2. 考研
  3. Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875 ~ 1848).

Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875 ~ 1848).

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问题    Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875 ~ 1848). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the camera’s possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.
   Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.
   Besides developing the cinema’s language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema.
   When he remade Enoch Arden in 1911 , he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith’s introduction of the American-made multi-reel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historico-philosophical spectacle, reached the unprecedented length of four reels, or one hour’s running time. From our contemporary viewpoint, the pretension of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.
The author suggests that Griffith’s contributions to the cinema had which of the following results?
   I. Literary works, especially Victorian novels, became popular sources for film subjects.
   II. Audience appreciation of other film directors’ experimentations with cinematic syntax was increased.
   III. Many of the artistic limitations thought to be inherent in filmmaking were shown to be really nonexistent.
选项 A、II only
B、III only
C、I and II only
D、I, II, and III
答案B
解析 事实细节题。第二段最后一句提到了格里菲斯将维多利亚小说改编成电影，并未提及此类小说是否是当时的流行电影主题来源，故I的说法与原文不符。文章并没有提到观众对其他电影导演的态度，II的说法没有原文依据。III说法较为概括，但格里菲斯在摄影、布景、时长等各个领域的突破性革新均可以证明，因此III符合原文，故答案为[B]项。
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