1、公共英语五级-Entertainment 及答案解析(总分：56.00，做题时间：90 分钟)一、Unit 1(总题数：0，分数：0.00)二、Part (总题数：1，分数：6.00)Questions 1-6 Choose the best answer.（分数：6.00）(1).Which statement is wrong according to the first two paragraphs of this article?（分数：1.00）A.Hollywood completely dominated international market after 1910s.B.Di
2、fferent groups keep working to break Hollywoods monopoly.C.The profit of playing Hollywood movies is taken to support local movie.D.Non-US governments claim their cultures are threatened by Hollywood.(2).What is Gubacks view on Hollywood and cultural difference through his quotation?（分数：1.00）A.He th
3、inks Hollywood products stick to free trade principle.B.He claims that Hollywood exerts a positive role in integrating world market.C.He agrees that Hollywood films are by-passing cultural differences.D.He thinks that Hollywoods success is that foreign people like their films.(3).Which word best exp
4、resses the meaning of “endemic“?（分数：1.00）A.International.B.Local.C.Exotic.D.Particular.(4).What is the hypothesis that both critics and protectionists believe?（分数：1.00）A.Hollywood will have lions share of the global box office.B.World wars and TV did reverse the trend of Hollywood products.C.Hollywo
5、od films help to push forward cultural globalization.D.Hollywoods international popularity is due to their non-culture specificity.(5).What does the example of Britain and Japan prove?（分数：1.00）A.Around 1980s, Japan surpassed Britain to become the largest export market.B.Hollywood doesnt have stable
6、international market share.C.Hollywood international success is linked with overseas market situation.D.Hollywood should recognize cultural differences to reach international popularity.(6).What is the authors attitude towards Hollywood popularity?（分数：1.00）A.Slightly disapproving.B.Clearly neutral.C
7、.Defensive.D.Nationalistic.三、Part (总题数：0，分数：0.00)四、Exercise 1 Gapped Te(总题数：1，分数：10.00)Without exaggeration, all products and services - explicitly “cultural“ or not - may be described as “spectacle-commodities“. Indeed, a certain “cultural“ luster now serves as the indispensable packaging for every
8、 commodity, as a general gloss on the rationality and intelligence of the capitalist system as a whole, and as the chief product of that system.1. _Wars, riots, law enforcement, criminal justice, elections, political scandals, investigative journalism, expert opinion of all stripes, predictions and
9、forecasts, and news, traffic and weather reports (to name just a few) are produced, distributed and consumed as entertainment products. Even commercial advertisements for products are produced to be consumed as entertainment, as integrated “info-tainment“.The spectacular integration that produces “i
10、nfo-tainment“ presupposes that both entertainment and information are capable of and are now being created with the needs of the marketplace “in mind“. Information - without regard for its subject matter - must be as easily conceived and comprehended as a bar of soap or any other commodity, and it m
11、ust contain or lead to nothing harmful to the logic or regime of the commodity. Data must be narrowly re-cast as “information“ and strictly defined as a source of value and a form of merchandise before it can be integrated into “info-tainment“.2. _Data can only circulate productively after it has be
12、en “raised up“ (or abstracted) to the level of the objective and the universal. When the process of abstraction works according to the “logic“ of the commodity - that is, when the process isolates what it produces from its context, its past, its original intentions, and its consequences - the end re
13、sult can only be irrational.3. _But because “raised up“ data remains knowledge about particulars, it is also essentially totalitarian: information as commodity is the imposition of a fragmentary vision on the totality of social practice. Therefore, there is nothing “objective“ or “universal“ about i
14、nformation at all, except for its relationship to power, which is absolute.4. _An example: the rhyme of the neologism “edutainment“ (presumably a shortening of the phrase educational entertainment) with “infotainment“ suggests that integrated edutainment is “education for the Information Age“ and th
15、at “infotainment“ cant be so bad because it can mutate into something called “edutainment“. Literally speaking, edutainment is unthinkable without infotainment, which is its role model. Industry has long regarded the school systems (the main repositories and sources of popular knowledge) as an impor
16、tant potential entrance point into the minds of children and, thus, into the minds and pocketbooks of parents.But advertising has wisely been forbidden in textbooks and on school grounds, thus depriving the marketing specialists of the beach-head needed for their invasion, so to speak. And so they h
17、ave had to produce “informative“ videotapes specially designed for use in the classroom, produced by the likes of the Cartoon Channel, the Discovery Channel, CNN in the Classroom, and Turner Broadcasting Systems. The degree of the commoditys colonisations of edutainment generally can be gauged by th
18、e title of TBSs very popular edutainment tape, Just Yabba-Dabba-Doo It.t, which plays on both Fred Flintstones cry of falsified happiness and the command-slogan of the Nike Corporation (itself a recuperation of the Yippies slogan “Do it!“). Such integrated works may indeed be the “effective teaching
19、 tools“ that their sellers proclaim them to be, but it seems clear that what they teach is how to be a good “citizen-consumer“ of the reigning spectacle.5. _These are an ominous developments - “commercialization“ and “privatization“ are taking place in an increasing number of important municipal ent
20、ities and functions, such as sanitation, security, correctional institutions and park maintenance - but especially because of the conditions in which all of the other libraries, archives and museums are now forced to operate.A The interest of a neologism like “infotainment“ (which is applied to a lo
21、t more these days than just half-hour-long commercials) is that, like a spectacle-commodity, it is as easily conceived and comprehended as a bar of soap: its meaning - such as it is - is immediately clear to a broad range of people. Though essentially it is an empty phrase, “infotainment“ grows more
22、 valuable as an object of exchange the more the term can be filled with references to other easily-comprehended spectacles.B For this to have happened, all of culture must first have been stabilized, homogenized and integrated into something called “entertainment“. Once it may have been upsetting to
23、 contemplate the idea that “guerilla war struggle is the new entertainment“. Today, the all-embracing spectacle of televised entertainment (mass culture) includes even (and ever) more exotic forms of social practice.C And yet there is a certain “logic“ to the systematic irrationality of all informat
24、ion: if theory can define information as “a measure of the probability of a message being selected from the set of all possible messages“, then the probability of information containing a “commercial message“ is, in a capitalist society, very high indeed.D Faced with severe budgetary restrictions an
25、d declining in-person usage, public and private knowledge centers have had, some more willingly than others, to begin the long process of digitizing and commercializing access to their entire holdings and to promote the corporations that so graciously allowed them to do so at such a good price.E The
26、re are always plenty of fresh examples to hammer home the point that there is no other choice but to be a good “citizen-consumer“. In the context of the global imposition of edutainment as the (only) pedagogic method, no more compelling a lesson could be imagined than the current campaign in New Yor
27、k State to shrink drastically tax-derived funding for the State University of New York system and then to commercialize and profit from decentralized access to all of the individual components and everything that they each contain - the “in-house“ libraries, museums, and archives - in the names of “
28、learning productivity“, an obvious rhyme with “worker productivity“ and “distance- learning“.F But, unlike culture, which is “the locus of the search for lost unity“, data is concrete knowledge about particular facts or circumstances. Won in the course of the straggles of everyday life, data is loca
29、l and subjective by definition. As such, it poses a problem for the marketplace, which can only circulate “objectively“ valuable goods that have “universal“ appeal.（分数：10.00）填空项 1:_填空项 1:_填空项 1:_填空项 1:_填空项 1:_五、Exercise 2 Multiple (总题数：1，分数：10.00)A = Steve Frost B = Kate Harwood C = Kate BeedlesWhic
30、h producer(s)used to work with high budgets?is the producer of the soap with the longest history?is satisfied with being and trying to be an invisible producer?believes that the soap is being undervalued now?admit that their soaps are not the top ones?joined the team when the soap was in a difficult
31、 situation?has the experience of working in two soaps?criticizes tabloids of destroying the aura of soap?wasnt discouraged by negative comment on story-writing skills?1. _2. _3. _4. _5. _6. _7. _8. _9. _10. _A Steve FrostProducer, Coronation Street, 33Steve Frost has, he says, a lot to do at Coronat
32、ion Street. He admits the soap is not at the top of its game and he is engaged in a constant battle with a tabloid culture that exposes the artifice of what he does.“The audience is so jaded now, so cynical. People can see the strings and the puppeteers, and because they do, its harder for them to l
33、ose themselves in it. Its hard to carry people away like you used to - and its getting harder.“Frost blames, among other things, the rise of celebrity. “The magazine interview culture that tells you every detail of actors lives does make it harder and harder to create characters with mystique and ma
34、gic that people really believe in. Whet Raquel left, there was such magic to that, it was a really compelling moment. But now, it is impossible for people not to know, six months in advance that Jane Danson is taking maternity leave.“Having been in the job six months, he has no urge to make a name f
35、or himself. Not for Frost the desire to coin some “axeman“ moniker? “Id like to be as invisible as possible,“ he says. “I would hope viewers wouldnt notice a new producer because its not about the producer. The producer should be unseen and of no interest. The writers should be unseen and of no inte
36、rest. In a way, to be bothered about whos producing it is to detract entirely from the fiction of it.“Frost says his only brief is to keep the viewing figures up, to make it fresh. He has his work cut out for him. He concedes, with so many episodes, it is not appointment to view any more and that on
37、e of his tasks is to inspire more loyalty in viewers. “The days of 25 million viewers for anything is long gone. That mass viewing experience has passed. But even in the fragmented, depleted market, soaps remain the most-viewed things.“Frost argues that the audience has a finite appetite for soap. “
38、There was a peak of soap saturation some years back,“ he says. “Since then, weve seen Night and Day, Crossroads, Family Affairs and Brookside all go. I think thats telling. In a competitive market, people will only watch so much.“And there is no room for complacency. “Coronation Street has been ther
39、e for 45 years and theres a real danger in that. It cant afford to remain what its always been. The show in 1960 wasnt the same as the show that was being made in 1970 or 1980 or 1990. It has to keep up with modern life. People need to see something thats recognisably Corrie but also something theyv
40、e never seen before - I feel, at the moment, its moving out of the 1990s five years too late. What is entirely new? What is the 21st century character? What does 21st century Corrie look like? dont think weve seen it yet. Thats my big challenge.“B Kate HarwoodExecutive producer, EastEnders, 46When K
41、ate Harwood got the job as executive producer of EastEnders arms were folded, brows were furrowed and eyebrows raised, Pauline Fowler-style. Her pedigree was in plush, lush costume drama. She produced, among other things, David Copperfield, Daniel Deronda and Charles I1: The Power I worked on Corrie
42、 so I know the atmosphere there and I presume its the same at EastEnders - you can get complacent very easily. When youre the underdog, you strive.“Beedles has been striving since she was 12 and was inspired to write after watching Monty Python. When she was a teenager, she sent scripts she had writ
43、ten to the makers of Birds of a Feather and despite being told by her English teacher she could not write, she persevered with her ambition. At 21, she did an MA in screenwriting. When she was 23, she got a storylining job on Coronation Street and then moved to Emmerdale.“Corrie is the hardest place
44、 to work. It was one of those jobs you wouldnt choose on a personal level because it was horrendously difficult, but you learn so much.“With more than 300 episodes a year, she has plenty of characters and stories to work on. She has just added another, in fact - a new Dingle. Beedles says that chief
45、 among her soaps strengths is the consistency of its characters. “It all boils down to consistency. Zak is still the Zak he was 12 years ago. The stable moral things that drove him when he arrived still drive him today. And stories come from those consistent characters, stories that really reward th
46、e audience.“Beedles says one of the most important things she has learnt is that “even if its wrong, its OK“.“Sometimes an episode isnt going to turn out how you wanted,“ she says. “You have to live with that and learn from it, and not beat yourself up over it. The wheels dont come off when mistakes
47、 happen. Having the balls to admit youve made a mistake and make a change - and while its not ideal, we have made major changes at very late stages - is really important. You can do that and nobody dies, nobody loses respect for you.“Isnt that another way of saying that with such high volume, standa
48、rds slip? “Not at all. Standards havent fallen. The more pressure youre under, the better work you do./（分数：10.00）填空项 1:_填空项 1:_填空项 1:_填空项 1:_填空项 1:_填空项 1:_填空项 1:_填空项 1:_填空项 1:_填空项 1:_六、Exercise 3 Speaking(总题数：1，分数：5.00)1.self-identificationrelaxationexcitementhumourexotic locationgood interactioncompetition（分数：5.00）_七、Exercise 4 Writing(总题数：1，分数：25.00)2.Some film critics worry that with the increase application
