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  3. The film-awards season, which reaches its tearful climax with the Oscars in February 2013, has long been only loosely related to

The film-awards season, which reaches its tearful climax with the Oscars in February 2013, has long been only loosely related to

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问题     The film-awards season, which reaches its tearful climax with the Oscars in February 2013, has long been only loosely related to the film business. Hollywood is dedicated to the art of keeping teenagers past popcorn stands, not art itself. But this year’s awards are less relevant than ever. Nowadays, the true worth of a film is no longer decided by the crowd that assembles in the Kodak Theatre—or, indeed, by any American. It is decided by youngsters in countries such as Russia, China and Brazil.
    Russia, with its shrinking teenage population, is an unlikely spot for a box-office boom. Yet cinema-building is proceeding fast, and supply has created demand. Last year 160m cinema tickets were sold in Russia—the first time in recent years that sales have exceeded the country’s pollution. Tickets prices have risen, in part because the new cinemas are superior, with digital projectors that can show 3D films. The big Hollywood studios are muscling domestic film-makers aside. In 2007 American films made almost twice as much as the Russian box office as domestic films—8. 3 billion roubles;($325m)compared with 4. 5 billion roubles. Last year the imported stuff made some 16. 4 billion roubles; more than five times as much as the home-grown product, estimates Movie Research, a Moscow outfit. Earlier this month Vladimir Putin, Russia’s Prime Minister, said the government would spend less money supporting Russian film-makers and more on expanding the number of screens.
    Growth is much quicker in China, where box-office receipts reached $1.5 billion last year. China’s regulator has claimed that cinema screens are going up at a rate of three per day; some are IMAX screens that command higher ticket prices. The government allows only 20 non-Chinese films into the market each year, virtually guaranteeing big audiences for those that make the cut.
    Besides, growing fears of piracy have led studios to release films almost simultaneously in many countries; increasingly, the premiere takes place outside America. That changes the marketing game, says Michael Lynton, head of Sony Pictures. Studios used to rely on rumors of American success seeping out of the country, priming audiences elsewhere to see a film. Now they must conduct coordinated global campaigns. Stars are gathered for two-week-long marketing blitzes(闪电战)that may take them to ten countries "like a political campaign" , says Mr. Lynton.
    The growing internationalization of the film business suits the biggest outfits. The major studios’ power lies not so much in their ability to make good films—plenty of smaller operations can do that—but in the ability to squeeze every possible drop of revenue from a film. With their superior global marketing machine and their ability to anticipate foreign tastes, they are increasingly dominating the market.
According to Para. 1 , the real value of a movie is currently determined by______.
选项 A、the art of film making
B、its popularity among American audience
C、the size of film production team
D、the young audience in emerging countries
答案D
解析 细节题。根据题干提示定位至第一段。文章开篇提到了以奥斯卡奖为代表的电影奖项，但传统上电影奖项与电影商业的关系并不紧密。但接下来作者话锋一转，随即指出好莱坞关注的不是艺术本身，而是如何吸引年轻观众。第四、五句提及“Nowadays，the true worth ofa film is no longer decided by…，or，indeed，by…It is decided by…”，题干中的real value与trueworth吻合，因此正确答案为[D]。由第一段第二句可知，“好莱坞专注的不是艺术
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