The cinema did not emerge as a form of mass consumption until its technology evolved from the initial “peepshow”nformat to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose. Thomas Edison‟s peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or in the case of famous prizefights, successive rounds of a single fights). These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscope (for roughly $1,000 a piece) to these parlors than in the films that would be run in them (which cost approximately $10 to $15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine-a projector- from his instead of several. Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison‟s former assistant, William Dickson) perfected projection devices. These earlu projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makseshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience. With the advent of projection in 1895-1896, motion pictures became ultimate from of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures and slide-and-antern shows had been prsented to several hundred spectcors at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and lantern shows) the active involvement of a master of ceremonies who assembled the final program. The author discusses phonograph parlors in paragraph 2 in order to …

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The cinema did not emerge as a form of mass consumption until its technology evolved from the initial “peepshow”nformat to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose. Thomas Edison‟s peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines.

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1 The cinema did not emerge as a form of mass consumption until its technology evolved from the initial “peepshow”nformat to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose. Thomas Edison‟s peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines.
2 For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or in the case of famous prizefights, successive rounds of a single fights). These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscope (for roughly $1,000 a piece) to these parlors than in the films that would be run in them (which cost approximately $10 to $15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine-a projector- from his instead of several.
3 Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison‟s former assistant, William Dickson) perfected projection devices. These earlu projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makseshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience.
4 With the advent of projection in 1895-1896, motion pictures became ultimate from of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures and slide-and-antern shows had been prsented to several hundred spectcors at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and lantern shows) the active involvement of a master of ceremonies who assembled the final program.
5 The author discusses phonograph parlors in paragraph 2 in order to …
6 a. explain edison’s financial success b. describe the model used to design kinetoscope parlors c. contrast their popularity to that of kinetoscope parlors d. illustrate how much more technologically ad vanced kinetoscope parlors were e. inform the price of kinetoscope
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For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or in the case of famous prizefights, successive rounds of a single fights). These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscope (for roughly $1,000 a piece) to these parlors than in the films that would be run in them (which cost approximately $10 to $15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine-a projector- from his instead of several.

Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison‟s former assistant, William Dickson) perfected projection devices. These earlu projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makseshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience.

With the advent of projection in 1895-1896, motion pictures became ultimate from of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures and slide-and-antern shows had been prsented to several hundred spectcors at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and lantern shows) the active involvement of a master of ceremonies who assembled the final program.

The author discusses phonograph parlors in paragraph 2 in order to …

a. explain edison’s financial success
b. describe the model used to design kinetoscope parlors
c. contrast their popularity to that of kinetoscope parlors
d. illustrate how much more technologically ad vanced kinetoscope parlors were
e. inform the price of kinetoscope

Jawaban yang benar adalah d. illustrate how much more technologically advanced kinetoscope parlors were

Pembahasan :
Soal menanyakan kamu alasan penulis menyebutkan phonograph parlors pada paragraf kedua.

“In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music.” Pada paragraf kedua penulis menjelaskan bagaimana cara kerja dari ruang fonograf yaitu dengan menggunakan tabung untuk mendengarkan suara pidato ataupun musik dengan berpindah-pindah dari satu mesin ke mesin lainnya.

Hal tersebut menunjukkan bahwa telah terjadi perkembangan teknologi dari suara ‘phonograph parlors’ ke ‘Kinetoscope arcades’ yaitu hiburan dengan visual atau gambar.

Jadi, jawaban yang benar adalah d. illustrate how much more technologically advanced kinetoscope parlors were

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