Questões de Concurso Público SEED-PR 2024 para Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138

Foram encontradas 40 questões

Ano: 2024 Banca: Instituto Consulplan Órgão: SEED-PR Provas: Instituto Consulplan - 2024 - SEED-PR - Professor - Arte - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Biologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Espanhol - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ensino Religioso - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ciências - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Filosofia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Física - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Francês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Geografia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - História - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Alemão - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Italiano - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Portuguesa - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Matemática - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Educação Especial - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Pedagogia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Química - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Sociologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Gestão Escolar (Diretor e Diretor Auxiliar) |
Q3127462 Pedagogia
Em uma aula de ciências para o 9º ano do ensino fundamental, a professora propõe uma discussão sobre a evolução das teorias científicas ao longo do tempo, com foco na compreensão de que o conhecimento científico é provisório e influenciado pelo contexto cultural e histórico. Ela começa apresentando exemplos de teorias antigas, como o modelo geocêntrico de Ptolomeu, e discute como o modelo heliocêntrico de Copérnico e as observações de Galileu mudaram essa visão. Em seguida, incentiva os alunos a refletirem sobre como os avanços científicos e as mudanças culturais impactaram o conhecimento científico, evidenciando que as Ciências da Natureza são construções humanas em constante revisão e aprimoramento. A aula destaca o caráter humano do empreendimento científico, mostrando que as teorias e descobertas refletem o contexto e os valores de cada época, uma das competências específicas de ciências previstas na Base Nacional Comum Curricular (BNCC), que estabelece competências gerais e específicas para a educação básica. Considerando a relação entre essas duas dimensões, analise as afirmativas a seguir.

I. As competências específicas são pré-requisitos para o desenvolvimento das competências gerais, uma vez que as primeiras fornecem os conhecimentos e as habilidades básicas necessárias para a construção das segundas.
II. As competências gerais e específicas se desenvolvem de forma isolada, sendo a primeira mais abrangente e a segunda mais específica ao conteúdo de cada área do conhecimento.
III. As competências gerais e específicas se complementam e se desenvolvem de forma inter-relacionada ao longo da escolaridade, com as primeiras orientando o desenvolvimento das segundas e vice-versa.
IV. As competências gerais são desenvolvidas de forma isolada no currículo e não interferem nas competências específicas, que são trabalhadas por disciplina, de acordo com os conteúdos estabelecidos pela BNCC.
V. O desenvolvimento das competências gerais no currículo escolar é integrado ao das competências específicas, de modo que as competências gerais fornecem um fundamento transversal para os conteúdos disciplinares, promovendo uma formação abrangente e contextualizada.

Expressa a dinâmica de desenvolvimento das competências ao longo da escolaridade o que se afirma em
Alternativas
Ano: 2024 Banca: Instituto Consulplan Órgão: SEED-PR Provas: Instituto Consulplan - 2024 - SEED-PR - Professor - Arte - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Biologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Espanhol - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ensino Religioso - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ciências - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Filosofia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Física - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Francês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Geografia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - História - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Alemão - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Italiano - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Portuguesa - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Matemática - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Educação Especial - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Pedagogia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Química - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Sociologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Gestão Escolar (Diretor e Diretor Auxiliar) |
Q3127463 Pedagogia
A Secretaria Estadual da Educação entregou nesta quarta-feira (9), em Foz do Iguaçu, no Oeste do Estado, 500 celulares a alunos monitores da rede pública. A solenidade de abertura do programa Aluno Monitor contou com a presença do Secretário da Educação, Roni Miranda, e do diretor de Educação da SEED-PR, Anderfabio dos Santos, e destacou o esforço e o protagonismo dos estudantes. O evento reúne 500 alunos de 32 Núcleos Regionais de Educação (NREs), designados pelo desempenho acadêmico e dedicação ao programa, que inclui mais de 28 mil jovens em todo o estado. Com a participação de mais de 28 mil estudantes, o Programa Aluno Monitor se consolidou como uma das iniciativas mais bem-sucedidas da educação paranaense. Em 2024, 500 alunos foram selecionados entre mais de 10 mil participantes.
(Disponível em: https://www.aen.pr.gov.br/Noticia/. Acesso em: novembro de 2024. Adaptado.)

De acordo com os canais oficiais da SEED Paraná, o principal objetivo do Programa em referência é:
Alternativas
Ano: 2024 Banca: Instituto Consulplan Órgão: SEED-PR Provas: Instituto Consulplan - 2024 - SEED-PR - Professor - Arte - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Biologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Espanhol - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ensino Religioso - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ciências - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Filosofia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Física - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Francês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Geografia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - História - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Alemão - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Italiano - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Portuguesa - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Matemática - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Educação Especial - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Pedagogia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Química - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Sociologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Gestão Escolar (Diretor e Diretor Auxiliar) |
Q3127464 Pedagogia
A Secretaria de Estado da Educação do Paraná (SEED-PR) utiliza o Livro Registro de Classe On-line (LRCO) como uma ferramenta essencial para o planejamento e registro das aulas, o que auxilia na organização pedagógica e no acompanhamento do processo de ensino-aprendizagem. Considerando a relação entre o planejamento da aula disponibilizada no LRCO, o atendimento aos objetivos de aprendizagem e o desenvolvimento das habilidades, analise as afirmativas a seguir.
Alternativas
Ano: 2024 Banca: Instituto Consulplan Órgão: SEED-PR Provas: Instituto Consulplan - 2024 - SEED-PR - Professor - Arte - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Biologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Espanhol - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ensino Religioso - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ciências - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Filosofia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Física - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Francês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Geografia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - História - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Alemão - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Italiano - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Portuguesa - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Matemática - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Educação Especial - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Pedagogia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Química - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Sociologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Gestão Escolar (Diretor e Diretor Auxiliar) |
Q3127465 Pedagogia
Na etapa do ensino médio, as expectativas dos jovens estudantes frente ao futuro pessoal e profissional tornam-se mais intensas e profundas. A dupla condição de jovem e estudante coloca em discussão uma amplitude de dilemas e anseios, bem como a preparação que a escola proporciona aos jovens para o enfrentamento desses dilemas. O Novo Ensino Médio (NEM) traz o projeto de vida como um dos eixos fundamentais da formação escolar, visto que o desenvolvimento do componente é fundamental tanto para a formação geral básica quanto para a parte diversificada. De acordo com o Referencial Curricular do Ensino Médio, considerando os fundamentos contidos no caderno dos itinerários formativos, o projeto de vida:

I. É construído na relação com os outros, ainda que se manifeste internamente; é fruto de exploração externa.
II. Influencia a vida dos indivíduos, mas também ecoa na vida em sociedade.
III. É um fenômeno psicossocial, que se assenta na intersecção dos saberes individuais e dos valores presentes na cultura na qual nos inserimos, juntamente com a influência de outras pessoas e projetos coletivos.
IV. São dimensionados pela ética e por valores morais preciosos, para a construção de uma sociedade civilizada, em que se concretiza o exercício da cidadania.

Está correto o que se afirma
Alternativas
Ano: 2024 Banca: Instituto Consulplan Órgão: SEED-PR Provas: Instituto Consulplan - 2024 - SEED-PR - Professor - Arte - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Biologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Espanhol - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ensino Religioso - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Ciências - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Filosofia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Física - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Francês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Geografia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - História - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Alemão - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Italiano - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Portuguesa - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Matemática - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Educação Especial - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Pedagogia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Química - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Professor - Sociologia - Edital nº 138 | Instituto Consulplan - 2024 - SEED-PR - Gestão Escolar (Diretor e Diretor Auxiliar) |
Q3127466 Pedagogia
Sabemos que o referencial curricular da rede é o documento que define e estabelece, considerando a Base Nacional Comum Curricular (BNCC), os direitos de aprendizagem dos estudantes brasileiros para cada etapa/ano/série da educação básica por meio do desenvolvimento de competências e habilidades. É quase impossível, tendo em vista as dificuldades de aprendizagem, que todos avancem sem algum comprometimento; de outro lado, é importante compreender que não é possível que o estudante avance na escolaridade sem aprender e que, infelizmente, há um acúmulo de defasagens que precisará ser trabalhado. É preciso construir uma trajetória de aprendizagem que dê conta de recompor e interromper a produção de novas defasagens. Para que isso aconteça, a reorganização curricular é indispensável para que os estudantes avancem no desenvolvimento de outras habilidades, devendo ser orientada pelos critérios de:
Alternativas
Q3128625 Inglês
Read thoroughly to answer the following question.

    Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
   The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
    SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
    Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
    It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
     SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
     If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
    This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
Texts vary in style and structure when it comes to their objectives. The intended message and genre conventions in the previous text classify it as a:
Alternativas
Q3128626 Inglês
Read thoroughly to answer the following question.

    Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
   The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
    SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
    Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
    It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
     SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
     If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
    This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 3, what exactly does the author consider “revolutionary” about the movie “Scream”?
Alternativas
Q3128627 Inglês
Read thoroughly to answer the following question.

    Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
   The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
    SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
    Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
    It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
     SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
     If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
    This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 5, why does the author mention the opening scene as “iconic”?
Alternativas
Q3128628 Inglês
Read thoroughly to answer the following question.

    Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
   The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
    SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
    Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
    It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
     SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
     If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
    This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 2, the following match the same meaning EXCEPT:
Alternativas
Q3128629 Inglês
Read thoroughly to answer the following question.

    Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
   The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
    SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
    Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
    It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
     SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
     If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
    This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
The word “riff” in paragraph 3 is best replaced by:
Alternativas
Q3128630 Inglês
Read thoroughly to answer the following question.

    Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
   The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
    SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
    Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
    It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
     SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
     If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
    This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
Analyze the following statements:

I. Praising technical features of the movie indicates the author’s appreciation for it.
II. “Scream” deeply influenced the author’s professional and personal growth.
III. The author is in disbelief on his current relationship with some cast and crew members of the film.
IV.The author finds connection only with his youth in regard to the movie script.

All of them are true, EXCEPT:
Alternativas
Q3128631 Inglês
An English teacher handed this text to his/her students with the following sentence highlighted. Analyze his criteria to do so:

If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell… I frankly would never have believed it.

I. Use of spoken and informal language.
II. Non-standard use of past unreal conditional structure.
III. Commas to enhance formality.
IV.Conversational tone as a way to create a sense of familiarity.

The correct items are:
Alternativas
Q3128632 Inglês

An English teacher handed this text to his/her students with the following sentence highlighted. Analyze his criteria to do so:


If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell… I frankly would never have believed it.


Which item presents the standard form of the sentence structure in question ?

Alternativas
Q3128633 Inglês
Students were asked to read the text thoroughly and and answer the following questions about the movie “Scream”:

• Who was the director?
• What is the release date?
• Who played the characters?
• Who wrote the script?

This activity is an example of:
Alternativas
Q3128634 Inglês
The reference to “New Nightmare” alongside “Scream” was stressed out by a teacher with the goal to demonstrate: 
Alternativas
Q3128635 Inglês

Read the poem to answer the following question:


The fundamental theme of the poem can be pointed out in:
Alternativas
Q3128636 Inglês

Read the poem to answer the following question:


Indicate the phonological poetic device spotted in “Because it was grassy and wanted wear”:
Alternativas
Q3128637 Inglês

Read the poem to answer the following question:


Students were given a set of verbs as follows and asked to separate them in three groups in accordance with the ones highlighted in the poem. Select the option that justifies the teacher’s decision to propose this activity:
Imagem associada para resolução da questão
Alternativas
Q3128638 Inglês

Consider verbal and non-verbal language to answer the following:


Imagem associada para resolução da questão


 The English language facet targeted is:

Alternativas
Q3128639 Inglês
Inspect the quotes in detail:

I. “You should be the change that you want to see in the world.” – Mahatma Gandhi
II. “You may not control all the events that happen to you, but you can decide not to be reduced by them.” – Maya Angelou
III. “I might have been born in a hovel, but I am determined to travel with the greats.” – Tina Turner
IV.“We must accept finite disappointment, but never lose infinite hope.” – Martin Luther King Jr.

The shades of modality can be identified respectively in
Alternativas
Respostas
1: B
2: B
3: C
4: D
5: C
6: D
7: C
8: D
9: C
10: B
11: D
12: C
13: B
14: A
15: C
16: B
17: B
18: D
19: D
20: A