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Unformatted text preview: y, and perhaps a wider vision of the relationships among entertainment and communications
media, they revitalized research into recording sound for motion pictures. In 1929 the United States motion picture
industry released more than 300 sound films—a rough figure, since a number were silent films with music tracks, or
films prepared in dual versions, to take account of the many cinemas not yet wired for sound. At the production level, in
the United States the conversion was virtually complete by 1930. In Europe it took a little longer, mainly because there were
Mail@liuwenyong.com 在在在在在在 www.liuwenyong.com 在在在在在在在在在在在在在在在,在在在在在在在在在在 more small producers for whom the costs of sound were prohibitive, and in other parts of the world problems with
rights or access to equipment delayed the shift to sound production for a few more years (though cinemas in major cities
may have been wired in order to play foreign sound films). The triumph of sound cinema was swift, complete, and
enormously popular. Paragraph 1 在 The shift from silent to sound film at the end of the 1920s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has come close to being regarded as a similar kind of watershed. In nearly every language, however the words are phrased, the most basic division in cinema history lies between films that are mute and films that speak.
1. The word regarded in the passage is closest in meaning to ○analyzed
2. According to paragraph 1, which of the following is the most significant development in the history of film? ○The technological innovation of sound film during the 1920s
○The development of a technology for translating films into other languages
○To argue that dams should not be built on the Euphrates River
○The technological improvements allowing clearer images in films
Paragraph 2 在 Yet this most fundamental standard of historical periodization conceals a host of paradoxes .
Nearly every movie theater, however modest, had a piano or organ to provide musical accompaniment to silent pictures. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongside movies' visual images, from the Japanese benshi (narrators) crafting multivoiced dialogue narratives to original musical compositions performed by symphonysize orchestras in Europe and the United States. In Berlin, for the premiere performance outside the Soviet Union of The Battleship Potemkin, film director Sergei Eisenstein worked with Austrian composer Edmund Meisel (18741930) on a musical score matching sound to image; the Berlin screenings with live music helped to bring the film its wide international fame.
3. The word paradoxes in the passage is clo...
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This note was uploaded on 09/17/2013 for the course LANGUAGE 13DL208 taught by Professor Wang during the Fall '13 term at East China Normal University.
- Fall '13