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电影人与艺术史学者合作

P1

Only an effective collaboration between filmmakers and art historians can create films that will enhance viewers' perceptions of art. Filmmakers need to resist the impulse to move the camera quickly from detail to detail for fear of boring the viewer, to frame the image for the sake of drama alone, to add music for fear of silence. Filmmakers are aware that an art object demands concentration and, at the same time, are concerned that it may not be compelling enough―and so they hope to provide relief by interposing "real" scenes that bear only a tangential relationship to the subject. But a work of art needs to be explored on its own terms. On the other hand, art historians need to trust that one can indicate and analyze, not solely with words, but also by directing the viewer's gaze. The specialized written language of art history needs to be relinquished or at least tempered for the screen. (158 words)

1.The passage suggests that a filmmaker desiring to enhance viewers‘ perceptions of art should do which of the following?

(A) Rely on the precise language of art history when developing scripts for films on art.

(B) Rely on dramatic narrative and music to set a film's tone and style.

(C) Recognize that a work of art by itself can be compelling enough to hold a viewer's attention

(D) Depend more strongly on narration instead of camera movements to guide the viewer's gaze.

(E) Emphasize the social and the historical contexts within which works of art have been created.

2.According to the passage, art historians desiring to work with filmmakers to enhance the public's appreciation of art need to acknowledge which of the following?

(A) The art historian's role in the creation of a film on art is likely to be a relatively minor one.

(B) Film provides an ideal opportunity to acquaint viewers with a wide range of issues that relate incidentally to a work of art.

(C) An in-depth analysis of a work of art is not an appropriate topic for a film on art.

(D) Although silence may be an appropriate background when viewing a work of art in a museum, it is inappropriate in a film.

(E) Film can use nonverbal means to achieve some of the same results that a spoken or written discourse can achieve.

P1

1

Only an effective collaboration between filmmakers and art historians can create films that will enhance viewers' perceptions of art.

只有电影人与艺术史学者通力合作，才能创造出提升观众艺术理解的作品。

(filmmaker 一般特指导演或制片，隐含着 “ 参与电影制作每个环节 ” 的意思，服装，道具，化妆，灯光，录音，摄像，剪辑，演员等都不叫 filmmaker 。)

2

Filmmakers need to resist the impulse to move the camera quickly from detail to detail for fear of boring the viewer, to frame the image for the sake of drama alone, to add music for fear of silence.

导演要克制一些冲动，如害怕观众感觉无聊而快速移动镜头，只为戏剧冲突设计构图，担心沉默冷场就加配乐。

3

Filmmakers are aware that an art object demands concentration and, at the same time, are concerned that it may not be compelling enough ― and so they hope to provide relief by interposing "real" scenes that bear only a tangential relationship to the subject.

导演知道艺术对象需要专注，同时也担心它是否有足够的说服力 —— 所以为了缓解这种忧虑他们在拍摄中插入与拍摄对象关系不大的 “ 实 ” 景。

(relief 对应 concerned，指缓和某种不利因素或情况。导演担心观众认为拍的假，于是在拍摄中引入实景，而这种实景跟故事或主题无甚关系。)

4

But a work of art needs to be explored on its own terms.

然而艺术作品需要以其独有的语言进行探索。

5

On the other hand, art historians need to trust that one can indicate and analyze, not solely with words, but also by directing the viewer's gaze.

另一方面，艺术史学者要相信，除了语言，通过指引观众观看，他们(one，also art historians)也能说明与分析。

6

The specialized written language of art history needs to be relinquished or at least tempered for the screen. (158 words)

专业化的艺术史术语应该不出现或尽量少出现在银幕上。

1.The passage suggests that a filmmaker desiring to enhance viewers‘ perceptions of art should do which of the following?

(A) Rely on the precise language of art history when developing scripts for films on art.

(B) Rely on dramatic narrative and music to set a film's tone and style.

(C) Recognize that a work of art by itself can be compelling enough to hold a viewer's attention

(D) Depend more strongly on narration instead of camera movements to guide the viewer's gaze.

(E) Emphasize the social and the historical contexts within which works of art have been created.

选 C

A 错。问的是 fimmaker，扯到 art history 肯定不对了。

B 错。根据句 2，作者认为导演应该克制 dramatic narrative 和 music。

C 正确。

D 错。同上，见句 2 。

E 错。未知信息。文中没说过作品的社会历史背景。

2.According to the passage, art historians desiring to work with filmmakers to enhance the public's appreciation of art need to acknowledge which of the following?

(A) The art historian's role in the creation of a film on art is likely to be a relatively minor one.

(B) Film provides an ideal opportunity to acquaint viewers with a wide range of issues that relate incidentally to a work of art.

(C) An in-depth analysis of a work of art is not an appropriate topic for a film on art.

(D) Although silence may be an appropriate background when viewing a work of art in a museum, it is inappropriate in a film.

(E) Film can use nonverbal means to achieve some of the same results that a spoken or written discourse can achieve.

选 E

句 5：

On the other hand, art historians need to trust that one can indicate and analyze, not solely with words, but also by directing the viewer's gaze.

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