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  3. African-American filmmakers should be in an enviable position, for since the early 1990s there has been a steady wave of

African-American filmmakers should be in an enviable position, for since the early 1990s there has been a steady wave of

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问题             African-American filmmakers should be in an enviable position, for since
       the early 1990s there has been a steady wave of low budget black films which
       have turned a solid profit due to a very strong response in the African-American
Line    community and a larger crossover audience than anticipated. Any rational
(5)      business manager would now identify this sector as a prime candidate for
       expansion, but if the films have done so well with limited production and
       marketing costs, why have they not received full scale support?
           Many analysts feel the business is engulfed in a miasma of self-serving and
       self-fulfilling myths based on the unspoken assumption that African-American
(10)     films can never be vehicles of prestige, glamour, or celebrity. The relationship
       players have convinced themselves that black films can do only a limited
       domestic business under any circumstance and have virtually no foreign box
       office potential. As executives who now control the film industry grew up in
       those decades when there were few black images on the screen and those that
(15)     did exist were produced by film-makers with limited knowledge of the black
       community, it is little wonder that they avoid ideological issues, and seek to
       continue making films that they are comfortable with by avoiding they negative
       imagery of films they would prefer to eschew entirely.
           Also to blame for this deleterious phenomenon are legions of desperate and
(20)     Machiavellian African-American film producers, directors, and writers who
       would transform The Birth of a Nation into a black musical as long as it would
       provide them with gainful studio employment. These filmmakers not only
       perpetuate negative stereotypes in their films, but they also season them with a
       sprinkling of African-American authenticity. This situation would be onerous
(25)     enough, given the economic exploitation of the community involved;
       unfortunately these films also validate the pathologies they depict. The constant
       projection of the black community as a kind of urban Wild Kingdom, the
       glamorization of tragic situations, and the celebration of inner city drug dealers
       and gangsters has a programming effect on black youth. The power of music in
(30)     film is a particularly seductive and propagandistic force which in the recent crop
       of African-American films has rarely been used in a positive social manner.
           What flows from this combination of factors is a policy of market
       exploitation rather than market development, evidenced by the fact that any
       number of films may open to 1,500 screens in one week, only to totally
(35)     disappear in less than a month. This restricted body of film products erodes the
       genre’s long-term viability, particularly with the more fickle non-African-
       American audiences and foreign audiences. Furthermore, when African-
       American actors begin to emerge as stars, their projects are usually designed to
       be "more" than a black film, such that any success that follows is therefore
(40)     perceived not as a reflection of the viability of African-American filmmaking but
       as the broader pursuit of celebrity.
Which of the following is most nearly analogous in its cause and condition to the problems which the author describes as limiting the present success of African- American cinema?
选项 A、A rock-and-roll band considers its music unappealing to a mainstream audience, changes to a more palatable sound, and fails anyway.
B、An author decides that he would have a better niche in a fringe literary market, and sells his work there, but with little profit.
C、An artist decides that his oeuvre of paintings is not commercially viable, and resigns himself to make unpopular but artistically dignified work.
D、A marketing executive decides that a product won’t sell, and thus restricts its availability to a certain loyal market.
E、A film actor realizes that he could be more successful working in theater, and though he achieves success, finds he misses his old form
答案A
解析
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