評(píng)論
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adj. 引起爭(zhēng)論的，有爭(zhēng)議的
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Passage Two
Questions 57 to 61 are based on the following passage.
One positive consequence of our current national crisis may be at least a temporary shadow in Hollywood’s culture of violence. Fearful of offending audiences in the wake of the terrorist attack, some moviemakers have postponed the release of film with terrorist themes. Television writers are delaying scripts with warlike and terrorist scenarios (劇本提綱).It is probably good thinking. My local video store tells me nobody is checking out “disaster” movies. Says the manager, “Currently, people want comedy. They want an escape from stories about violence and terrorism.” Similarly, in the music business, there’s a run on patriotic and inspirational tapes and CDs.
According to The New York Times, the self scrutiny among these czars (特權(quán)人物) of mass-entertainment taste is unprecedented in scale, sweeping aside hundreds of millions of dollars in projects that no longer seem appropriate. A reasonable concern is that this might be a short term phenomenon. Once life returns to something more normal, will Hollywood return to its bad old ways? The Times offers a glimmer of hope. The industry’s titans (巨頭),it suggests, are struggling with much more difficulties, long range questions of what the public will want once the initial shock from the terrorist attacks wears off. Many in the industry admit they do not know where the boundaries of taste and consumer tolerance now lie.
This is an opportunity for some of us to suggest to Hollywood where that boundary of consumer tolerance is, especially those of us who have not yet convinced Hollywood to cease its descent into ever lower of the dumbness of our young.
The nonprofit Parents Television Council, which monitors the quality of TV programming, says in its latest report that today’s TV shows are more laced than ever with vulgarities, sexual immorality, crudities, violence, and foul language. The traditional family hour between 8p.m.and 9p.m., when the networks used to offer programs for the entire family, has disappeared. The problem looks like it will get worse.
That certainly looked to be the case before the Sept.11th assault. One pre attack New York Times story reported that TV producers were crusading (討伐) for scripts that include every crude word imaginable. The struggles between net-work censors and producers, according to the report, were “growing more intense”. Producers like Aaron Sorkin of “The West Wing” planned to keep pushing hard. He was quoted as saying,“There’s absolutely no reason why we can’t use the language of adulthood in programs that are about adults”.
My guess is that a lot of adults don’t use the language Mr. Sorkin wants to use, and don’t enjoy having their children hear it. At this moment of crisis in our nation’s history, thought has become more thoughtful, prayerful, and spiritual. It may be the time to tell the entertainment industry that we want not a temporary pause in the flow of tastelessness, but a long term clean-up.
57. Some filmmakers hesitate to release new films with violent content because________ .
A) they want to show themselves to be patriots
B) they are afraid such films may anger audiences
C) films with violence in them are no longer popu1ar
D) films with terrorist themes are reflections on violence.
58. The “self-scrutiny” in the second paragraph refers to filmmakers attempt to____________ .
A) produce appropriate films with no violent content for the audiences
B) prevent themselves from slipping into their old bad ways
C) understand to what extent their films have contributed to the national crisis
D) find out where the boundaries of taste and consumer tolerance lie
59. The author thinks that it is time for the general audience to__________ .
A) tell filmmakers where the boundaries of their taste lie
B) point out to Hollywood how bad their films are
C) accuse the filmmakers of desensitizing their children
D) ask filmmakers to make films that reflect traditional family life
60. Which of the following statements is TRUE about Aaron Sorkin?
A) He is strongly against using crude language in films.
B) He starts the struggles between network censors and producer.
C) He insists no restraint be set to the language used in films.
D) He believes that it is time to clean up the entertainment industry.
61. The author’s purpose in writing this passage is_________ .
A) to acknowledge the current practice of the entertainment industry
B) to show his admiration for the current practice of the entertainment industry
C) to accuse the entertainment industry of their current practice
D) to show tolerance of the current practice of the entertainment industry
| 重點(diǎn)單詞 | 查看全部解釋 | |||
| controversial | [.kɔntrə'və:ʃəl] |
想一想再看 |
聯(lián)想記憶 | |
| fearful | ['fiəfəl] |
想一想再看 adj. 擔(dān)心的，可怕的 |
||
| opposing | [ə'pəuziŋ] |
想一想再看 adj. 反作用的，反向的，相反的，對(duì)立的 動(dòng)詞oppo |
||
| sarcastic | [sɑ:'kæstik] |
想一想再看 adj. 諷刺的 |
||
| deterrent | [di'terənt] |
想一想再看 adj. 制止，防止，挽留 n. 挽留的事物，妨礙物 |
聯(lián)想記憶 | |
| current | ['kʌrənt] |
想一想再看 n. (水、氣、電)流，趨勢(shì) |
聯(lián)想記憶 | |
| penalty | ['penəlti] |
想一想再看 n. 處罰，懲罰 |
聯(lián)想記憶 | |
| accuse | [ə'kju:z] |
想一想再看 v. 指責(zé)，控告，譴責(zé) |
聯(lián)想記憶 | |
| escape | [is'keip] |
想一想再看 v. 逃跑，逃脫，避開(kāi) |
||
| convincing | [kən'vinsiŋ] |
想一想再看 adj. 使人信服的，有力的，令人心悅誠(chéng)服的 vbl. |
聯(lián)想記憶 |
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