2023貴州教師招聘考試英語學科筆試題23

http://guizhou.hteacher.net 2023-05-05 17:54 貴州教師招聘 [您的教師考試網(wǎng)]

“I don’t know the future,” shrugged Neo in 1999’s The Matrix. “I came here to tell you how it’s going to begin.” With him, on-screen and off, The Matrix pulled audiences into the future of cinema.

The Matrix. Magnolia. Being John Malkovich. Fight Club. The Blair Witch Project. The Sixth Sense. Office Space Man on the Moon. The Talented Mr. Ripley. Boys Don? Cry. Three Kings. Toy Story 2. The Iron Giant. Eyes Wide Shut. Cruel Intentions. Election. American Pie. Notting Hill and Runaway Bride. 1999 might be the greatest year of modem cinema. I think so. If you aren’t crazy about two-thirds of these films, do you even like movies?

What’s certain, however, is that 1999 is the most vital year of modern cinema — the moment that Hollywood featured the chosen ones who would become the heroes of the new millennium(千禧年), from David Fincher to Spike Jonze to a young girl named Angelina Jolie, who introduced herself to the public by winning best supporting actress for playing a mental patient.

What explains 1999’s extraordinary films? DVD sales began in 1997 and flooded studios with extra cash, especially in those first years as home viewers built their collection. Studios invested their money in a generation of upstart (初出茅廬的) directors, predicting that audiences would buy a good film twice: once in the theater, and again for their shelf.

Suddenly, the geniuses who’d been discovered during the independent wave in Sundance Film Festival in the 1990s were entrusted (委托) with millions of dollars. It was a creative renaissance. Directors seized the chance to get weird. Paul Thomas Anderson scored $37 million to shoot Magnolia. David O Russell shouldered $47 million to satirize (譏諷) the Gulf war. Even Spike Jonze, a music video director with zero film credits to his name, secured $13 million to transport audiences to a multiverse (多元宇宙).

These up-and-coming directors became major 21st-century voices. Part of the reason Anderson, Russell and Jonze are still the kings is that today’s directors haven’t been given the same golden ticket. The talent exists; the cash doesn’t. Ambitious mid-priced films went extinct when the DVD empire began to fall apart in 2008. Instead of betting on filmmakers with personal styles, studios put their chips on big screen superheroes. Stand out at this year’s Sundance, and instead of being handed the freedom to dream, you’ll be given the keys to a special permission — and a conference table of producers as supervisors. Or you’ll stay small forever, struggling to be seen amid the crush of streaming media competing for the audience’s attention.

Have a close look at the films of 1999 and we have a suspicion that we’re stuck in The Matrix ourselves. The near past is repeating like an endless programme. But we’re also feeling a deeper connection to 1999. The Year 2000 panic triggered filmmakers to think pessimistically about the future of human survival. And some of the directors feared that mankind had become too weak and materialistic to survive the millennium.

Therefore, in 1999 our heroes didn't win. They failed. They disappeared. They died. They blew up their world. But some film-makers still believe that the future is our world and we can change our tomorrow.

13. Which of the following is TRUE according to Paragraphs 2 and 3?

A. A majority of the audience are crazy about the movies produced in 1999.

B. The Sixth Sense and Toy Story 2 were among the great movies of 1999.

C. Angelina Jolie was acknowledged as the best leading actress of the year.

D. There appeared a bunch of big screen superheroes to save the world.

13.【答案】B

【解析】細節(jié)理解題。根據(jù)第二段“The Matrix. Magnolia. Being John Malkovich. Fight Club. The Blair Witch Project. The Sixth Sense. Office Space. Man on the Moon. The Talented Mr. Ripley. Boys Don? Cry. Three Kings. Toy Story 2. The Iron Giant. Eyes Wide Shut. Cruel Intentions. Election. American Pie. Notting Hill and Runaway Bride. 1999 might be the greatest year of modem cinema.”可知，The Sixth Sense and Toy Story 2都是1999年的杰出電影。而在第二和第三段中，A、C、D項都沒有體現(xiàn)，故選B。

14. The film studios invested in a generation of upstart directors partly because ______.

A. they predicted more money would be made by selling DVDs

B. those directors cooperated better with young film stars

C. people were attracted to theatres by superheroes

D. directors seized the chance to persuade them to do so

14.【答案】A

【解析】細節(jié)理解題。根據(jù)第四段第三句“Studios invested their money in a generation of upstart directors, predicting that audiences would buy a good film twice: once in the theater, and again for their shelf.”可知，電影公司把他們的錢投資在新生代導演身上，預測觀眾會兩次購買一部好電影：一次是在電影院，一次是在他們的架子上，也就是說會有更多的觀眾買DVD，故選A。

15. The underlined expression “the same golden ticket” probably refers to ______.

A. good films B. excellent characters

C. fame and privilege D. money and chance

15.【答案】D

【解析】詞義猜測題。根據(jù)第六段第三句“The talent exists; the cash doesn’t. Ambitious mid-priced films went extinct when the DVD empire began to fall apart in 2008”可知，中等價位電影不再有充足的投資;根據(jù)第六段第五句“Instead of betting on filmmakers with personal styles, studios put their chips on big screen superheroes.”可知，制片公司沒有把賭注押在有個人風格的電影制作人身上，而是把賭注押在了大銀幕上的超級英雄身上，這意味著機會的減少。綜上，the same golden ticket意味著金錢和機會的減少，故選D。

16. The sentence “The risk paid off.” should be placed at the beginning of Paragraph ______.

A. Three B. four

C. Six D. seven

16.【答案】C

【解析】細節(jié)理解題。The risk paid off.意為“風險得到了回報”。根據(jù)第六段第六句“Stand out at this year’s Sundance, and instead of being handed the freedom to dream, you’ll be given the keys to a special permission”可知，在今年的圣丹斯電影節(jié)(Sundance)上脫穎而出，說明投資的風險得到了回報，故選C。

17. The underlined part “in 1999 our heroes didn't win. They failed. They disappeared. They died. They blew up their world.” shows that ______

A. those filmmakers were pessimistic about the future of human survival

B. sad ending movies were well received by home viewers at that time

C. tragedies have had a lasting influence on modern films since 1999

D. the following generation would have a deeper connection to 1999

17.【答案】A

【解析】細節(jié)理解題。根據(jù)第七段可知，1999年的電影表現(xiàn)出了對人類的悲觀，一些導演擔心人類已經(jīng)變得過于軟弱和物質主義，無法在這個千年中生存下去。第八段劃線部分是對于第七段的總結的藝術化的表達，以說明那些電影制作人對人類生存的未來感到悲觀，故選A。

18. Which is the best title of this film review?

A. 1999 — the Beginning of Modern Cinema

B. Millennium — a Cinema Season of Panic

C. 21st Century — a Pessimistic Future of Human Being

D. 1999 — the Greatest Year in Modern Cinema

18.【答案】D

【解析】主旨大意題。作者在文章中列舉了很多1999年的杰出電影，也分析了出現(xiàn)這么多杰出電影的原因，還明確表示W(wǎng)hat’s certain, however, is that 1999 is the most vital year of modern cinema.所以D選項最能夠概括整篇文章的意思，適合作本文的題目，故選D。