2. 外语
  3. Practically speaking, the artiste maturing of the cinema was the single-handed achievement of David W. Griffith (1875～1948). Bef

Practically speaking, the artiste maturing of the cinema was the single-handed achievement of David W. Griffith (1875～1948). Bef

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问题    Practically speaking, the artiste maturing of the cinema was the single-handed achievement of David W. Griffith (1875～1948). 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 onstage. 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 Bethulea, an elaborate historico-philosophical spectacle, reached the unprecedented length of four reels, or one hour’s running time. From our contemporary viewpoint, the pretensions 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 primary purpose of the passage is to ______
选项 A、discuss the importance of Griffith to the development of the cinema
B、describe the impact on cinema of the flashback and other editing innovations
C、deplore the state of American cinema before the advent of Griffith
D、analyze the changes in the cinema brought by the introduction of the multi-reel film
答案A
解析 根据文章内容可知，本文主要介绍格里菲斯对电影发展所作出的重要贡献。所 以A项表述是为本文主旨。B项表述“闪回和其他编辑技巧对电影的影响，，属于细节而非主 旨；C项表述“格里菲斯出现之前的美国电影的状态”在文中只是一笔带过，并非重点所在： D项表述“多集式电影的引入给电影造成的影响”和B项一样亦属于文章的细节而非主旨。 据此判断，答案是A。
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