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.
It can be inferred from the passage that Griffith would be most likely to agree with which of the following statements?
选项 A、The most important element contributing to a film’s success is the ability of the actors.
B、The camera must be considered an integral and active element in the creation of a film.
C、The cinema should emphasize serious and sober examinations of fundamental human problems.
D、The proper composition of scenes in a film is more important than the details of their editing.
答案B
解析 推理判断题。从第一段开头可知，格里菲斯之前的电影就好像把戏剧表演用固定机位拍摄下来一样，而该段第四句开始介绍了格里菲斯对长焦镜头等摄影手法的利用，第六句更是明确说，格里菲斯喜欢用摄影机创造新奇的戏剧效果，可见[B]项的说法符合原文，为答案。在格里菲斯的各项革新中没有涉及演员，故排除[A]项；由第j段可知，格里菲斯电影虽然涉及社会话题，但其选材还是比较多样化，没有特意着重某个题材，[C]项的表述不全面，故排除；画面构图和剪辑分别在第一段和第二段，但文中没有比较两者的重要性， [D]项的表述与原文不符，故排除。
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