很多雅思考生為了提高雅思閱讀分數，做了很多題目，但成效不大，這時可以想想是不是備考書籍選擇不當造成，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帶來了劍橋雅思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

  關鍵詞: first paragraph

  定位原文: 第1段整體內容

  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的主要看法，很難使用此段中的某一句話來確定答案，需要考生讀懂本段大意并對比四個選項內容，從而做出恰當選擇。

  A項說“導演應該在拍攝的早期階段就計劃好電影原聲”，而原文中只是提及“規劃音效也應該是導演的職責所在”,并未提及是否該早早動手規劃;C項說“音樂產業可以對電影中的聲音產生有益影響”，這個信息完全不曾被提及;D項說“負責電影中聲音的工作人員應該對音效擔負起完全的責任來，這很重要”，更是故意曲解了文中的“統籌音效和關注畫面質量同樣都是導演的應有之責”，混淆視聽。對比可得正確答案為B項。

  Question 15

  答案: A

  關鍵詞: 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項說“觀眾希望演員在視覺上適合他們所扮演的角色”，也就是說希望演員的外貌特征符合角色描述，但本段反復提及的著眼點在于“性格特征”而非外貌;C項屬于完全未被提及的信息;D項說“觀眾更傾向于對話要盡可能顯得真實”，雖然本段確實意在解釋“對話”在電影中所扮演的角色，但是并有明確說到它必須像真的，所以也不對。

  Question 16

  答案： B

  關鍵詞： third paragraph

  定位原文： 第3段內容

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

  Question 17

  答案： D

  關鍵詞： Bringing Up Baby

  定位原文： 第4段內容

  解題思路： 問的是關于Bringing Up Baby 這部電影說了什么，根據本段內容，作者說這部電影故意使用了又快又滑稽的對話形式來突出影片的荒誕風格。因此正確答案為選項D“對話的性質強化了影片中的關鍵元素。”A項說“由于電影制作人想要關注幽默對話而使情節受到了損害”;B項說“對話幫助這部電影成為了有史以來最好的喜劇電影之一”;C項說“對話的速度與動作的速度之間不匹配”。這三項內容在本段中都不曾被提及。

  Question 18

  答案: C

  關鍵詞： ‘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”聲來說明，模擬真實情況的聲音_____。A項說“經常被用來讓觀眾對影片中的事件產生錯誤印象”;B項說“可能會被觀眾中的不同成員按照不同的方式進行理解”;D項說“往往在那些展示現實場景的電影中顯得更為重要”。這三項內容在本段不曾被提及。而C中“也有可能加以改變用來控制觀眾對電影的反應”是定位處的同義表達。

  Question 19

  答案: TRUE

  關鍵詞： 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，觀眾有可能會感到奇怪。”是同義表達。

  Question 20

  答案： TRUE

  關鍵詞： background music, anticipate, development

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

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

  Question 21

  答案： NOT GIVEN

  關鍵詞： 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： 文中與題目有關的定位區域在第7段，文中說到，通常可能不是故意讓人注意的，只是說背景音樂通常奠定了故事的基調，或者人物的感情態度，再者，預示氛圍變化。而題目中卻說背景音樂對一些人產生的效果比對另一些人所產生的效果更大。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

  關鍵詞： background music, make certain connections

  定位原文： 第8段內容

  解題思路: 題目說背景音樂可以幫助觀眾在影片中(不同場景之間)找到某些關聯，在閱讀第8段第1句后，即可大致判斷這個表述是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： 定位處已經明確說明聲音的效果通常來說是非常微妙的，只是潛意識才能注意到。而題目說的是“觀眾往往會注意到背景音樂如何對他們產生影響。” 題目中用background music，原文中用了sound這個簡單詞，正文中所使用的effects一詞與題干中affect的同義替換，對比內容，可知答案為FALSE。

  Question 24

  答案: C

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

  Question 25

  答案： A

  關鍵詞： 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完成兩個目標，一是講述故事，二是表達人物感情和動機，很容易選到A:當觀眾聽著對話的時候。

  Question 26

  答案： E

  關鍵詞： 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： 定位原文處說到音質符合人物的外表，姿勢，一個非常真實的人物形象就出來了。題目問的是“一個角色看似更像一個真實的人而非一位演員”，所以選項E“當演員的外貌、聲音和動作彼此協調一致時”是正確選項。

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