非英语专业的人可以考专四专八吗？

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

What is Wilmington like now?

A．It's a prosperous city.

B．It has many veterans of war.

C．Its pretty buildings have been torn down.

D．It is no longer an agreeable place.

How would you describe the author's attitude towards current learning strategies?

A．Distanced.

B．Admiring.

C．Objective.

D．Ironical.

Most people think of lions as strictly African beasts, but only because they've been killed off almost everywhere else. Ten thousand years ago lions spanned vast sections of the globe, and so did people, who —as they multiplied and organized —pat pressure on competitors at the top of the food chain. Now lions hold only a small fraction of their former habitat, and Asiatic lions, a subspecies that split from African lions perhaps 100,000 years ago, hang on to an almost impossibly small slice of their former domain.

India is the proud steward of these 300 or so lions, which live primarily in a 560-square-mile (1,450-square-kilometer) sanctuary. It took me a year and a half to get a permit to explore the entire Gir Forest —and no time at all to see why these lions became symbols of royalty and greatness. A tiger will slink through the forest unseen, but a lion stands its ground, curious and unafraid —lionhearted. Though they told me in subtle ways when I got too close, Gir's lions allowed me unique glimpses into their lives during my three months in the forest. It's odd to think that they are threatened by extinction; Gir has as many lions as it can hold —too many, in fact. With territory in short supply, lions prowl the periphery of the forest and even leave it altogether, often clashing with people. That's one reason India is creating a second sanctuary. There are other pressing reasons: outbreaks of disease or natural disasters. In 1994 canine distemper killed more than a third of Africa's Serengeti lions —thousand animals —a fate that could easily befall Gir's cats. These lions, saved by a prince at the turn of the 20th century, are especially vulnerable to disease because they descend from as few as a dozen individuals. "If you do a DNA fingerprint, Asiatic lions actually look like identical twins," says Stephen O'Brien, a geneticist who has studied them. Yet the perils are hidden, and you wouldn't suspect them by watching these lords of the forest. The lions exude vitality, and no small measure of charm.

Though the gentle intimacy of play vanishes when it's time to eat, meals in Git are not necessarily frenzied affairs. For a mother and cub sharing a deer, or a young male relishing an antelope, there's no need to fight for a cut of the kill. Prey animals are generally smaller in Gir than they are in Africa, and hunting groups tend to be smaller as well. The lions themselves aren't as big as African lions, and they have shorter manes and a long fold of skin on their undersides that many lions in Africa don't have.

What impressed the author most when he went to watch the lions in the Gir Forest?

A．The lions were on the brink of extinction.

B．They were suffering from a fatal disease.

C．They allowed him to see their vitality and charm at close quarters.

D．Mother lion and her cub shared a deer.