老Gno.2最后一段续写什么的逻辑题求助！！

无敌浩克OneUID: 3605802

Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observe who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.
These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in “taking” a picture. Accordingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.
An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of “fast seeing.” Cartier-Bresson, in fact, claims that the modern camera may see too fast.
This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past—when images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.

Which of the following statements would be most likely to begin the paragraph immediately following the passage?
(A) Photographers, as a result of their heightened awareness of time, are constantly trying to capture events and actions that are fleeting.
(B) Thus the cult of the future, the worship of machines and speed, is firmly established in spite of efforts to the contrary by some photographers.
(C) The rejection of technical knowledge, however, can never be complete and photography cannot for any length of time pretend that it has no weapons.
(D) The point of honor involved in rejecting complex equipment is, however, of no significance to the viewer of a photograph.
(E) Consequently the impulse to return to the past through images that suggest a handwrought quality is nothing more that a passing fad.

我用排除法排掉了DE，然后A直觉觉得不对，最后一段没说fleeting的事。
BC都看不出来哪对T_T

ally1213UID: 2948121

用排除法选了C。A与文章中心无关 DE跟文章想表达的意思相反 B的话worship of machines and speed是摄影师不想要的没有firmly established之说
C既讲述到了文章大意"the rejection of technical knowledge"又提到了新观点

RevrieRiverUID: 3470313

这个问题是问语篇结构的。关键是上下文衔接要有逻辑性。
A的说法本身没问题，但在语义上衔接不上，全文没有讲到摄影师增强的时间意识，倒是讲了技术的进步，因而和上面一段无关联、显得突兀。
B也是衔接上的矛盾。上面的一段讲述的是摄影家反抗技术挂帅、速度至上的未来控，怎么能说技术控、未来控就如此（thus）牢固地树立地位了呢？
D项和上段最后一句话矛盾
E项和全文主旨不搭

RevrieRiverUID: 3470313

排除法选C