题目
Motion pictures are so much a part of our lives that it's hard to imagine a world without them． We enjoy them in theatres， at home， in offices， in cars and buses， and on airplanes．① For about 100 years， people have been trying to understand why this medium has so attracted us． Films communicate information and ideas， and they show us places and ways of life we might not otherwise know． Important as the benefits are， though， something more is at stake． Films offer us ways of seeing and feeling that we find deeply satisfying． They take us through experiences． The experiences are often driven by stories， with characters we come to care about， but a film might also develop an idea or explore visual qualities or sound textures． A film takes us on a journey， offering a patterned experience that engages our minds and emotions．② Films are designed to have effects on viewers． Late in the 19th century， moving pictures emerged as a public amusement． They succeeded because they spoke to the imaginative needs of a broad-based audience． All the traditions that emerged- telling fictional stories， recording actual events， animating objects or pictures， experimenting with pure form-aimed to give viewers experiences they couldn't get from other media． The men and women who made films discovered that they could control aspects of cinema to give their audience richer， more engaging experiences． Learning from one another， expanding and refining the options available， filmmakers developed skills that became the basis of film as an art form．③The popular origins of cinema suggest that some common ways of talking won't help us much in understanding film． Take the distinction between art and entertainment． Some people would say that blockbusters（大片） playing at the multiplex are merely "entertainment"， whereas films for a narrower public-perhaps independent films for festival fare， or specialized experimental works-are true art． Usually the art / entertainment split carries a not-so-hidden value judgment： art is high-brow， whereas entertainment is superficial． Yet things aren't that simple． As we just indicated， many of the artistic resources of cinema were discovered by filmmakers working for the general public． During the 1910s and 1920s， for instance， many films that aimed only to be entertaining opened up new possibilities for film editing． As for the matter of value， it's clear that popular traditions can promote art of high quality． Cinema is an art because it offers filmmakers ways to design experiences for viewers， and those experiences can be valuable．④ Sometimes， too， people treat film art as opposed to film as a business． This split is related to the issue of entertainment， since entertainment generally is sold to a mass audience． Again， however， in most modern societies， no art floats free of economic ties． Novels good， bad， or indifferent are published because publishers expect to sell them． Painters hope that collectors and museums will acquire their work． True， some artworks are funded through taxes or private donations， but that process， too， involves the artist in a financial transaction（交易）． Films are no different． Others are funded by patronage or public moneys． Even if you decide to make your own digital movie， you face the problem of paying for it-and you may hope to earn a little extra for all your time and effort．The crucial point is that considerations of money don't necessarily make the artist any less creative or the project any less worthwhile． Money can corrupt any line of business （consider politics）， but it doesn't have to． In Renaissance Italy， painters were commissioned by the Catholic church to illustrate events from the Bible． Michaelangelo and Lenonardo da Vinci worked for hire， but it would be hard to argue that it hurt their artistry．Here we won't assume that film art prevents entertainment． We won't take the opposite position either-claiming that only Hollywood mass-market movies are worth attention． Similarly， we don't think that film art rises above commercial demand， but we also won't assume that money rules everything． Any art form offers a vast range of creative possibilities． Our basic assumption is that as an art， film offers experiences that viewers find worthwhile．66． Where should the sentence "It doesn't happen by accident．" be put in the passage？ ____ A． ①B． ②C． ③D． ④67． Which of the following statements about film is TRUE？ ____ A． Hollywood films are usually far more appealing．B． Film offers a wide variety of creative possibilities．C． Films are made in the hope that consumers will pay to see them．D． When watching films， viewers feel controlled by film designers．68． The writer uses the examples of Michaelangelo and Lenonardo da Vinci to ____ ．A． indicate that money is unlikely to corrupt artistryB． show that money doesn't necessarily destroy artistryC． prove that money cannot buy everything in the field of artD． suggest that money is an important concern even for famous artists69． According to the writer， film should ____ A． avoid concentrating on popular traditionsB． focus on artistry rather than entertainmentC． provide the audience with something worthwhileD． earn enough to pay for the developers' time and effort70． Which of the following can be the proper title for the passage？ ____ A． Film： art or businessB． Art or entertainmentC． Film offers us experiencesD． Money doesn't rule everything
Motion pictures are so much a part of our lives that it's hard to imagine a world without them． We enjoy them in theatres， at home， in offices， in cars and buses， and on airplanes．
① For about 100 years， people have been trying to understand why this medium has so attracted us． Films communicate information and ideas， and they show us places and ways of life we might not otherwise know． Important as the benefits are， though， something more is at stake． Films offer us ways of seeing and feeling that we find deeply satisfying． They take us through experiences． The experiences are often driven by stories， with characters we come to care about， but a film might also develop an idea or explore visual qualities or sound textures． A film takes us on a journey， offering a patterned experience that engages our minds and emotions．
② Films are designed to have effects on viewers． Late in the 19th century， moving pictures emerged as a public amusement． They succeeded because they spoke to the imaginative needs of a broad-based audience． All the traditions that emerged- telling fictional stories， recording actual events， animating objects or pictures， experimenting with pure form-aimed to give viewers experiences they couldn't get from other media． The men and women who made films discovered that they could control aspects of cinema to give their audience richer， more engaging experiences． Learning from one another， expanding and refining the options available， filmmakers developed skills that became the basis of film as an art form．
③The popular origins of cinema suggest that some common ways of talking won't help us much in understanding film． Take the distinction between art and entertainment． Some people would say that blockbusters（大片） playing at the multiplex are merely "entertainment"， whereas films for a narrower public-perhaps independent films for festival fare， or specialized experimental works-are true art． Usually the art / entertainment split carries a not-so-hidden value judgment： art is high-brow， whereas entertainment is superficial． Yet things aren't that simple． As we just indicated， many of the artistic resources of cinema were discovered by filmmakers working for the general public． During the 1910s and 1920s， for instance， many films that aimed only to be entertaining opened up new possibilities for film editing． As for the matter of value， it's clear that popular traditions can promote art of high quality． Cinema is an art because it offers filmmakers ways to design experiences for viewers， and those experiences can be valuable．
④ Sometimes， too， people treat film art as opposed to film as a business． This split is related to the issue of entertainment， since entertainment generally is sold to a mass audience． Again， however， in most modern societies， no art floats free of economic ties． Novels good， bad， or indifferent are published because publishers expect to sell them． Painters hope that collectors and museums will acquire their work． True， some artworks are funded through taxes or private donations， but that process， too， involves the artist in a financial transaction（交易）． Films are no different． Others are funded by patronage or public moneys． Even if you decide to make your own digital movie， you face the problem of paying for it-and you may hope to earn a little extra for all your time and effort．
The crucial point is that considerations of money don't necessarily make the artist any less creative or the project any less worthwhile． Money can corrupt any line of business （consider politics）， but it doesn't have to． In Renaissance Italy， painters were commissioned by the Catholic church to illustrate events from the Bible． Michaelangelo and Lenonardo da Vinci worked for hire， but it would be hard to argue that it hurt their artistry．
Here we won't assume that film art prevents entertainment． We won't take the opposite position either-claiming that only Hollywood mass-market movies are worth attention． Similarly， we don't think that film art rises above commercial demand， but we also won't assume that money rules everything． Any art form offers a vast range of creative possibilities． Our basic assumption is that as an art， film offers experiences that viewers find worthwhile．
66． Where should the sentence "It doesn't happen by accident．" be put in the passage？ ____
A． ①
B． ②
C． ③
D． ④
67． Which of the following statements about film is TRUE？ ____
A． Hollywood films are usually far more appealing．
B． Film offers a wide variety of creative possibilities．
C． Films are made in the hope that consumers will pay to see them．
D． When watching films， viewers feel controlled by film designers．
68． The writer uses the examples of Michaelangelo and Lenonardo da Vinci to ____ ．
A． indicate that money is unlikely to corrupt artistry
B． show that money doesn't necessarily destroy artistry
C． prove that money cannot buy everything in the field of art
D． suggest that money is an important concern even for famous artists
69． According to the writer， film should ____
A． avoid concentrating on popular traditions
B． focus on artistry rather than entertainment
C． provide the audience with something worthwhile
D． earn enough to pay for the developers' time and effort
70． Which of the following can be the proper title for the passage？ ____
A． Film： art or business
B． Art or entertainment
C． Film offers us experiences
D． Money doesn't rule everything
① For about 100 years， people have been trying to understand why this medium has so attracted us． Films communicate information and ideas， and they show us places and ways of life we might not otherwise know． Important as the benefits are， though， something more is at stake． Films offer us ways of seeing and feeling that we find deeply satisfying． They take us through experiences． The experiences are often driven by stories， with characters we come to care about， but a film might also develop an idea or explore visual qualities or sound textures． A film takes us on a journey， offering a patterned experience that engages our minds and emotions．
② Films are designed to have effects on viewers． Late in the 19th century， moving pictures emerged as a public amusement． They succeeded because they spoke to the imaginative needs of a broad-based audience． All the traditions that emerged- telling fictional stories， recording actual events， animating objects or pictures， experimenting with pure form-aimed to give viewers experiences they couldn't get from other media． The men and women who made films discovered that they could control aspects of cinema to give their audience richer， more engaging experiences． Learning from one another， expanding and refining the options available， filmmakers developed skills that became the basis of film as an art form．
③The popular origins of cinema suggest that some common ways of talking won't help us much in understanding film． Take the distinction between art and entertainment． Some people would say that blockbusters（大片） playing at the multiplex are merely "entertainment"， whereas films for a narrower public-perhaps independent films for festival fare， or specialized experimental works-are true art． Usually the art / entertainment split carries a not-so-hidden value judgment： art is high-brow， whereas entertainment is superficial． Yet things aren't that simple． As we just indicated， many of the artistic resources of cinema were discovered by filmmakers working for the general public． During the 1910s and 1920s， for instance， many films that aimed only to be entertaining opened up new possibilities for film editing． As for the matter of value， it's clear that popular traditions can promote art of high quality． Cinema is an art because it offers filmmakers ways to design experiences for viewers， and those experiences can be valuable．
④ Sometimes， too， people treat film art as opposed to film as a business． This split is related to the issue of entertainment， since entertainment generally is sold to a mass audience． Again， however， in most modern societies， no art floats free of economic ties． Novels good， bad， or indifferent are published because publishers expect to sell them． Painters hope that collectors and museums will acquire their work． True， some artworks are funded through taxes or private donations， but that process， too， involves the artist in a financial transaction（交易）． Films are no different． Others are funded by patronage or public moneys． Even if you decide to make your own digital movie， you face the problem of paying for it-and you may hope to earn a little extra for all your time and effort．
The crucial point is that considerations of money don't necessarily make the artist any less creative or the project any less worthwhile． Money can corrupt any line of business （consider politics）， but it doesn't have to． In Renaissance Italy， painters were commissioned by the Catholic church to illustrate events from the Bible． Michaelangelo and Lenonardo da Vinci worked for hire， but it would be hard to argue that it hurt their artistry．
Here we won't assume that film art prevents entertainment． We won't take the opposite position either-claiming that only Hollywood mass-market movies are worth attention． Similarly， we don't think that film art rises above commercial demand， but we also won't assume that money rules everything． Any art form offers a vast range of creative possibilities． Our basic assumption is that as an art， film offers experiences that viewers find worthwhile．
66． Where should the sentence "It doesn't happen by accident．" be put in the passage？ ____
A． ①
B． ②
C． ③
D． ④
67． Which of the following statements about film is TRUE？ ____
A． Hollywood films are usually far more appealing．
B． Film offers a wide variety of creative possibilities．
C． Films are made in the hope that consumers will pay to see them．
D． When watching films， viewers feel controlled by film designers．
68． The writer uses the examples of Michaelangelo and Lenonardo da Vinci to ____ ．
A． indicate that money is unlikely to corrupt artistry
B． show that money doesn't necessarily destroy artistry
C． prove that money cannot buy everything in the field of art
D． suggest that money is an important concern even for famous artists
69． According to the writer， film should ____
A． avoid concentrating on popular traditions
B． focus on artistry rather than entertainment
C． provide the audience with something worthwhile
D． earn enough to pay for the developers' time and effort
70． Which of the following can be the proper title for the passage？ ____
A． Film： art or business
B． Art or entertainment
C． Film offers us experiences
D． Money doesn't rule everything
题目解答
答案
66．B．篇章结构题．根据第2段末尾A film takes us on a journey， offering a patterned experience that engages our minds and emotions．（一部电影带我们去旅行，提供一种生动的体验来吸引我们的思想和情感．）以及第3段开头Films are designed to have effects on viewers． Late in the 19th century， moving pictures emerged as a public amusement．（电影被设计影响观众．十九世纪晚期，电影成为一种大众娱乐．）可知，电影这种艺术表现形式并不是偶然发生的，它是必然的产物，根据上下文的联系，所以"It doesn't happen by accident．"放在②的位置，起承上启下的作用．故答案为B．
67．B．推理判断题．根据第四段中many films that aimed only to be entertaining opened up new possibilities for film editing．可知，电影提供了多种创新的可能性．故答案为B．
68．B．细节理解题．根据倒数第二段第一句The crucial point is that considerations of money don't necessarily make the artist any less creative or the project any less worthwhile．可知，作者引用Michaelangelo and Lenonardo da Vinci的例子为了表明金钱不一定会毁掉艺术．故答案为B．
69．C．推理判断题．根据第四段最后一句Cinema is an art because it offers filmmakers ways to design experiences for viewers， and those experiences can be valuable．可知，电影应该为观众提供一些有价值的东西．答案为C．
70．A．主旨大意题．根据全文内容可知，本文主要探讨了电影的功能以及电影艺术与商业的关系，故A项Film： art or business是本文最佳主题．故选A．
67．B．推理判断题．根据第四段中many films that aimed only to be entertaining opened up new possibilities for film editing．可知，电影提供了多种创新的可能性．故答案为B．
68．B．细节理解题．根据倒数第二段第一句The crucial point is that considerations of money don't necessarily make the artist any less creative or the project any less worthwhile．可知，作者引用Michaelangelo and Lenonardo da Vinci的例子为了表明金钱不一定会毁掉艺术．故答案为B．
69．C．推理判断题．根据第四段最后一句Cinema is an art because it offers filmmakers ways to design experiences for viewers， and those experiences can be valuable．可知，电影应该为观众提供一些有价值的东西．答案为C．
70．A．主旨大意题．根据全文内容可知，本文主要探讨了电影的功能以及电影艺术与商业的关系，故A项Film： art or business是本文最佳主题．故选A．
解析
核心主旨：文章探讨电影的双重属性——艺术与商业，分析电影如何通过设计观众体验实现其价值，同时回应“电影是艺术还是娱乐”“艺术与商业是否对立”等争议。
考查要点：
- 篇章结构（第66题）：需根据上下文逻辑判断句子位置，关注段落间的衔接关系。
- 细节理解（第67、68题）：需结合原文定位关键信息，注意作者举例的论证目的。
- 推理判断（第69、70题）：需提炼作者隐含观点，结合段落主旨归纳结论。
破题关键：抓住文章反复强调的“电影是艺术因为它能设计有价值的观众体验”这一核心论点，结合段落间对比论证的结构特点。
第66题
关键思路：
- 观察选项段落内容：
- ②段末尾提到电影通过设计观众体验实现价值，末句强调“电影是艺术因为它能设计体验”。
- 插入句“It doesn't happen by accident．”意在说明电影的这种特性并非偶然，而是必然结果。
- 逻辑衔接：②段前文讲电影的起源与功能，后文需总结其必然性，插入句起承上启下作用。
第67题
关键信息：
- 选项B对应第④段“Any art form offers a vast range of creative possibilities．”（任何艺术形式都提供多种创意可能），与原文直接对应。
第68题
论证目的：
- 作者引用达芬奇等例子，为反驳“金钱腐蚀艺术”的观点，说明金钱与艺术创造力可以共存，强调“金钱不必然破坏艺术性”。
第69题
观点定位：
- 第④段末句明确指出“Cinema is an art because it offers filmmakers ways to design experiences for viewers， and those experiences can be valuable．”（电影是艺术因为它能设计有价值的体验）。
第70题
主旨归纳：
- 文章反复讨论电影的商业属性与艺术属性是否对立，最终结论是两者可以兼容，故标题应体现这一核心矛盾。