[外语类试卷]雅思(阅读)模拟试卷44及答案与解析.doc
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1、雅思(阅读)模拟试卷 44 及答案与解析 一、 Reading Module (60 minutes) 0 Three dimensional films A In the theatre of the Ambassador Hotel in Los Angeles, on the evening of 27 September 1922, a new form of film-making made its commercial debut: 3-D1. The film, The Power of Love, was then shown in New York City to exhib
2、itors and press, but was subsequently not picked up for distribution and is now believed to be lost. The following three decades were a period of quiet experimentation for 3-D pioneers, as they adapted to new technologies and steadily improved the viewing experience. In 1952 the “ golden era “ of 3-
3、D is considered to have begun with the release of Bwana Devil, and over the next several years audiences met with a string of films that used the technology. Over the following decades it waxed and waned within filmmaking circles, peaking in the 1970s and again in the 1990s when IMAX gained traction
4、, but it is only in the last few years that 3-D appears to have firmly entered mainstream production. B Released worldwide in December 2009, the fantasy film Avatar quickly became the highest-grossing film ever made, knocking Titanic from the top slot. Avatar, set in 2154 on a planet in a distant so
5、lar system, went on to become the only film to have earned US$2 billion world-wide, and is now approaching the $3 billion mark. The main reason for its runaway popularity appears to be its visual splendour; though most critics praised the film, it was mostly on account of its ground-breaking special
6、 effects. Kenneth Turan of the Los Angeles Times praised Avatars “powerful“ visual accomplishments, but suggested the dialogue was “flat“ and the characterisations “obvious“. A film analyst at Exhibitor Relations has agreed, noting that Avatar has cemented the use of 3-D as a production and promotio
7、nal tool for blockbuster films, rather than as a mere niche or novelty experiment. “This is why all these 3-D venues were built“, he said. “This is the one. The behemoth. The holy grail of 3-D has finally arrived“. C Those who embrace 3-D note that it spices up a trip to the cinema by adding a more
8、active “embodied“ layer of experience instead of the viewer passively receiving the film through eyes and ears only. A blogger on Animation Ideas writes, “.when 3-D is done well-like in the flying scenes in Up, How to Train Your Dragon and Avatar, there is an added feeling of vertigo. If you have an
9、y fear of heights, the 3-D really adds to this element.“ Kevin Carr argues that the backlash against 3-D is similar to that which occurred against CGI2 several years ago, and points out that CGI is now widely regarded as part of the film-makers artistic toolkit. He also notes that new technology is
10、frequently seen to be a “gimmick“ in its early days, pointing out that many commentators slapped the first “talkie“ films of the early 1920s with this same label. D But not everyone greets the rise of 3-D with open arms. Some ophthalmologists point out that 3-D can have unsettling physical effects f
11、or many viewers. Dr. Michael Rosenberg, a professor at Northwestern University, has pointed out that many people go through life with minor eye disturbances a slight muscular imbalance, for examplethat does not interrupt day-to-day activities. In the experience of a 3-D movie, however, this problem
12、can be exacerbated through the viewer trying to concentrate on unusual visual phenomena. Dr. Deborah Friedman, from the University of Rochester Medical Center, notes that the perception of depth conjured through three dimensions does not complement the angles from which we take in the world. Eyestra
13、ins, headaches and nausea are therefore a problem for around 15% ofa 3-D film audience. E Film critic Roger Ebert warns that 3-D is detrimental to good film-making. Firstly, he argues, the technology is simply unnecessary; 2-D movies are “already“ 3-D, as far as our minds are concerned. Adding the e
14、xtra dimension with technology, instead of letting our minds do the work, can actually be counterpurposeful and make the over-all effect seem clumsy and contrived. Ebert also points out that the special glasses dim the effect by soaking up light from the screen, making 3-D films a slightly duller ex
15、perience than they might otherwise be. Finally, Ebert suggests that 3-D encourages film-makers to undercut drama and narrative in favour of simply piling on more gimmicks and special effects. “Hollywood is racing headlong toward the kiddie market,“ he says, pointing to Disneys announcement that it w
16、ill no longer make traditional films in favour of animation, franchises, and superheroes. F Whether or not 3-D becomes a powerful force for the film-makers vision and the film-going experience, or goes down in history as an over-hyped, expensive novelty, the technology certainly shows no signs of fa
17、ding in the popularity stakes at the moment. Clash of the Titans, Alice in Wonderland and How to Train Your Dragon have all recently benefited at the box office due to the added sales that 3-D provides, and with Avatars record set to last some time as a totem of 3-Ds commercial possibilities, studio
18、s are not prepared to back down. i Construction of special cinemas for 3-D ii Good returns forecast for immediate future iii The greatest 3-D film of all time iv End of traditional movies for children v Early developments vi New technology diminishes the art vii The golden age of movies viii In defe
19、nce of 3-D ix 3-D is here to stay x Undesirable visual effects 1 Section A 2 Section B 3 Section C 4 Section D 5 Section E 6 Section F 7 READING PASSAGE 2 You should spend about 20 minutes on Questions 14-26, which are based on Reading Passage 2 below. Britains Canals-the Solution to Overcrowded Roa
20、ds? A Its hard to imagine that only a decade or so ago many of the nations canals were little more than the last resting place for abandoned shopping trolleys. Theres still work to be done, but their transformation has been remarkable. Projects such as Castlefield in Manchester and Brindley Place in
21、 Birmingham have transformed city-centre canals from stagnant reminders of a fading industrial past to the epitome of urban cool. However, 21st-century priorities dictate that the rehabilitation of this 18th-century motorway system cannot stop there. Canals and navigable rivers form a major transpor
22、t network, in need of only piecemeal investment, and with the spare capacity to take away the need for hundreds of thousands of lorry journeys. In the second half of the 18th century, canals drove the industrial revolution. Today, authorities want them to drive congestion off the roads. Last month,
23、for example, the European Commission proposed a seven-year plan to shift large amounts of freight from roads to inland waterways. B Europes enthusiasm comes as no surprise. Freight traffic is expected to grow by a third in the next decade. The cost of pollution and congestion is set to swallow one p
24、er cent of Europes entire GDP by 2010. “With a fleet of 11000 vessels and a capacity equalling 10000 trains or 440000 trucks, inland waterways can make transport in Europe more efficient, reliable and environmental friendly,“ says Jacques Barrot, vice-president of the European Commission in charge o
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