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.
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.
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.
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.
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). was swift, complete, and enormously popular.
Paragraph 1: 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.
1. The word “regarded” in the passage is closest in meaning to
○analyzed
○considered
○altered
○criticized
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
Paragraph 2: 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.
3. The word “paradoxes” in the passage is closest in meaning to
○difficulties
○accomplishments
○parallels
○contradictions
4. Whydoes the author mention “Japanese benshi” and “original musical compositions”?
○To suggest that audiences preferred other forms of entertainment to film before the transition to sound inthe1920's
○To provide examples of some of the first sounds that were recorded for film
○To indicate some ways in which sound accompanied film before the innovation of sound films in the late 1920s
○To show how the use of sound in films changed during different historical periods
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.
Paragraph 3: 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
7. According to paragraph 3, which of the following is NOT true of the technological and aesthetic experiments of the 1920's?
○B(yǎng)ecause 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.
Paragraph 4: 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.
8. Which of the sentences below best expresses the essential information in the highlighted sentencein the passage? Incorrect choices change the meaning in important ways or leave out essential information.
○It was difficult for some critics in the 1920s to imagine why the idea of sound film had faded from sight well before the First World War.
○As surprising as it seems today, some critics in the 1920s believed that the new attempts at sound films would fade just as quickly as the attempts made before the First World War.
○Though some early critics thought that sound film would fade, its popularity during the First World War proved that it was not simply a technical novelty.
○Although some critics predicted well before the First World War that sound film would be an importanttechnical innovation, it was not attempted until the 1920s.
9. The word “neglected” in the passage is closest in meaning to
○failed
○needed
○started
○expected
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.
Paragraph 5: 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.
11. In paragraph 5, commercial radio programming is best described as the result of
○a financially successful development that enabled large telecommunications firms to weaken their competition.
○the desire of electronics and telecommunications companies to make sound technology profitable
○a major development in the broadcasting industry that occurred before the 1920s
○the cooperation between telecommunications companies and the motion picture industry
Paragraph 6: 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.
○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.
Paragraph 5: 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.
Paragraph 6: ■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.
13. Look at the four squares [■] that indicate where the following sentence could be added to the passage.
When this research resulted in the development of vastly improved sound techniques, film studios became convinced of the importance of converting to sound.
Where would the sentence best fit?
14．Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that not presented in the passage or are minor ideas in the passage. This question is worth 2 points.
The transition from silent to sound films was the most important development in film history.
●
●
●
Answer Choices
○Although music and speech had frequently accompanied film presentations before the 1920s, there was a strong desire to add sound to the films themselves.
○Because of intense interest in developing and introducing sound in film, the general use of other technological innovations being developed in the 1920s was delayed.
○ in sound technology made possible by the involvement of telecommunications companies transformed the motion picture industry.
○Japanese filmmakers had developed the technology for creating sound films before directors in Europe and the United States began experimenting with sound.
○B(yǎng)efore the First World War, film directors showed little interest in linking images with recorded sound.
○The arrival of sound film technology in the United States forced smaller producers in the motion picture industry out of business.
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14. Although music and…
Because of intense… Therapidprogress…
:電影聲音的演變
1920年代末見證了電影史上最重大的一次過渡——電影從無聲到有聲的跨越。盡管在戲劇和家庭移動(dòng)影像的傳輸方面的高級(jí)視覺技術(shù)在此之前已經(jīng)發(fā)展了數(shù)十年，卻依然沒有哪項(xiàng)革新可以像這項(xiàng)技術(shù)一樣成為分水嶺。幾乎所有語言都是這樣描述的（盡管措辭略有出入）：電影史上最基本的分水嶺就是從默片到有聲電影的過渡。
然而這一歷史分期的基本標(biāo)準(zhǔn)下依然矛盾重重。幾乎每家劇院都配備鋼琴或管風(fēng)琴為無聲電影配樂，盡管不起眼。在一些實(shí)例中，錄音時(shí)代之前的觀眾都有親身體驗(yàn)，電影放映時(shí)旁邊是精妙絕倫的音效呈現(xiàn)，從絕妙的日本benshi(口技)多音效對話演繹到歐美管弦交響樂隊(duì)演奏的原創(chuàng)曲目。為了首次在柏林露天公演前蘇聯(lián)戰(zhàn)艦波將金號(hào)，該片導(dǎo)演Sergei Eisenstein與奧地利作曲家Edmund Meisel（1874-1930）合作為電影配樂；柏林的電影熒幕配上現(xiàn)場音樂使得這一影片在國際上贏得廣泛贊譽(yù)。
除此之外，錄音的輝煌還使得1920年代同時(shí)發(fā)展的視覺影像技術(shù)和審美體驗(yàn)的成就相形見絀。在這期間新技術(shù)新發(fā)明層出不窮，有一些技術(shù)非常成功：新的色彩處理，更大以及不同形狀的屏幕尺寸，多屏放映的設(shè)計(jì)，甚至是電視機(jī)的出現(xiàn)。聲音轉(zhuǎn)化的高成本和早期聲音技術(shù)的局限阻礙了這些發(fā)明在其所在其他領(lǐng)域的發(fā)展。25年之后新型屏幕設(shè)計(jì)才得以引進(jìn)，并且盡管色彩在接下來的20年中都用于專業(yè)生產(chǎn)，但一直到20世紀(jì)50年代才成為一項(xiàng)標(biāo)準(zhǔn)。
雖然現(xiàn)在看來不可思議，但是在19世紀(jì)20年代，一連串的批判性觀點(diǎn)預(yù)測有聲電影這項(xiàng)新“玩意兒”技術(shù)將會(huì)迅速淡出人們的視線，和第一次世界大戰(zhàn)之前將畫面與錄音連接在一起的多次嘗試并無二致。這些批評有一個(gè)共同的假設(shè)--早期成果的技術(shù)缺陷（同步性差、差的擴(kuò)音、易損壞的錄音）仍會(huì)不可避免的發(fā)生。不可否認(rèn)他們對1920年代聲音試驗(yàn)的技術(shù)缺陷的評價(jià)（與真實(shí)情況）相去不遠(yuǎn)，但是他們忽視了電影領(lǐng)域的新生力量，這些新力量決不接受“不”這個(gè)回答。
20世紀(jì)20年代，這些新生力量迅猛發(fā)展，出現(xiàn)了大量連接電話與無線技術(shù)的電子及通訊公司。在美國，還出現(xiàn)了像美國電話電報(bào)公司、通用電氣和西屋電氣這樣的公司。他們對聲音技術(shù)的各種形式和一切商業(yè)開發(fā)潛力非常感興趣。這些競爭與合作開創(chuàng)了美國的廣播產(chǎn)業(yè)，20世紀(jì)20年代早期開始引入商業(yè)廣播節(jié)目。由于金融資產(chǎn)明顯多于電影產(chǎn)業(yè)，而且他們在娛樂業(yè)與通信媒體之間的關(guān)系上前景更為廣闊，因而他們使研究電影配音得到復(fù)興。
粗略計(jì)算，1929年美國的電影產(chǎn)業(yè)上映的有聲電影超過300部，同時(shí)還有一定數(shù)量的帶有音樂伴奏的默片和兩個(gè)版本都有的電影，以照顧一些未配備音響的電影院。美國于1930年最終完成生產(chǎn)環(huán)節(jié)上的轉(zhuǎn)換。歐洲耗時(shí)更久一些，這主要因?yàn)楹芏嘈∩a(chǎn)商無法負(fù)擔(dān)的音效成本，另一部分原因是專利權(quán)和許可設(shè)備配備問題使得聲音制作的轉(zhuǎn)換推遲了幾年（盡管很多大城市的電影院可能為了播放國外的有聲電影配備了設(shè)備）。至此，有聲電影取得勝利，并迅速、全面、廣泛地流行起來。
世界著名的電工設(shè)備制造企業(yè)。1886年1月8日，由喬治•威斯汀豪斯在美國賓夕法尼亞州創(chuàng)立�？偛吭O(shè)在賓夕法尼亞州匹茲堡市。1889年時(shí)曾改名西屋電工制造公司（Westinghouse Electric Manufacturing Company）,1945年10月改用現(xiàn)名。
4英寸等于101.6毫米。
