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

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

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问题    Practically speaking, the artiste 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 onstage. 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 Bethulea, an elaborate historico-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 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 before 1910 the normal running time of a film was______
选项 A、15 minutes or less
B、between 15 and 30 minutes
C、between 30 and 45 minutes
D、between 45 minutes and 1 hour
答案A
解析 根据文章内容可知，格里菲斯1911年改编电影《伊诺克·阿登》时认为如此重 要的一个电影题材不可能采用当时一贯采用的一集录完的处理方法。格里菲斯首创的美式多 集电影掀起了一场巨大革命。两年后，一部精心制作的历史哲学题材的电影Judith of Bethulea 达到了史无前例的长度：四集，一个小时。所以，1910年以前的电影长度应该在15分钟以 内。据此判断，答案是A。
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