广西英语专业四级、八级考试准考证打印相关事宜

SECTION B INTERVIEW

Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the following five questions.

Now listen to the interview.

听力原文：Interviewer: Well Charles, I must say that your shop is pretty remarkable. Um, it's basically a sweetshop, but you also do stationery and greeting cards and tobacco and fireworks

Shopkeeper: And newspapers.

Interviewer: And newspapers. Ah. And apart from all that, you've got photocopiers...

Shopkeeper: That's right.

Interviewer: And a fax machine.

Shopkeeper: Indeed.

Interviewer: Yes. How did. I mean, why the photocopiers?

Shopkeeper: Everything that's happened in my shop has almost happened by accident. But when I got into Clifton, I needed a photocopy one day and no one could tell me where to go. So it struck me that if I didn't know where to go, other people were in the same situation, so that's why I started it. And then I added on a facsimile machine because it seemed like a natural progression at the time. And all sorts of people use it.

Interviewer: Yes, who, what sort of people do use it?

Shopkeeper: Um, a lot of professional people —surveyors, engineers — particularly people who need to send plans. Because in the past you could send messages via telex, but a telex can't express a plan, whereas facsimile has that dimension, the added dimension.

Interviewer: Right. And do people send these fax messages abroad, or is it just to this country?

Shopkeeper: Well, it's surprising because when I started, I thought I'd be sending things to London and maybe Birmingham but, in fact, a high percentage of it is sent abroad, because it's immediate, it's very speedy. You can send a message and get an answer back very quickly.

Interviewer: And how much would it cost, for example, if I wanted to send a fax to the United States?

Shopkeeper: Well, a fax to the United States would cost you five pounds for a page. And when you think that in England by the Royal Mail, it would cost you twelve pounds to send a page by special delivery, it's actually a good value.

Interviewer: OK. What about your hours? How long do you have to spend actually in the shop?

Shopkeeper: Well, the shop is open from, essentially from eight in the morning until six at night, six days a week, and then a sort of fairly flexible morning on a Sunday. Um, and of those hours, I'm in it quite a lot.

Interviewer: And how long have you actually had the shop?

Shopkeeper: I started to have my shop in 1982, the 22nd of December, oh, sorry, the 22nd of November. It sticks in my brain.

Interviewer: And did you enjoy it?

Shopkeeper: Yes, overall I enjoy it. Running a business by yourself is jolly hard work and you never quite like every aspect all the time. 95% of the customers I love. Uh, 2% I really, you know, I'm not too bothered about. And 3% I positively hate.

Interviewer: What, What's the problem with those? Are they people who stay around and talk to you when you're busy or complain or what?

Shopkeeper: Um, it's bard to categorize really. I find people who are just totally rude, urn, unnecessary, and I don't really need their custom. And I suppose they form. the volume of the people that I don't like. But it's a very, very, very small percentage.

Interviewer: But is there a danger that shops like yours will disappear, more and more?

Shopkeeper" I think there's a very, very great danger that the majority of them will disappear.

Interviewer: Why's that?

Shopkeeper: Simply because costs of running a shop have just become very, very high. To give you some example, in the time that I've been there, my rent has quadrupled, the local property tax have doubled, other costs have gone up proportionately. And at the end of the day it is a little bit hard to try to keep u

A．cigarettes

B．exercise books

C．photocopiers

D．chocolates

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. Those 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 ______.

A．are like films

B．may not narrate events chronologically

C．exploit cinema's language

D．feature juxtaposed images

【M2】

Charles does not like customers who ______.

A．are very rude

B．keep talking to him when he is busy

C．only buy small things

D．bargain with him too much