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  3. The film-awards season, which reaches its tearful climax with the Oscars in February 2013, has long been only loosely related to

The film-awards season, which reaches its tearful climax with the Oscars in February 2013, has long been only loosely related to

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问题     The film-awards season, which reaches its tearful climax with the Oscars in February 2013, has long been only loosely related to the film business. Hollywood is dedicated to the art of keeping teenagers past popcorn stands, not art itself. But this year’s awards are less relevant than ever. Nowadays, the true worth of a film is no longer decided by the crowd that assembles in the Kodak Theatre—or, indeed, by any American. It is decided by youngsters in countries such as Russia, China and Brazil.
    Russia, with its shrinking teenage population, is an unlikely spot for a box-office boom. Yet cinema-building is proceeding fast, and supply has created demand. Last year 160m cinema tickets were sold in Russia—the first time in recent years that sales have exceeded the country’s pollution. Tickets prices have risen, in part because the new cinemas are superior, with digital projectors that can show 3D films. The big Hollywood studios are muscling domestic film-makers aside. In 2007 American films made almost twice as much as the Russian box office as domestic films—8. 3 billion roubles;($325m)compared with 4. 5 billion roubles. Last year the imported stuff made some 16. 4 billion roubles; more than five times as much as the home-grown product, estimates Movie Research, a Moscow outfit. Earlier this month Vladimir Putin, Russia’s Prime Minister, said the government would spend less money supporting Russian film-makers and more on expanding the number of screens.
    Growth is much quicker in China, where box-office receipts reached $1.5 billion last year. China’s regulator has claimed that cinema screens are going up at a rate of three per day; some are IMAX screens that command higher ticket prices. The government allows only 20 non-Chinese films into the market each year, virtually guaranteeing big audiences for those that make the cut.
    Besides, growing fears of piracy have led studios to release films almost simultaneously in many countries; increasingly, the premiere takes place outside America. That changes the marketing game, says Michael Lynton, head of Sony Pictures. Studios used to rely on rumors of American success seeping out of the country, priming audiences elsewhere to see a film. Now they must conduct coordinated global campaigns. Stars are gathered for two-week-long marketing blitzes(闪电战)that may take them to ten countries "like a political campaign" , says Mr. Lynton.
    The growing internationalization of the film business suits the biggest outfits. The major studios’ power lies not so much in their ability to make good films—plenty of smaller operations can do that—but in the ability to squeeze every possible drop of revenue from a film. With their superior global marketing machine and their ability to anticipate foreign tastes, they are increasingly dominating the market.
According to Michael Lynton, global film marketing aims to______.
选项 A、stop the spreading of rumors about a film
B、better organize the stars’ working schedule
C、protect the film from being illegally copied
D、make political impact on the targeted countries
答案C
解析 推理题。根据题干关键词Michael Lynton和global film marketing定位至第四段。该段开头就明确指出电影全球同步发行上映的原因是越来越令人担忧的盗版现象，因此[C]是正确答案。由第四段第三句可知，传统的美国电影宣传模式是将美国上映成功的消息传出国外，为其他地方的观众观影造势。如今全球宣传并不是为阻断电影消息的传播，而是强调宣传的同步性，本句中的rumors也并没有贬义含义，故排除[A]；该段后半部分提到电影明星要参加密集的宣传活动，是要配合电影厂商的宣传，并没有提到是为了更好地安
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