2月17日 TPO12 saintjingjing (有好多不会，要重做。。谁进来一下）

saintjingjingUID: 2840830

这次，TPO12有很多错题的说。。。我要重做一次。
大家谁做了TPO12
关于第一篇的第5题为什么不能选C??



TPO12
1 C 03:00
2 D 04:13? B
3 C 00:55
4 B 03:21? C
5 C 01:59?
6 B 00:36 7 C 01:18
8 D 01:56
9 D 01:24
10 A 00:04
11 D 01:36
12 D 01:12
13 A 01:03
14 B 00:21
over 4minutes

Which Hand Did They Use?
We all know that many more people today are right-handed than left-handed. Can one trace this same pattern far back in prehistory? Much of the evidence about right-hand versus left-hand dominance comes from stencils and prints found in rock shelters in Australia and elsewhere, and in many Ice Age caves in France, Spain, and Tasmania. When a left hand has been stenciled, this implies that the artist was right-handed, and vice versa. Even though the paint was often sprayed on by mouth, one can assume that the dominant hand assisted in the operation. One also has to make the assumption that hands were stenciled palm downward—a left hand stenciled palm upward might of course look as if it were a right hand. Of 158 stencils in the French cave of Gargas, 136 have been identified as left, and only 22 as right; right-handedness was therefore heavily predominant.
It can be inferred from paragraph 1 that even when paint was sprayed by mouth to make a hand stencil
○
there was no way to tell which hand was stenciled
○
the stenciled hand was the weaker hand
○
the stenciled hand was the dominant hand
○
artists stenciled more images of the dominant hand than they did of the weak
推测：从事件的描述上，可以看出整体关系
Cave art furnishes other types of evidence of this phenomenon. Most engravings, for example, are best lit from the left,（因果关系lit-light动词的过去时） as befits the work of right-handed artists, who generally prefer to have the light source on the left so that the shadow of their hand does not fall on the tip of the engraving tool or brush. In the few cases where an Ice Age figure is depicted holding something, it is mostly, though not always, in the right hand.
4. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.
○
Right-handed artists could more easily have avoided casting shadows on their work, because engravings in prehistoric caves were lit from the left.
○
The tips of engraving tools and brushes indicate that these instruments were used by right-handed artists whose work was lit from the left.
○
The best lighting for most engravings suggests that they were made by right-handed people trying to avoid the shadow of their hands interfering with their work.
○
Right-handed artists try to avoid having the brush they are using interfere with the light source.
5. All of the following are mentioned in paragraphs 1 and 2 as evidence of right-handedness in art and artists EXCEPT
○
the ideal source of lighting for most engravings
○
the fact that a left hand stenciled palm upward might look like a right hand
○
the prevalence of outlines of left hands
○
figures in prehistoric art holding objects with the right hand？？？？


2
1 B 01:07
2 A 02:02
3 C 00:07?
4 C 01:08
5 D 01:39?
6 A 02:37 doubt
7 B 04:53?
8 B 01:11
9 A 00:08
10 D 03:32
11 D 01:19
12 A 03:23?
13 B 00:57
14 A 02:04
20+OVER5MINUTES
over 4minutes

Transition to Sound in Film
The shift from silent to sound film at the end of the 1920s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has come close to being regarded as a similar kind of watershed. In nearly every language, however the words are phrased, the most basic division in cinema history lies between films that are mute and films that speak.
2. According to paragraph 1, which of the following is the most significant development in the history of film?
○The technological innovation of sound film during the 1920s
○The development of a technology for translating films into other languages
○The invention of a method for delivering movies to people's homes
○The technological improvements allowing clearer images in films
时间长，the most important transformation in motion picture history

3. The word “paradoxes” in the passage is closest in meaning to
○difficulties
○accomplishments
○parallels
○contradictions
看错了，D
Yet this most fundamental standard of historical periodization conceals a host of paradoxes. Nearly every movie theater, however modest, had a piano or organ to provide musical accompaniment to silent pictures. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongside movies' visual images, from the Japanese benshi (narrators) crafting multivoiced dialogue narratives to original musical compositions performed by symphony-size orchestras in Europe and the United States. In Berlin, for the premiere performance outside the Soviet Union of The Battleship Potemkin, film director Sergei Eisenstein worked with Austrian composer Edmund Meisel (1874-1930) on a musical score matching sound to image; the Berlin screenings with live music helped to bring the film its wide international fame.

5. Paragraph 2 suggests which of the following about Eisenstein’s film The Battleship Potemkirf?
○The film was not accompanied by sound before its Berlin screening.
○The film was unpopular in the Soviet Union before it was screened in Berlin.
○Eisenstein’s film was the first instance of collaboration between a director and a composer.
○Eisenstein believed that the musical score in a film was as important as dialogue.？？？


Beyond that, the triumph of recorded sound has overshadowed the rich diversity of technological and aesthetic experiments with the visual image that were going forward simultaneously in the 1920s. New color processes, larger or differently shaped screen sizes, multiple-screen projections, even television, were among the developments invented or tried out during the period, sometimes with startling success. The high costs of converting to sound and the early limitations of sound technology were among the factors that suppressed innovations or retarded advancement in these other areas. The introduction of new screen formats was put off for a quarter century, and color, though utilized over the next two decades for special productions, also did not become a norm until the 1950s.
6. The word “overshadowed” in the passage is closest in meaning to
○distracted from
○explained
○conducted
○coordinated with
to make someone or something else seem less important，时间长，不熟悉

7. According to paragraph 3, which of the following is NOT true of the technological and aesthetic experiments of the 1920's?
○Because the costs of introducing recorded sound were low, it was the only innovation that was put to use in the 1920's.
○The introduction of recorded sound prevented the development of other technological innovations in the 1920's.
○The new technological and aesthetic developments of the 1920s included the use of color, new screen formats, and television.
○Many of the innovations developed in the 1920s were not widely introduced until as late as the 1950's.
A
B文章之后对应

Though it may be difficult to imagine from a later perspective, a strain of critical opinion in the 1920s predicted that sound film would be a technical novelty that would soon fade from sight, just as had many previous attempts, dating well back before the First World War, to link images with recorded sound. These critics were making a common assumption—that the technological inadequacies of earlier efforts (poor synchronization, weak sound amplification, fragile sound recordings) would invariably occur again. To be sure, their evaluation of the technical flaws in 1920s sound experiments was not so far off the mark, yet they neglected to take into account important new forces in the motion picture field that, in a sense, would not take no for an answer.
10. According to paragraph 4, which of the following is true about the technical problems of early sound films?
○Linking images with recorded sound was a larger obstacle than weak sound amplification or fragile sound recordings.
○Sound films in the 1920s were unable to solve the technical flaws found in sound films before the First World War.
○Technical inadequacies occurred less frequently in early sound films than critics suggested.
○Critics assumed that it would be impossible to overcome the technical difficulties experienced with earlier sound films.
时间长
These forces were the rapidly expanding electronics and telecommunications companies that were developing and linking telephone and wireless technologies in the 1920s. In the United States, they included such firms as American Telephone and Telegraph, General Electric, and Westinghouse. They were interested in all forms of sound technology and all potential avenues for commercial exploitation. Their competition and collaboration were creating the broadcasting industry in the United States, beginning with the introduction of commercial radio programming in the early 1920s. With financial assets considerably greater than those in the motion picture industry, and perhaps a wider vision of the relationships among entertainment and communications media, they revitalized research into recording sound for motion pictures.

In 1929 the United States motion picture industry released more than 300 sound films—a rough figure, since a number were silent films with music tracks, or films prepared in dual versions, to take account of the many cinemas not yet wired for sound. At the production level, in the United States the conversion was virtually complete by 1930. In Europe it took a little longer, mainly because there were more small producers for whom the costs of sound were prohibitive, and in other parts of the world problems with rights or access to equipment delayed the shift to sound production for a few more years (though cinemas in major cities may have been wired in order to play foreign sound films). The triumph of sound cinema was swift, complete, and enormously popular
12. According to paragraph 6, which of the following accounts for the delay in the conversion to sound films in Europe?
○European producers often lacked knowledge about the necessary equipment for the transition to sound films.NM
○Smaller European producers were often unable to afford to add sound to their films.
○It was often difficult to wire older cinemas in the major cities to play sound films.
○Smaller European producers believed that silent films with music accompaniment were aesthetically superior to sound films.
B

3
1 B 01:35
2 A 01:00?
3 D 01:56
4 C 00:35
5 A 00:10?
6 A 02:23
7 B 00:12
8 D 02:53?
9 C 00:18
10 C 00:05
11 A 01:41
12 D 02:04?
13 A 02:10