachers and film industry people in the group that talk about the films we saw this semester. I think you'd like it. 

Edited by Ida Daroza on Dec 7 at 6:33pm




Instructions

AS A REWARD FOR YOUR PATIENCE AND HARD WORK OVER THE LAST WEEKS OF THE SEMESTER, THERE IS NO QUIZ FOR MODULE 16. SIMPLY GO THROUGH AND SELECT "X" FOR ALL 5 QUESTIONS TO GARNER 5 POINTS!

 I WILL GIVE EVERYONE FULL POINTS IN THE GRADE BOOK.

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