Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-1948). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the actors. The exploitation of the camera's possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.
Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. Those included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.
Besides developing the cinema's language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic, it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith's introduction of the American-made multireel picture began an elaborate historical and philosophical spectacle. It reached the unprecedented length of four reels, or one hour's running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.
The author of this passage seems to imply that Victorian novels ______.
A.are like films
B.may not narrate events chronologically
C.exploit cinema's language
D.feature juxtaposed images
第1题:
As people s living standards improve, the health and beauty business is ( )with more sophisticated products than ever before.
A、astonishing
B、flourishing
C、exaggerating
D、diminishing
第2题:
She didn’t go to the cinema because she _____the film before.
A、had seen
B、has seen
C、saw
D、was going to see
第3题:
Vicki became suspicious of David Bieber because 。
A. the police called her
B. he looked very strange
C. he came to the hotel with little luggage
D. he came to the hotel the day before New Year’s Eve
第4题:
第5题:
第6题:
第7题:
Before I got to the cinema, the film()
Ahad begun
Bhas begun
Cis begun
Dwas beginning
第8题:
had begun
has begun
is begun
第9题:
Ⅱ only
Ⅲ only
I and Ⅱ only
Ⅱ and Ⅲ only
第10题:
Chief executives spend less time on their jobs than before.
Career progression is faster than it used to be.
Company hierarchies are barriers to career development.
There will be more female executives than male executives in the future.
第11题:
consideration of social issues
adaptations from Tennyson
the flashback and other editing techniques
dramatic plots suggested by Victorian theater
第12题:
before we
because
more slowly
light is
第13题:
After going to school, little Susan is__ than ever before.
A、excited
B、much excited
C、far much excited
D、far more excited
第14题:
It can be inferred from the passage that in artistic creation______.
A.product is more important than process
B.process is more important than product
C.process and product are equally important
D.both process and product are unimportant
第15题:
28. What did people usually do before when they had usedup their films?
A. They often bought a new camera.
B. They often bought some new films.
C. They often showed them to their friends.
D. They returned their cameras to the factory.
第16题:
第17题:
第18题:
Before I got to the cinema, the film()
Ahad begun
Bhas begun
Cis begun
第19题:
Before I got to the cinema, the film()
第20题:
had begun
has begun
is begun
was beginning
第21题:
discuss the importance of Griffith to the development of the cinema
document Griffith’s impact on the choice of subject matter in American films
deplore the state of American cinema before the advent of Griffith
analyze the changes in the cinema wrought by the introduction of the multi-reel film
第22题:
第23题:
on each watch,immediately before being relieved
before embarking on a voyage of more than 24 hours
daily,at 1200 local zone time
weekly,before 0000 Sunday