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

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

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问题    Practically speaking, the artistic 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 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 afore-ground (近景) and a rear ground (远景),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 placing images close together 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 arranged images, Griffith persisted, and experimented as well with other elements of cinematic (电影的，影片的) arrangement that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that were not in time order, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith borrowed devices of the Victorian novel in film-making 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 included not only the standard comedies, melodramas, westerns, and thrillers, but also adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of America cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the conventional length of one reel. Griffith’s introduction of the American-made multireel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historic-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 ridiculous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.
选项 A、discuss the importance of Griffith to the development of the cinema
B、describe the impact on cinema of the Victorian literature and art
C、analyze the changes in the cinema brought by the introduction of the multireel film
D、emphasize Griffith’s impact on the choice of subject matter in American films
答案A
解析 由题干The primary purpose of the text is to定位到全文。主旨题。文章第一句Practically speaking．．．即点明主题：Griffith也对电影的成熟做出卓越的贡献，第二、三段第一句也对主题进行了补充，故A)正确。[避错]维多利亚时代的文学艺术直接影响的是Griffith，对电影只是间接影响(见文中第一段最后一句)，且不是文章主旨，故排除B)；C)意思不全面，因为multireel film只是他的三个主要贡献之一；D)仅是文章中的一个分论点，不能作为主旨。
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