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  3. Print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic imag

Print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic imag

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问题             Print seems a less treacherous form of leaching out the world, of turning it
       into a mental object, than photographic images, which now provide most of the
       knowledge people have about the look of the past and the reach of the present.
Line    What is written about a person or an event is frankly an interpretation, as are
(5)      handmade visual statements, like paintings and drawings, while photographed
       images do not seem to be statements about the world so much as pieces of it,
       miniatures of reality that anyone can make or acquire as "evidence". The
       camera record incriminates, providing modern states with a tool of surveillance
       and control of increasingly mobile population, and at the same time justifies, by
(10)     presenting purportedly incontrovertible proof that a given thing happened.
           Whatever the limitations (through amateurism) or pretensions (through
       artistry) of the individual photographer, a photograph-any photograph-seems
       to have a more innocent, and therefore more accurate, relation to visible reality
       than do other mimetic objects. A painting or a prose description can never be
(15)     other than a narrowly selective interpretation, while in contrast a photograph
       can be treated as a narrowly selective transparency. Despite the presumption of
       veracity that gives all photographs authority, interest, seductiveness, the work
       that photographers do is no generic exception to the usually shady commerce
       between art and truth, for even when photographers are most concerned with
(20)     mirroring reality, they are still haunted by tacit imperatives of taste and
       conscience. In deciding how a picture should look, in preferring one exposure to
       another, photographers are always imposing standards on their subjects.
       Although there is a sense in which the camera does indeed capture reality, not
       just interpret it, photographs are as much an interpretation of the world as
(25)     paintings and drawings are. Those occasions when the taking of photographs is
       relatively undiscriminating, promiscuous, or self-effacing do not lessen the
       didacticism of the whole enterprise, for indeed this very passivity-and
       ubiquity-of the photographic record is photography’s "message", its
       aggressive impulse.
(30)         Like most fashion and animal photography, images which idealize are no
       less aggressive than work which makes a virtue of plainness, like class pictures,
       still lives of the bleaker sort, and mug shots. There is an aggression implicit in
       every use of the camera, a fact that became evident in the 1840s and 1850s,
       photography’s glorious first two decades, when technology first gave rise to a
(35)     view of the world as a set of potential photographs. From its inception,
       photography implied the capture of the largest possible number of subjects,
       while painting never had so imperial a scope. The subsequent industrialization
       of camera technology only carried out a promise inherent in photography from
       its very beginning: to democratize all experiences by translating them into
(40)     images.
The author introduces the concept of class pictures in order to
选项 A、illustrate photography’s capacity for recording a historical moment
B、provide an example of photography that appears only to record but actually imposes aesthetic standards
C、demonstrate one area where photography is clearly more functional then painting
D、establish a case where photography is "transparent", i.e. independent of the photographer’s aims
E、give an instance where photography is capable of democratizing an experience by converting it to an image
答案B
解析
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