题目内容
TEXT E Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-1948). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the actors. The exploitation of the camera’s possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot. Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space. Besides developing the cinema’s language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith’s introduction of the American-made multireel picture began an elaborate historical and philosophical spectacle. It reached the unprecedented length of four reels, or one hour’s running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema. Griffith’s film innovations had a direct effect on all of the following EXCEPT ______.
查看答案
搜索结果不匹配？点我反馈
更多问题
【背景材料】 项目概况：B1水利枢纽是一座以防洪为主，结合发电、灌溉、航运、供水等综合利用的大型水利工程，是以公益为主的项目，社会效益非常显著。B1水利枢纽位于A1省B1市的C1江上，坝址在B1市城区上游的××村，该枢纽的范围属两省(区)的结合部，是老革命根据地，目前属于老、少、边、贫地区。B1水利枢纽正常蓄水位的水库面积136平方公里，A1省占75.1%，A2省占 24.9%，涉及A1省的B1市、××县和A2省的××县，计有12个乡(镇)、42个村政府、169个自然村和A1省劳改局所属的B1茶场。共计淹没耕地6.09万亩，需要迁移人口2.70万人。库区人口95%为壮族，其他民族为汉族和瑶族，各族人民在中国共产党的领导下长期和睦相处。库区主要是农业人口，受教育程度较低，文盲和半文盲人口占较大比例。库区农民以种植业为主，没有较大的工矿企业，乡镇企业规模也很小，主要的粮食作物为水稻和玉米，经济作物有甘蔗、木薯等。近年新种植了芒果、龙眼、荔枝和板栗，但还未形成产业，经济落后，生活贫困。B1水利枢纽建设对B1市沿岸防洪及全A1省经济建设将发挥巨大作用，防洪受益区约200万人口热切希望该工程早日兴建。 【问题】
TEXT E Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-1948). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the actors. The exploitation of the camera’s possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot. Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space. Besides developing the cinema’s language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith’s introduction of the American-made multireel picture began an elaborate historical and philosophical spectacle. It reached the unprecedented length of four reels, or one hour’s running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema. The author of this passage seems to imply that Victorian novels ______.
甲公司为一建筑公司，2002年4月与客户签订了一项建筑合同，合同总金额为2 400万元，工程于2002年6月开工，预计2004年6月完工，合同在2002年年末的预计总成本为1 900万元，2003年由于客户提出需要增加部分建筑，经双方协商同意，客户同意另支付金额为100万元的投资，2003年12月31日，预计工程总成本为2 000万元，与建造合同有关的详细资料如表9—1所示： 表9—1 单位：万元2002年度2003年度2004年度累计实际发生成本5701 5002000已结算工程价款5001 200800实际收到价款4501 000950 假定该项建造合同的结果能够可靠估计，甲公司采用累计实际发生的合同成本占合同预计总成本的比例来确定该合同的完工程度。 要求： (1)计算2002年度的合同收入、成本与毛利及编制有关的会计分录。 (2)计算2003年度的合同收入、成本与毛利及编制有关的会计分录。 (3)计算2004年度的合同收入、成本与毛利及编制有关的会计分录。
怎样进行资产负债率分析
微信支付 
支付宝支付