很多雅思考生為了提高雅思閱讀分?jǐn)?shù)，做了很多題目，但成效不大，這時(shí)可以想想是不是備考書籍選擇不當(dāng)造成，建議考生們多多看劍橋雅思真題。上海新航道雅思小編給大家?guī)?lái)了劍橋雅思11Test4閱讀Passage2原文+答案解析+題目-An Introduction to Film Sound，希望對(duì)考生們提高備考水平有所幫助。

  劍橋雅思11Test4閱讀Passage2原文+答案解析+題目

  An Introduction to Film Sound

  Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music.

  Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer’s voice supplies an element of character.

  When voice textures fit the performer’s physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the ‘inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe’.

  The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism — largely due to its frenetic dialogue.

  Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the ‘click’ of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the ‘click’ of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the ‘click’ with an increase in volume; this helps to engage the audience in a moment of suspense.

  Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance’s siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film’s city setting.

  We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.

  Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.

  Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century — the modern film.

  劍11雅思閱讀Test4passage2題目：

  Questions 14-18

  Choose the correct letter, A, B, C or D.

  Write the correct letter in boxes 14-18 on your answer sheet.

  14 In the first paragraph, the writer makes a point that

  A the director should plan the sound track at an early stage in filming.

  B it would be wrong to overlook the contribution of sound to the artistry of films.

  C the music industry can have a beneficial influence on sound in film.

  D it is important for those working on the sound in a film to have sole responsibility for it.

  15 One reason that the writer refers to Humphrey Bogart is to exemplify

  A the importance of the actor and the character appearing to have similar personalities.

  B the audience’s wish that actors are visually appropriate for their roles.

  C the value of the actor having had similar feelings to the character.

  D the audience’s preference for dialogue to be as authentic as possible.

  16 In the third paragraph, the writer suggests that

  A audiences are likely to be critical of film dialogue that does not reflect their own experience.

  B film dialogue that appears to be dull may have a specific purpose.

  C filmmakers vary considerably in the skill with which they handle dialogue.

  D the most successful films are those with dialogue of a high quality.

  17 What does the writer suggest about Bringing Up Baby?

  A The plot suffers from the filmmaker’s wish to focus on humorous dialogue.

  B The dialogue helps to make it one of the best comedy films ever produced.

  C There is a mismatch between the speed of the dialogue and the speed of actions.

  D The nature of the dialogue emphasises key elements of the film.

  18 The writer refers to the ‘click’ of a door to make the point that realistic sounds

  A are often used to give the audience a false impression of events in the film.

  B may be interpreted in different ways by different members of the audience.

  C may be modified in order to manipulate the audience’s response to the film.

  D tend to be more significant in films presenting realistic situations.

  Questions 19-23

  Do the following statements agree with the information given in Reading Passage 2?

  In boxes 19-23 on your answer sheet, write

  TRUE if the statement agrees with the information

  FALSE if the statement contradicts the information

  NOT GIVEN if there is no information on this

  19 Audiences are likely to be surprised if a film lacks background music.

  20 Background music may anticipate a development in a film.

  21 Background music has more effect on some people than on others.

  22 Background music may help the audience to make certain connections within the film.

  23 Audiences tend to be aware of how the background music is affecting them.

  Questions 24-26

  Complete each sentence with the correct ending, A-E, below.

  Write the correct letter, A-E, in boxes 24-26 on your answer sheet.

  24 The audience’s response to different parts of a film can be controlled

  25 The feelings and motivations of characters become clear

  26 A character seems to be a real person rather than an actor

  A when the audience listens to the dialogue.

  B if the film reflects the audience’s own concerns.

  C if voice, sound and music are combined appropriately.

  D when the director is aware of how the audience will respond.

  E when the actor’s appearance, voice and moves are consistent with each other.

  劍11雅思閱讀Test4passage2答案解析：

  Question 14

  答案: B

  關(guān)鍵詞: first paragraph

  定位原文: 第1段整體內(nèi)容

  解題思路: 本題考査考生是否能夠讀懂作者在第一段里表達(dá)的主要看法，很難使用此段中的某一句話來(lái)確定答案，需要考生讀懂本段大意并對(duì)比四個(gè)選項(xiàng)內(nèi)容，從而做出恰當(dāng)選擇。

  A項(xiàng)說(shuō)“導(dǎo)演應(yīng)該在拍攝的早期階段就計(jì)劃好電影原聲”，而原文中只是提及“規(guī)劃音效也應(yīng)該是導(dǎo)演的職責(zé)所在”,并未提及是否該早早動(dòng)手規(guī)劃;C項(xiàng)說(shuō)“音樂產(chǎn)業(yè)可以對(duì)電影中的聲音產(chǎn)生有益影響”，這個(gè)信息完全不曾被提及;D項(xiàng)說(shuō)“負(fù)責(zé)電影中聲音的工作人員應(yīng)該對(duì)音效擔(dān)負(fù)起完全的責(zé)任來(lái)，這很重要”，更是故意曲解了文中的“統(tǒng)籌音效和關(guān)注畫面質(zhì)量同樣都是導(dǎo)演的應(yīng)有之責(zé)”，混淆視聽。對(duì)比可得正確答案為B項(xiàng)。

  Question 15

  答案: A

  關(guān)鍵詞: Humphrey Bogart

  定位原文: 第2段的第3、4句“Often with film characterization the audience perceives little…”

  解題思路: 題目問作者提到Humphrey Bogart的一個(gè)原因是為了證明什么。人名可以幫助考生輕松定位。只看包含Humphrey Bogart的一句，缺失了此段的上下文，也不易得出答案。B項(xiàng)說(shuō)“觀眾希望演員在視覺上適合他們所扮演的角色”，也就是說(shuō)希望演員的外貌特征符合角色描述，但本段反復(fù)提及的著眼點(diǎn)在于“性格特征”而非外貌;C項(xiàng)屬于完全未被提及的信息;D項(xiàng)說(shuō)“觀眾更傾向于對(duì)話要盡可能顯得真實(shí)”，雖然本段確實(shí)意在解釋“對(duì)話”在電影中所扮演的角色，但是并有明確說(shuō)到它必須像真的，所以也不對(duì)。

  Question 16

  答案： B

  關(guān)鍵詞： third paragraph

  定位原文： 第3段內(nèi)容

  解題思路: A項(xiàng)說(shuō)“如果電影對(duì)話不能反映觀眾自身經(jīng)歷，他們就有可能會(huì)持批評(píng)性態(tài)度”，未被提及的;C項(xiàng)說(shuō)“電影制作者在如何處話的技巧上彼此有著極大的差別”，這個(gè)選項(xiàng)與原文中how dialogue is used and the very amount of dialogue used vanes widely among films有一定相似之處，可能會(huì)給部分考生造成一定干擾。但仔細(xì)分辨之下不難看出，原文只說(shuō)了“不同電影中對(duì)話的用法和用量有很大差別”，并未明確說(shuō)是電影制作者使用技巧的差別，是干擾選項(xiàng);D項(xiàng)說(shuō)“最成功的電影是那些有著高質(zhì)量對(duì)話的電影”，也是無(wú)中生有的信息。

  Question 17

  答案： D

  關(guān)鍵詞： Bringing Up Baby

  定位原文： 第4段內(nèi)容

  解題思路： 問的是關(guān)于Bringing Up Baby 這部電影說(shuō)了什么，根據(jù)本段內(nèi)容，作者說(shuō)這部電影故意使用了又快又滑稽的對(duì)話形式來(lái)突出影片的荒誕風(fēng)格。因此正確答案為選項(xiàng)D“對(duì)話的性質(zhì)強(qiáng)化了影片中的關(guān)鍵元素?！盇項(xiàng)說(shuō)“由于電影制作人想要關(guān)注幽默對(duì)話而使情節(jié)受到了損害”;B項(xiàng)說(shuō)“對(duì)話幫助這部電影成為了有史以來(lái)最好的喜劇電影之一”;C項(xiàng)說(shuō)“對(duì)話的速度與動(dòng)作的速度之間不匹配”。這三項(xiàng)內(nèi)容在本段中都不曾被提及。

  Question 18

  答案: C

  關(guān)鍵詞： ‘click’ of a door

  定位原文： 第5段第4句“For example, the 'click' of a door being opened…”

  解題思路: 題目問：作者提到了推門的“咔嗒”聲來(lái)說(shuō)明，模擬真實(shí)情況的聲音_____。A項(xiàng)說(shuō)“經(jīng)常被用來(lái)讓觀眾對(duì)影片中的事件產(chǎn)生錯(cuò)誤印象”;B項(xiàng)說(shuō)“可能會(huì)被觀眾中的不同成員按照不同的方式進(jìn)行理解”;D項(xiàng)說(shuō)“往往在那些展示現(xiàn)實(shí)場(chǎng)景的電影中顯得更為重要”。這三項(xiàng)內(nèi)容在本段不曾被提及。而C中“也有可能加以改變用來(lái)控制觀眾對(duì)電影的反應(yīng)”是定位處的同義表達(dá)。

  Question 19

  答案: TRUE

  關(guān)鍵詞： surprised, lacks, background music

  定位原文： 第7段的第1句“We are probably all familiar with…”

  解題思路： 定位處的so… as to 表示 “如此…以至于”，背景音樂無(wú)處不在，以至于觀眾必須注意到它的存在，和題目的“如果一部電影缺了背景音樂，觀眾有可能會(huì)感到奇怪?！笔峭x表達(dá)。

  Question 20

  答案： TRUE

  關(guān)鍵詞： background music, anticipate, development

  定位原文：第7段倒數(shù)第2句“In addition, background music…”

  解題思路： 定位處說(shuō)背景音樂通常預(yù)示著氛圍變化，foreshadow 與may anticipate 是同義表達(dá)，題目中說(shuō)“背景音樂有可能預(yù)示出一部電影中的情節(jié)發(fā)展”與定位原文是同義表達(dá)，因此答案為TRUE。

  Question 21

  答案： NOT GIVEN

  關(guān)鍵詞： background music, more effect than

  定位原文：第7段第3、4、5句“Usually not meant to be noticeable …”

  解題思路： 文中與題目有關(guān)的定位區(qū)域在第7段，文中說(shuō)到，通?？赡懿皇枪室庾屓俗⒁獾模皇钦f(shuō)背景音樂通常奠定了故事的基調(diào)，或者人物的感情態(tài)度，再者，預(yù)示氛圍變化。而題目中卻說(shuō)背景音樂對(duì)一些人產(chǎn)生的效果比對(duì)另一些人所產(chǎn)生的效果更大。這樣的信息在文中完全沒有提及。所以答案只能是NG。

  Question 22

  答案： True

  關(guān)鍵詞： background music, make certain connections

  定位原文： 第8段內(nèi)容

  解題思路: 題目說(shuō)背景音樂可以幫助觀眾在影片中(不同場(chǎng)景之間)找到某些關(guān)聯(lián)，在閱讀第8段第1句后，即可大致判斷這個(gè)表述是True，如果覺得不夠確信，再往后閱讀，可以確定答案。

  Question 23

  答案： FALSE

  關(guān)鍵詞： aware, background music, affecting

  定位原文： 第9段第4句“The effects of sound are often largely…”

  解題思路： 定位處已經(jīng)明確說(shuō)明聲音的效果通常來(lái)說(shuō)是非常微妙的，只是潛意識(shí)才能注意到。而題目說(shuō)的是“觀眾往往會(huì)注意到背景音樂如何對(duì)他們產(chǎn)生影響?！? 題目中用background music，原文中用了sound這個(gè)簡(jiǎn)單詞，正文中所使用的effects一詞與題干中affect的同義替換，對(duì)比內(nèi)容，可知答案為FALSE。

  Question 24

  答案: C

  關(guān)鍵詞: audience's response, can be controlled

  定位原文: 第1段第3、4句“The entire sound track consists of…”

  解題思路： 題目問的是觀眾對(duì)于影片中不同部分的反應(yīng)可以在何種情況下被控制。難點(diǎn)在與理解原文的create desired effects，即是指“創(chuàng)造出(電影制作者)所想要達(dá)到的效果”，也就是希望去掌控或操控觀眾觀影之后會(huì)產(chǎn)生什么樣的反應(yīng)。題目中的“must be mixed and balanced so as to produce the necessary emphases”就是C選項(xiàng)的“如果人的聲音、其他聲響和音樂進(jìn)行了恰當(dāng)混合的話”。

  Question 25

  答案： A

  關(guān)鍵詞： feelings and motivations

  定位原文： 第2段第2句“As is the case with stage drama…”

  解題思路： 原文中“dialogue serves to tell the story and expresses feelings and motivations of characters as well”，可見是dialogue完成兩個(gè)目標(biāo)，一是講述故事，二是表達(dá)人物感情和動(dòng)機(jī)，很容易選到A:當(dāng)觀眾聽著對(duì)話的時(shí)候。

  Question 26

  答案： E

  關(guān)鍵詞： character, real person, actor

  定位原文： 第3段第1句“When voice textures fit the performer's physiognomy…”

  解題思路： 定位原文處說(shuō)到音質(zhì)符合人物的外表，姿勢(shì)，一個(gè)非常真實(shí)的人物形象就出來(lái)了。題目問的是“一個(gè)角色看似更像一個(gè)真實(shí)的人而非一位演員”，所以選項(xiàng)E“當(dāng)演員的外貌、聲音和動(dòng)作彼此協(xié)調(diào)一致時(shí)”是正確選項(xiàng)。

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