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Ano: 2025
Banca:
FUNDATEC
Órgão:
Prefeitura de Imbé - RS
Prova:
FUNDATEC - 2025 - Prefeitura de Imbé - RS - Cozinheiro |
Q3811580
Português
Em relação a letras e fonemas, é correto afirmar que a palavra “quiabos” contém:
Ano: 2025
Banca:
FUNDATEC
Órgão:
Prefeitura de Imbé - RS
Prova:
FUNDATEC - 2025 - Prefeitura de Imbé - RS - Cozinheiro |
Q3811579
Português
Em relação à palavra “abóbora”, assinale a alternativa correta.
Ano: 2025
Banca:
FUNDATEC
Órgão:
Prefeitura de Imbé - RS
Prova:
FUNDATEC - 2025 - Prefeitura de Imbé - RS - Cozinheiro |
Q3811578
Português
Qual é a sílaba tônica da palavra “jabuticaba”?
Ano: 2025
Banca:
FUNDATEC
Órgão:
Prefeitura de Imbé - RS
Prova:
FUNDATEC - 2025 - Prefeitura de Imbé - RS - Cozinheiro |
Q3811577
Português
Qual das palavras s abaixo apresenta encontro vocálico?
Ano: 2025
Banca:
FUNDATEC
Órgão:
Prefeitura de Imbé - RS
Prova:
FUNDATEC - 2025 - Prefeitura de Imbé - RS - Cozinheiro |
Q3811576
Português
Qual das alternativas a seguir apresenta a correta separação silábica da palavra
“vitaminas”?
Q3811558
Redação Oficial
A forma de comunicação mais rápida e eficiente de
transmitir as informações importantes para o trabalho no
nosso dia a dia, dentro da instituição, é
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811488
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
No verso "E no desejo de às Índias chegar", observa-se a presença da estrutura "de às Índias chegar",
introduzida pela preposição "de" e formada por um verbo no infinitivo. Considerando a dependência
sintática dessa construção em relação ao termo "desejo" e o valor semântico que ela exerce no período,
assinale a alternativa que classifica CORRETAMENTE essa oração subordinada reduzida.
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811487
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
Em relação ao verso "Índio eu não sou", observe que o termo "índio" foi deslocado para a posição
inicial da sentença, o que confere destaque expressivo à palavra e reforça o tom de negação identitária
presente no poema. Considerando esse recurso de ordem e o papel sintático desempenhado pelo termo
no enunciado, assinale a alternativa CORRETA quanto à sua função sintática.
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811486
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
No verso "Caravela aportou bem ali", as palavras "bem" e "ali" acrescentam informações que
localizam de modo preciso o acontecimento expresso pelo verbo "aportou". Considerando a classe
gramatical de cada termo e o papel que desempenham na estrutura da oração, assinale a alternativa
que apresenta CORRETAMENTE a classificação e a função sintática de "bem" e "ali",
respectivamente.
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811485
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
No verso "Com a cruz e a espada na mão / Nos seus olhos, uma missão", a justaposição de símbolos
religiosos e bélicos representa a contradição entre fé e violência. Essa oposição reforça a crítica da
autora ao processo de colonização e catequese forçada. Tal figura expressiva é conhecida como:
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811484
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
No trecho "Por um erro de rota / Colombo em meu solo desembarcou", observa-se que o eu poético
atribui à chegada do colonizador um motivo equivocado. Considerando o valor semântico do segmento
"Por um erro de rota", identifique o tipo de relação que ele estabelece com o restante do enunciado.
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811483
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
No verso "E no desejo de às Índias chegar", observe o emprego do verbo "chegar". Considerando a
regência verbal e a natureza do verbo quanto à sua transitividade, assinale a alternativa que apresenta
CORRETAMENTE a classificação do verbo "chegar" nesse contexto.
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811482
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
Em "E no desejo de às Índias chegar / Com o nome de 'índio' me apelidou", o uso do craseado 'às' se
justifica por:
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811481
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
No verso "Chegou tarde, eu já estava aqui", observa-se o uso da vírgula separando dois enunciados de
sentido completo, ambos com verbos e sujeitos próprios. Considerando a estrutura sintática do período
e o valor da pontuação nesse contexto, assinale a alternativa que justifica CORRETAMENTE o
emprego da vírgula.
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811480
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
A expressão "Índio eu não sou" é repetida de maneira explícita e implícita ao longo do poema. Do
ponto de vista discursivo, essa repetição cumpre a função de:
Ano: 2025
Banca:
FAFIPA
Órgão:
Prefeitura de Jaguapitã - PR
Prova:
FAFIPA - 2025 - Prefeitura de Jaguapitã - PR - Analista Fiscal de Tributos |
Q3811479
Português
Texto associado
Índio eu não sou
-
Não me chame de "índio" porque
Esse nome nunca me pertenceu
Nem como apelido quero levar
Um erro que Colombo cometeu.
-
Por um erro de rota
Colombo em meu solo desembarcou
E no desejo de às Índias chegar
Com o nome de "índio" me apelidou.
-
Esse nome me traz muita dor
Uma bala em meu peito transpassou
Meu grito na mata ecoou
Meu sangue na terra jorrou.
-
Chegou tarde, eu já estava aqui
Caravela aportou bem ali
Eu vi "homem branco" subir
Na minha Uka me escondi.
-
Ele veio sem permissão
Com a cruz e a espada na mão
Nos seus olhos, uma missão
Dizimar para a civilização.
-
"Índio" eu não sou.
Sou Kambeba, sou Tembé
Sou kokama, sou Sataré
Sou Guarani, sou Arawaté
Sou tikuna, sou Suruí
Sou Tupinambá, sou Pataxó
Sou Terena, sou Tukano
Resisto com raça e fé.
O poema "Índio eu não sou" apresenta um eu lírico que contesta uma designação imposta por outrem.
Considerando o sentido global do texto, é CORRETO afirmar que a intenção comunicativa principal
deste texto literário é:
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811478
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
Because the author is a fan of physical media in the age of
streamings, he admits being considered
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811477
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
The author makes it clear that there was an attempt to elicit
a comment from Amazon, which
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811476
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
The author of the text looked for examples of practices in the
streaming platforms that were similar to what the mentioned
lawsuit labels as ‘deceptive practice’ and
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811475
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
In the circumstance of purchasing a film from a streaming
platform, in case the access to the product is interrupted,
according to the text, the customer is
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