2023贵州教师招聘考试英语学科笔试题23

http://guizhou.hteacher.net 2023-05-05 17:54 贵州教师招聘 [您的教师考试网]

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“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 (初出茅庐的) 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 (讥讽) 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】细节理解题。根据第二段“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年的杰出电影。而在第二和第三段中，A、C、D项都没有体现，故选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】细节理解题。根据第四段第三句“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，电影公司把他们的钱投资在新生代导演身上，预测观众会两次购买一部好电影：一次是在电影院，一次是在他们的架子上，也就是说会有更多的观众买DVD，故选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】词义猜测题。根据第六段第三句“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，中等价位电影不再有充足的投资;根据第六段第五句“Instead of betting on filmmakers with personal styles, studios put their chips on big screen superheroes.”可知，制片公司没有把赌注押在有个人风格的电影制作人身上，而是把赌注押在了大银幕上的超级英雄身上，这意味着机会的减少。综上，the same golden ticket意味着金钱和机会的减少，故选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】细节理解题。The risk paid off.意为“风险得到了回报”。根据第六段第六句“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，在今年的圣丹斯电影节(Sundance)上脱颖而出，说明投资的风险得到了回报，故选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】细节理解题。根据第七段可知，1999年的电影表现出了对人类的悲观，一些导演担心人类已经变得过于软弱和物质主义，无法在这个千年中生存下去。第八段划线部分是对于第七段的总结的艺术化的表达，以说明那些电影制作人对人类生存的未来感到悲观，故选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】主旨大意题。作者在文章中列举了很多1999年的杰出电影，也分析了出现这么多杰出电影的原因，还明确表示What’s certain, however, is that 1999 is the most vital year of modern cinema.所以D选项最能够概括整篇文章的意思，适合作本文的题目，故选D。

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