英语选修

第一大题为20个英语单项选择题。每题1分，共20分。

第二大题为一个表格中有5个选择填空题。每空一分，共5分。

第三大题为将10个术语（terms）由英语翻译为汉语。每个一分，共10分。 第四大题为将10段话由英语翻译为汉语。每段3分，共30分。 第五大题为1个英语论述题（essay question）（字数不得少于150个英语单词）。35分。

◆ 复习资料：请大家结合所列问题，自学以下材料。 1. Multiple choice questions 1.1. History of film

The history of film is simplified by its shortness. In the case of Hollywood, it is enough to talk about three major historical periods---those of early cinema, classical Hollywood cinema, and post-classical Hollywood cinema.好莱坞的电影历史主要分成三个时期：早期电影、经典好莱坞电影和后经典好莱坞电影。 1.1.1. 1st stage: Early Cinema---

Although the technological groundwork for cinema was laid by the invention of photography in 1826, it would be many decades before it could be adapted to create a motion picture(电影).The main problem with these early photographs---from the point of view of perspective filmmaker---was that the exposure time was too long for the production of moving images.

In 1889, Kodak introduced the thin flexible film base, celluloid to the filmmaking. In America, Edison firstly developed the cameras that are able to film moving images. In the period of Early Cinema, film production was based on cameraman system, which means films were the product of one individual.1889年，柯达公司研制了一种又薄又软的底片，即赛璐珞，用于电影拍摄。下一个突破性的发明是美国的爱迪生发明了可以拍摄连续活动的摄影机。早期电影的制作基本依靠所谓的“摄影师制度‖，也就是说，每部电影都是由个人（“摄影师”）制作。 The most prominent characteristic of the early films is that they commonly sought to record and represent aspects of ―real life‖. They usually consisted simply of a single long-distance shot of a single figure(often a celebrity or sports personality), place (perhaps a scenic spot), or action (some kind of everybody activity or news event). The early cinema was called The cinema of Attractions.早期电影也被成为“展示性的电影”。

1.1.2. the 2nd stage: Classical Hollywood Cinema( 1920s-1950s)

The period of classical Hollywood cinema is usually taken to run from the early 1920s through to the late 1950s.Sound and color emerged in the period of Classical Hollywood cinema.声音和颜色出现在经典好莱坞电影时期。Sound was first introduced in Don Juan(唐璜) in 1926 by Warner Brother .华纳兄弟公司在―唐璜‖（1926）中第一次使用声音。

From the industrial perspective, the period of Classical Hollywood cinema is characterized by the emergence of the ―studio system‖ and the domination of five major companies (the so-called “Big Five):

 Warner Brother (华纳兄弟公司)，  Loew’s-MGM (米高梅公司)，  Fox（福克斯公司)，  Paramount (派拉蒙公司)  Radio-Keith-Orpheum (RKO雷电华公司).

Alongside the five majors were smaller companies(the “Little Three”):  Columbia (哥伦比亚公司)  Universal (环球公司)  United Artists (联美公司)

In classical Hollywood cinema, some of the main features of the ideology（电影的意识形态） are：Property, enterprise and initiative （财产、事业和进取心）are the fundamental American values； American as a Land of Happiness（美国是一片乐土）, even if they haven’t yet done so； The ideal female（理想女性）is wife and mother, perfect companion and mainstay of the home. 1.1.3. the 3rd stage: Post-classical Hollywood cinema (1960s--)

Hollywood faced a number of significance challenges from the 1960s onwards. In the New Hollywood period, a new generation of directors（新一代导演） produced a lot of immense films（推出了一系列脍炙人口的作品）. Among them, Close Encounters was directed by Steven Spielberg（其中有史蒂文.斯皮尔伯格的“第三类接触”）.

1.2. Categorization of Genres（影片类型的分类）

Generally, generic categories are defined on the basis of subject matter（题材）, formal properties（形式）, style（风格） or affective response（观众的情感反应）.

The table gives a schematic overview(纵览，全面的评述) of how this approach might be used to identify genres:

Categorization of GenresRomanceRomantic relationship between loversGangsterWar FilmScience FictionFantasy(奇幻片)WesternDisasterCrimeEpic（史诗片）ActionMusicalBlockbuster(强档片)ComedyHorrorThriller(惊悚片)Formal CriteriaStyleAffective Response（观众的反应）Subject MatterGangsters in urban AmericaSpecific military conflictsFuturistic technologies/future worldsImpossible worlds/fantastical charactersAmerican WestNatural or man-made catastropheCriminal activities and investigationBiblical(有关圣经的) or ancient histroryPresence of action set-piecesPresence of song and dance performanceSpectacular eventsIntended to generate laughterIntended to horrifyIntended to thrillGenreSocial DramaDefining Criteria Differentiating CriteriaSerious social topic 1.3. character and performance

Method acting（方法表演） and star performance（明星表演） are two different directions of Hollywood performance. Characters in films can be divided into 3 basic functions, which are main characters（主要角色）, secondary characters（次要角色） and minor characters（小角色）.

The functions （功能）of mirror characters（镜像角色，也叫支持者）are：to help protagonist to formulate his goals（帮助主人公认清自己的目标）；to engage in regular dialogue with the protagonist（经常和主人公进行对话）；to support protagonist（支持主人公）；to help the audience to understand the protagonist’s character and situation（帮助观众理解主人公的性格和处境）。

The romance character（浪漫角色） may be the prize to be gained by the protagonist（有可能是主人公获得的奖励---适用于爱情片）； the relationship between the protagonist and the romance character may function as the main subject of the subplot（也有可能浪漫角色和主人公之间的关系是次要情节的主要内容---适用于科幻、黑帮等其它类型的电影）；the romance character sometimes has the functions of antagonist（浪漫角色有时候也有反面角色的功能）. 1.4. Stye风格

Eye-line match（视线连接---第一个镜头， 角色正在看什么东西，第二个镜头，则是角色所看的那个东西）and Shot-reverse shot（正反拍镜头---第一个镜头表现角色在说话，第二个镜头表现听话对方的反应） are two most common editing techniques used by filmmakers(是电影制作者最常使用的两种剪辑方法).

Dialectical montage belongs to the technique of discontinuity editing（辩证蒙太奇是一种强调两个镜头之间的不连续性的剪辑技巧）.

In order not to confuse audience, one of the basic rules of continuity editing is the 180-degree rule （为了不会把观众弄糊涂，180度原则是连续剪辑的基本原则。---假想一个180度的区域，摄影机拍摄不应超过这个区域，否则观众可能会看糊涂。） 2. The Seven Character Arthetypes in the Lion King Archetypes Character Dramatic Functions The protagonist who embarks Hero Simba on the quest (to reclaim his (英雄) kingdom) Older figures who gives advice Mentor Mufasa and share their wosdom with （导师） simba. Hyena [hai'inə] Animals who stop Simba on Thredhold Guardian 鬣狗,土狼 his way to the elephant （关卡守门人） graveyard. Herald（使者） Unclear Shapeshifter Scar pretends to be a caring （变化者） Scar uncle to Simba. Shadow Scar Scar is really the antagonist （影子） and Simba’s dark side. Trickster （小丑） 1.Timon 2.Pumbaa Characters who bring comic relief 3. Film Noir黑色电影；Comedy喜剧片；

Presentational style表现风格；Representational style再现风格； Protagonist主人公；antagonist反面主角； Fantasy奇幻片；Shot progression镜头递进； Projector投影仪；Long-distance shot长镜头；

Studio system制片厂制度；Continuity editing连续剪辑； lens镜头；Phonograph留声机；

Dialectical montage辩证蒙太奇；characterization角色塑造； Musical numbers插曲；Close-up特写镜头； Thriller惊悚片；Blockbuster强档片；

Gangster黑帮片；Social drama社会问题片； Seriality系列片；sequel续集；

Charisma魅力；Box-office takings票房收入；

Character growth角色成长；Golden mean黄金分割； The key line主线；outer conflict外部冲突 4.

History and genre are the two basic parameters used when categorizing films: we want to know both when a film was produced and what kind of film it is.历史和类型是两种最基本的给电影分类的标准：人们想知道一部电影是什么时候拍摄的以及它是一部什么样的电影。

The most prominent characteristic of the early films is that they commonly sought to record and represent aspects of ―real life‖.早期电影最显著的特点是普遍倾向于记录和重现现实生活的某些方面。

The film industry had no choice but to respond. One tactic was to adjust the supply and demand dynamic by, on the one hand, restricting the supply of films; and, on the other, seeking to stimulate demand by increasing the proportion of budgets spent on marketing. 电影业别无选择，只有进行调整。一种方法是调整供求关系，一方面限制电影的供应，另一方面通过加大宣传支出的比例来刺激需求。

Genres are the categories into which, on the basis of shared characteristics, we place artistic, musical, literary or cinematic works; subgenres are similar, although they are more limited and more precisely defined. 我们可以根据一些基本特点，把艺术作品、音乐作品、文学作品和电影作品分成不同的体裁或类型；副类型也是一样，只不过副类型的范围比较窄、定义也更加清楚。

Although both the four-function model of cast design can be useful, they are ultimately inadequate because they do not take into account one crucial feature of characterization in films---the phenomenon of character development.虽然角色的四种功能理论和Vogler 的七种角色原型理论都是分析电影角色的有用工具，但只靠他们会漏掉电影角色塑造的一个重要内容——角色的成长。

Film character are not merely static ―types‖, ―functions‖, but figures that are transformed as they progress through the narrative. 电影角色不是静止不变的，他们会随着叙述的推进发生改变。

The character archetypes are key elements of a story pattern that gives

the―accurate models of the workings of the human mind, true maps of the psyche (心智，灵魂)‖. At the deepest levels, they reflect different aspects of the human mind. 角色原型是一种故事模式的基本元素，而这个故事模式正是―人类思想活动的准确模型，是通往人类心灵深处的地图‖。这些原型可以在最深的层次反映人类内心世界的不同侧面。

Character development occurs because the character has a definite

motivation and definite goal, but meets with definite conflict and obstacles in the realization of that goal.角色有着明确的动机和目标，但是在实现这一目标的时候也会遇到一定的冲突和障碍。

When a character meets with conflict in the pursuit of goal, the character is

forced to critically reconsider his motivation---and the result is character growth. 当角色遇到挫折和障碍时，他必须适应、改变、才能越过这一障碍，这就会带来角色的成长。

The key distinction between story and plot: story is the viewer’s imaginary construction of all the events in the narrative－whether presented to us or not－while plot is the film’s actual presentation of certain events in the narrative. 故事和情节之间关键的区别在于：故事是观众对叙述中的事件建立的想像，这些事件可能在电影中出现，也可能没出现；情节是电影对叙述中的事件的真实表现。

Narrative refers to the way that a story is told. It is principally concerned

with the way that events are organized in time and space– the way in which the scriptwriter and director in the most attractive and interesting way. 叙述指的是讲故事的方法, 是如何在时间和空间中把故事组织起来，也就是编剧和导演如何把一个故事用最吸引人、最有趣的方法讲出来。

Conflict is that which causes problems for the character in the pursuit of his

goal. Conflict, it is often said, is what makes drama: It is through conflict that action can advance, and it is through conflict that character is revealed. 冲突是角色在实现目标的过程中遇到的阻碍。人们通常认为是冲突创造了戏剧，有了冲突才能有行动，有了冲突才能表现角色。

Outer conflict is conflict with external forces: these can be either other

characters with different goals and intentions, or non-personal forces such as society, a value system, or even nature itself. 外在冲突，与外部力量的冲突。可能是和其他角色之间的冲突，也可能是和社会、官僚系统、价值观，甚至大自然本身。

Inner conflict is conflict against part of oneself: This could be include a battle

to overcome low self-confidence or low-esteem; a struggle against bad habits or unhelpful attitudes and beliefs.内在冲突是与角色自我的一部分的冲突：信心不足、自卑；克服坏习惯或错误态度、信念的斗争。

Style refers the manner in which the contents of the film are presented to the

audience. The style of a film is based primarily on two factors—the cinematic shot and the editing process.风格指的是电影把内容传达给观众的方式。电影的风格依赖于两个基本元素：电影镜头和剪辑过程。

Unsafe space is produced when the camera shows us that the character

cannot see what he or she is looking for. The effect is a sense of uncertainty, suspense, and anxiety.当摄影机中的角色无论如何也看不到自己想看的东西，不安全空间就出现了。这种技巧可以带来不安定、悬念和焦虑感。

Unsafe space can also produced when the audience is forced—to some extent

against its will—to look at something gruesome or horrific. 同样，当观众被迫———在某种程度上是违背自己的意志———去看一些令人毛骨悚然的恐怖镜头时，也是一种不安全空间。

Individual shots are combined in the editing process. 剪辑是把单个镜头连接起来的过程。

The usual technique used by Hollywood directors is that of continuity editing, which has the function of focusing the attention of the audience on the action, and of making action of the camera itself seem invisible. 好莱坞导演使用的通常是―连续剪辑‖技术，这种技术可以让观众把精力集中在表演上，注意不到摄影机的存在。

The basic aim of the Classical Hollywood style is to draw the audience as fully as possible into the fictional world of the film so that it will naturally engage in a ―willing suspension of disbelief‖. 经典好莱坞的风格有一个基本的目标，就是尽量让观众融入电影的虚幻世界，产生―自愿的暂停怀疑。‖

5．Essay Question：Analyze the personalities of one character you like in the movies you have appreciated.