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  3. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of fi

Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of fi

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问题     Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music.
    Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; Film personality and life personality seem to merge. Perhaps this is because the very texture of a performer’s voice supplies an element of character.
    When voice textures fit the performer’s physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the "inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe."
    The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism—largely due to its frenetic dialogue.
    Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the "click" of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the "click" of an opening door is part of a threatening action such as a burglary, the sound mixer may call attention to the click, with an increase in volume. This helps to engage the audience in a moment of suspense.
One reason that the writer refers to Humphrey Bogart is to exemplify________.
选项 A、the value of the actor and the character appearing to have similar personalities
B、the audience’s wish that actors are visually appropriate for their roles
C、the importance of the actor having similar feelings to the character
D、the audience’s preference for dialogue to be as authentic as possible
答案A
解析 本题关键词是Humphrey Bogart，属于例证题，定位于第二段。根据第二段第四句和第五句，角色特征与真人特征似乎融合在一起，难分彼此。这也许是因为表演者本人的音质为角色塑造提供了一个基本要素。这两句说明了真人特征与角色特征融合的重要性，因此选项A与原文属于相同含义，为正确选项。选项B的visually与第二段的主题“对话 (dialogue)”相矛盾，所以选项B可改为“观众希望演员在声音上(. m dialogue)与角色相符”，因此选项B属于曲解文意。选项C的feelings与原文dialogue也属于两个不同的概念，因此选项C也属于曲解文意。选项D属于无中生有，因为原文并未提及观众喜好(audience’s preference)。第二段：对话是真人特征与角色特征融合的一个基本要素。
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