4008-125-888
首页>托福考试备考专区>TPO阅读>托福TPO57阅读Passage 3原文+PDF下载

托福TPO57阅读Passage 3原文+PDF下载

2020-12-21 11:12来源:互联网作者:上海管理员

摘要:托福TPO试题基本所有参加托福考生必做试题,为更好服务于广大考生,上海新航道小编会及时的更新托福TPO试题信息,包括TPO试题、答案及解析等内容。在下文中小编整理了托福TPO57阅读Passage 3原文+题目+答案解析+PDF下载,希望对大家有所帮助,如在学习过程中有问题,可以加新航道上海学校专业老师微信(微信号shnc_2018)进行咨询。

托福TPO试题基本所有参加托福考生必做试题,在下文中上海新航道托福培训小编整理了托福TPO57阅读Passage 2原文+题目+答案解析,希望对大家有所帮助!

Passage 3 The Problem of Narrative Clarity in Silent Films

Beginning in 1904, American commercial filmmaking became increasingly oriented toward storytelling. Moreover, with the new emphasis on one‐reel films, narratives became longer and necessitated a series of camera shots. Filmmakers faced the challenge of making story films that would be comprehensible to audiences. How could techniques of editing, camerawork, acting, and lighting be combined so as to clarify what was happening in a film? How could the spectator grasp where and when the action was occurring?

Over the span of several years, filmmakers solved such problems. Sometimes they influenced each other, while at other times two filmmakers might happen on the same technique independently. Some devices were tried and abandoned. By 1917, filmmakers had worked out a system of formal principles that were standard in American filmmaking. That system has come to be called the classical Hollywood cinema. Despite that name, many of the basic principles of the system were being worked out before filmmaking was centered in Hollywood, and, indeed, many of those principles were first tried in other countries. In the years before the First World War, film style was still largely international, since films circulated widely outside their country of origin.

The basic problem that confronted filmmakers early in the silent‐movie era was that audiences could not understand the causal, spatial, and temporal relations in many films. If the editing abruptly changed locales, the spectator might not grasp where the new action was occurring. An actor's elaborate pantomime might fail to convey the meaning of a crucial action. A review of a 1906 film lays out the problem: “regardless of the fact that there are a number of good motion pictures brought out, it is true that there are some which, although photographically good, are poor because the manufacturer, being familiar with the picture and the plot, does not take into consideration that the film was not made for him but for the audience. A movie recently seen was very good photographically, but the story could not be understood by the audience.” In a few theaters, a lecturer might explain the plot as the filmunrolled, but producers could not rely on such aids.

Filmmakers came to assume that a film should guide the spectator’s attention, making every aspect of the story on the screen as clear as possible. In particular, films increasingly set up a chain of narrative causes and effects. One event would plainly lead to an effect, which would in turn cause another effect, and so on. Moreover, an event was typically caused by a character’s beliefs or desires. Character psychology had not been particularly important in early films. ■. Comical chases or brief melodramas depended more on physical action or familiar situations than on character traits ■ Increasingly after 1907, however, character psychology motivated actions. ■By following a series of characters goals and resulting conflicts, the spectator could comprehend the action.■

Every aspect of the silent‐film style came to be used to enhance narrative clarity. Staging or framing action in depth could show the spatial relationships among elements. Intertitles could add narrative information beyond what the images conveyed. Closer views of the actors could suggest their emotions more precisely. Color, set design, and lighting could imply time of day, the milieu of the action, and so on.

Some of the most important innovations of this period involved the ways in which camera shots were put together, or edited, to create a story. In one sense, editing was a boon to the filmmaker, permitting instant movement from one space to another or cuts to closer views to reveal details But if the spectator could not keep track of the temporal or spatial relations between one shot and the next, editing might also lead to confusion. In some cases, intertitles could help. Editing also came to emphasize continuity among shots. Certain visual cues indicated that time was flowing uninterruptedly across cuts. Between scenes, other cues might suggest how much time had been skipped over. When a cut moved from one space to another, the director found ways to orient the viewer.

相关推荐:

托福TPO57阅读Passage 2原文+PDF下载

托福TPO57阅读Passage 1原文+PDF下载

索取“原文+题目+答案+解析+MP3音频”,请加新航道上海老师微信(shnc_2018)

tf-1.jpg


相关热点: 托福tpo57

免费领取资料

免费领取最新剑桥雅思、TPO、SAT真题、百人留学备考群,名师答疑,助教监督,分享最新资讯,领取独家资料。

方法1:扫码添加新航道老师

微信号:shnc_2018

方法2:留下表单信息,老师会及时与您联系

热门课程

  • 走读班(6-10人)
  • 走读班(20-30人)
  • 住宿班(6-10人)
  • 住宿班(20-30人)
  • 托福一对一
课程名称 班级人数 课时 学费 报名
托福入门段(A段)6-10人走读班 6-10人 80课时 ¥15800 在线咨询
托福强化段(C段)6-10人班 6-10人 96课时 ¥30800 在线咨询
托福全程段(A+B+C段)6-10人班 6-10人 192课时 ¥55800 在线咨询
托福特训班(4周,走读) 8-10人 192 ¥34800 在线咨询
托福特训班(6周,走读) 8-10人 288 ¥49800 在线咨询
课程名称 班级人数 课时 学费 报名
托福精讲段(B段)20-30人班 20-30人 96课时 ¥8800 在线咨询
托福强化段(C段)20-30人班 20-30人 96课时 ¥7800 在线咨询
托福全程段(A+B+C段)20-30人班 20-30人 192课时 ¥13800 在线咨询
课程名称 班级人数 课时 学费 报名
托福入门段(A段)(6-10人,住宿) 6-10人 80课时 ¥17800 在线咨询
托福强化段(C段)6-10人班住宿 152课时 ¥33800 在线咨询
托福全程班(A+B+C段)6-10人班住宿 6-10人 304课时 ¥60800 在线咨询
托福长线班(6-10人,住宿) 6-10人 272课时 ¥77800 在线咨询
托福词汇语法住宿班(A段)(6-10人) 6-10人 48课时 ¥8800 在线咨询
课程名称 班级人数 课时 学费 报名
托福全程段(A+B+C段)20-30人班住宿 20-30人 192课时 ¥15800 在线咨询
托福强化段(C段)20-30人班住宿 20-30人 96课时 ¥8800 在线咨询
托福精讲段(B段)20-30人班住宿 20-30人 96课时 ¥9800 在线咨询
课程名称 班级人数 课时 学费 报名
托福一对一 1 按需定制 ¥980元 在线咨询
托福免费试听课 ¥0元 在线咨询
课程名称 班级人数 课时 学费 报名
小托福课程 6人 54小时 ¥20800 在线咨询
小托福考试技巧进阶课程 30 ¥9800 在线咨询

免责声明
1、如转载本网原创文章,请表明出处;
2、本网转载媒体稿件旨在传播更多有益信息,并不代表同意该观点,本网不承担稿件侵权行为的连带责任;
3、如本网转载稿、资料分享涉及版权等问题,请作者见稿后速与新航道联系(电话:021-64380066),我们会第一时间删除。

  • 徐家汇校区
  • 人民广场校区
  • 浦东校区
  • 中山公园校区
  • 杨浦校区
  • 闵行校区
  • 松江校区
  • 出国留学封闭学习中心
  • 地址:徐汇区文定路209号宝地文定商务中心1楼

    乘车路线:地铁1/4号线上海体育馆、3/9号线宜山路站、11号线上海游泳馆站

  • 地址:南京西路338号天安中心24楼

    乘车路线:地铁1、2、8号线人民广场站

  • 地址:浦东新区世纪大道1128号耀通科技大厦3楼(地铁2号线世纪大道站12号口出)

    乘车路线:地铁2、4、6号线世纪大道站

  • 地址:长宁区长宁路1027号兆丰广场6楼608

    乘车路线:二、三四号线至中山公园地铁站,9号口出,从商场1楼进入;或10号口出,从兆丰大厦上电梯6楼。

  • 地址:杨浦区国宾路18号万达广场A座18楼

    乘车路线:地铁10号线五角场站

  • 地址:东川路1779-19号

    乘车路线:地铁5号线 东川路站4号口出

  • 地址:松江大学城四期校区:文汇路928弄想飞天地2204

    乘车路线:地铁9号线松江大学城站下

  • 地址:上海市浦东新区惠南镇拱极路2151号

    乘车路线:地铁16号线惠南站

总部地址:北京市海淀区中关村大街28-1号6层601 集团客服电话:400-097-9266 总部:北京新航道教育文化发展有限责任公司

Copyright © www.xhd.cn All Rights Reserved 京ICP备05069206

  • 微信公众号
  • 微信社群

注册/登录

+86
获取验证码

登录

+86

收不到验证码?

知道了

找回密码

+86
获取验证码
下一步

重新设置密码

为您的账号设置一个新密码

保存新密码

密码重置成功

请妥善保存您的密码
立即登录

为了确保您的帐号安全

请勿将帐号信息提供给他人/机构