TPO53托福阅读Passage2原文及答案解析
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Sounds In The Film
Listen to part of a lecture in a film studies class.
Professor: Nowadays we take sound in films for granted. I mean you still might e black and white films occasionally. But you'll hardly ever e silent films anymore.
So it's interesting to note that the u of recorded sound was originally controversial. And some directors, uh, some filmmakers even thought it shouldn't be ud, that it would destroadele怎么读
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y the purity of cinema, somehow rever all the progress that had been made in the art of cinema. Abby?
Abby: What about all the sounds you hear in some silent movies? Like, you know, a loud sound when somebody falls down or something?
Professor: Okay, you're talking about a soundtrack added much later, which has over time become part of the film we know. But this recorded track didn't exist then.
叶镶嵌And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in tho days, like a piano player or a larger orchestra in the movie theater.
Also, think of the stage, the live theater, it has ud wonderful sound effects for a long time. And if wanted, the could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common.
Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this ems a particularly bad idea to us now, one person narrating the action, an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwi.
So, it finally became possible to play recorded sound as part of the film in the 1920s. Trouble was, it wasn't always ud to very good effect. First it was, you know, amazing to e somebody's mouth move at the same time you hear the words, or hear a door clo when you e it closing on screen.
But that luster wears off, of cour. And if you're a director, a filmmaker, what's the next step?
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Abby: Well, you sound to enhance the movie right? Bring something more to it that wasn’t possible?
Professor: Yes. That’s exactly what directors, who were more interested in cinema as art, not commerce, were thinking.
118是什么意思But they also predicted that there would be a problem that sound would be misud and, boy, was it ever.Becau the commercial types, the producers and so on, were thinking, “Okay. Now that sound is possible, let's talk as much as possible and forget about the fact that we're making a movie, that we have this powerful visual medium.”
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So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. The name they ud for sound films then was “talking films” and that was on the mark, since, well, all they pretty much did was talk and talk.
So, remedy? Well what was propod by a number of filmmakers and theorists was the creative expressive u of sound, what they generally called nonsynchronous sound.
Okay, synchronous sound means basically that what we hear is what we e. Everything on the soundtrack is en on the screen. And everything was recorded simultaneously, w
hich… Well, since the sound technicians working on films often had experience with live radio that made n to them. Recording the sound parately and adding it in afterward? Well, that idea was less obvious.
Anyway synchronous sound means the source of the sound is the image on the screen.Nonsynchronous sound then is…
Abby: The sound doesn't match the picture?
Professor: Right. Now we can look at this in various ways. But let's take it as literally as possible.clip是什么意思
Music, unless we e the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous.
So, that doesn't em so radical, does it? But again, tho early producers didn't think their audiences could keep up with this.
Abby: Excu me, but did you say earlier that some filmmakers actually advocated not using sound at all?
Professor: Well, yes. But that was a bit of an exaggeration, I guess. What I meant to say was that some filmmakers thought that the way the film sound was actually ud was tting the art of filmmaking back.But everyone agreed that sounds solved some very difficult issues and offered potentially exciting tools.
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