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Traditionally, the American farmer has always been independent and hard-working. In the eighteenth century farmers were quite self-sufficient. The farm family grew and made almost nothing it needed. The surplus crop would be sold to buy a new __1__items in the local general store.
In 1860, because some of the farm population had moved to __2__the city, yet eighty percent of the American population was still in the country. In the late nineteen century, farm work and life __3__were not much changed from that they had been in old days. The __4__farmer aroused at dawn or before and had much work to do, with __5__his own muscles like his chief source of power. He used axes, __6__spades and other complicated tools. In his house cooking was done __7__in wood-burning stoves, and the kerosene lamp was the only improvement on the candle. The family's recreation and social life chiefly consisted a drive in the wagon to the nearby small town or __8__village to transact some business as well as to chat with neighbors who had also come to town.
The children attended a small elementary school (often of just one room) to that they had to walk every day, possibly for a __9__few miles. The school term was short so that the children could not help on the farm. Although the whole family worked, and life __10__was not easy, farmers as a class were self-reliant and independent.
听力原文： Today I would like to talk about the early days of movie making in the late nineteen and the early twentieth centuries. Before the pioneering films of D. W. Griffith, filmmakers were limited by several misguided conventions of the era.
According to one, the camera was always fixed at a viewpoint corresponding to that of the spectator in the theatre, a position now known as the long shot. It was another convention that the position of the camera never changed in the middle of a scene. In last week's films, we saw how Griffith ignored both these limiting conventions and brought the camera closer to the actor. This shot, now known as a full shot, was considered revolutionary at the time. For love of Gold was the name of the film in which we saw the first use of the full shot. After progressing from the long shot m the full shot, the nest logical step for Griffith was to bring in the camera still closer, in what is now called the closeup. The close up had been used before though only rarely and merely as a visual stunt, as for example, in Edward Asport's "The Great Train Robbery", which was made in 1903. But not until 1908 in Griffth's movie called "After Many Years" was the dramatic potential of the closeup first exploited. In the scene from "After Many Years" that we are about to see, pay special attention to the closeup of Annie Lee's worded face as she awaits her husband's return. In 1908, this closeup shocked everyone in the Biogress Studio. But Griffith bad no time for argument. He bad another surprise even more radical to offer. Immediately following the closeup of Annie, he inserted a picture of the object of her thoughts, her husband cast away on a desert isle. This cutting from one scene to another without finishing either of them brought a torrent of criticism on the experimenter.
(33)
A．Full shots.
B．Long shots.
C．Action shots.
D．Close up shots.
A、nineteen and ninety---nine
B、nineteen ninety---nine
C、one thousand nine hundred and ninety---nine
D、nineteen hundred and ninety---nine
Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves--anything but making works of art. In the nineteen century, photography' s association with the real world placed it in an ambivalent relation to art; late in the twentieth century, an ambivalent relation exists because of the Modernist heritage in art. That important photographers are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art, shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.
Photographers' disclaimers of any interest in making art tell us more about the harried slaws of the contemporary notion of art than about whether photography is or not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting.
Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity--in short, an art.
In the passage, the author is primarily concerned with ______.
A．defining the Modernist attitude toward art
B．explaining the attitudes of serious contemporary photographers toward photography as art and placing those attitudes in their historical context
C．explaining how photography emerged as a fine art after the controversies of the nineteenth century
D．defining the various approaches that serious contemporary photographers take toward the art and assessing the value of each of those approaches
A．enjoyment
B．appreciation
C．evaluation
D．reputation
A.Twenty years.
B.Nineteen years.
C.Thirty years.
D.Forty years.
A. GateTwo
B. thegatetwo
C. thetwogate
D. secondgate
A.astonish
B.astonishment
C.astonishing
D.astonished
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