托福備考時TPO托福?？架浖τ谕懈３煽兊奶嵘欠浅Ｓ袔椭?。托福閱讀可以說是整個托?？荚嚠?dāng)中比較重要的一個部分，如何利用現(xiàn)有資料TPO模考軟件來提升大家的托福成績呢?今天小編在這里整理了TPO53托福閱讀Passage2原文及答案解析來分享給大家，希望對大家托福閱讀備考有幫助。

　　TPO53托福閱讀Passage2原文文本

　　Sounds In The Film

　　Listen to part of a lecture in a film studies class.

　　Professor: Nowadays we take sound in films for granted. I mean you still might see black and white films occasionally. But you'll hardly ever see silent films anymore.

　　So it's interesting to note that the use of recorded sound was originally controversial. And some directors, uh, some filmmakers even thought it shouldn't be used, that it would destroy the purity of cinema, somehow reverse all the progress that had been made in the art of cinema. Abby?

　　Abby: What about all the sounds you hear in some silent movies? Like, you know, a loud sound when somebody falls down or something?

　　Professor: Okay, you're talking about a soundtrack added much later, which has over time become part of the film we know. But this recorded track didn't exist then.

　　And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater.

　　Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common.

　　Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action, an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise.

　　So, it finally became possible to play recorded sound as part of the film in the 1920s. Trouble was, it wasn't always used to very good effect. First it was, you know, amazing to see somebody's mouth move at the same time you hear the words, or hear a door close when you see it closing on screen.

　　But that luster wears off, of course. And if you're a director, a filmmaker, what's the next step?

　　Abby: Well, you sound to enhance the movie right? Bring something more to it that wasn’t possible?

　　Professor: Yes. That’s exactly what directors, who were more interested in cinema as art, not commerce, were thinking.

　　But they also predicted that there would be a problem that sound would be misused and, boy, was it ever.Because the commercial types, the producers and so on, were thinking, “Okay. Now that sound is possible, let's talk as much as possible and forget about the fact that we're making a movie, that we have this powerful visual medium.”

　　So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. The name they used for sound films then was “talking films” and that was on the mark, since, well, all they pretty much did was talk and talk.

　　So, remedy? Well what was proposed by a number of filmmakers and theorists was the creative expressive use of sound, what they generally called nonsynchronous sound.

　　Okay, synchronous sound means basically that what we hear is what we see. Everything on the soundtrack is seen on the screen. And everything was recorded simultaneously, which… Well, since the sound technicians working on films often had experience with live radio that made sense to them. Recording the sound separately and adding it in afterward? Well, that idea was less obvious.

　　Anyway synchronous sound means the source of the sound is the image on the screen.Nonsynchronous sound then is…

　　Abby: The sound doesn't match the picture?

　　Professor: Right. Now we can look at this in various ways. But let's take it as literally as possible.

　　Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous.

　　So, that doesn't seem so radical, does it? But again, those early producers didn't think their audiences could keep up with this.

　　Abby: Excuse me, but did you say earlier that some filmmakers actually advocated not using sound at all?

　　Professor: Well, yes. But that was a bit of an exaggeration, I guess. What I meant to say was that some filmmakers thought that the way the film sound was actually used was setting the art of filmmaking back.But everyone agreed that sounds solved some very difficult issues and offered potentially exciting tools.

　　TPO53托福閱讀Passage2題目

　　Question 1 of 5

　　What is the lecture mainly about?

　　A. The influence of theater on early sound films

　　B. Conflicting views on uses of sound during the early days of sound films

　　C. The great progress in cinema after the development of sound

　　D. Viewer reactions to early sound films

　　Question 2 of 5

　　According to the professor, what types of sound were used in silent film theaters? Click on 3 answers

　　A. Live music performed in the theater

　　B. Sound effects created in the theater

　　C. Recorded sound tracks played with the film

　　D. Live narration during the film

　　E. Musical entertainment offered before the film

　　Question 3 of 5

　　What is the professor's attitude toward early movie producers?

　　A. He is critical of their influence on films.

　　B. He thinks they had little influence on films.

　　C. He thinks they understood what audiences wanted.

　　D. He acknowledges that they made progress possible.

　　Question 4 of 5

　　According to the professor, what was characteristic of sound films in the 1920s?

　　A. Dialogues between characters were kept to a minimum.

　　B. Many films were closely based on theater plays.

　　C. Musical sound tracks were added to most films.

　　D. Sounds were recorded separately and added to films later.

　　Question 5 of 5

　　What is an example of synchronous sound in a film?

　　A. A character hearing a train that is not visible

　　B. A past conversation being replayed in a character's mind

　　C. A character playing guitar and singing on screen

　　D. A song playing at the end of a film as credits appear on the screen

　　TPO53托福閱讀Passage2解析

　　正確答案：B

　　題目解析：本題定位到原文：So it's interesting to note that the use of recorded sound was originally controversial. 此處原文的大意是：我們不妨來說說聲音最開始應(yīng)用的時候是怎樣有爭議的。 題干問的是這個講座的大意是什么。 選項A的意思是電影院對于早期有聲電影的影響，選項B的意思是早期有聲電影的聲音使用中的爭論，選項C的意思是在聲音發(fā)展之后電影的巨大進步，選項D的意思是觀看者對于早期有聲電影的反應(yīng)。只有選項B符合原文，其余三個選項都不合適。

　　正確答案：ABD

　　題目解析：本題定位到原文：And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater. ...... Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common. ...... Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action. 此處原文的大意是： 1. 以前的電影不是不需要聲音，而是技術(shù)沒有發(fā)展到可以加進聲音的程度，而且當(dāng)時還有現(xiàn)場演奏; 2. 劇院里已經(jīng)使用了很好聲音效果很長時間了; 3. 電影播放現(xiàn)場會有配音演員現(xiàn)場發(fā)聲; 題干問的是默片劇院會使用怎樣的聲音。 選項A的意思是現(xiàn)場音樂演奏，選項B的意思是劇院里創(chuàng)造出來的音效，選項C的意思是錄制好的聲音，選項D的意思是電影里的現(xiàn)場旁白，選項E的意思是電影之前的音樂演出。選項ABD符合原文。其余兩個則不符合。

　　正確答案：A

　　題目解析：本題定位到原文：an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise. 此處原文的大意是：這一點很好地例證了當(dāng)時絕多數(shù)情況下只顧掙錢的影片制作人，對自己的觀眾沒信心，擔(dān)心不這么做，觀眾就看不懂電影了。題干問的是教授對于早期電影制作人的態(tài)度。 選項A的意思是他對他們在電影上的影響持批判的態(tài)度，選項B的意思是他覺得他們沒有影響電影，選項C的意思是他覺得他們能理解觀眾需要的東西，選項D的意思是他認為他們可能會有進步。只有選項A合適，其余三個選項均不符合原文。

　　正確答案：B

　　題目解析：本題定位到原文：So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. 此處原文的大意是：因此，20年代的電影基本上都是直接從舞臺(也就是劇院)里成功的戲劇直接轉(zhuǎn)換過來的。 題干問的是二十世紀二十年代有聲電影的特征是什么。選項A的意思是角色之間的對話最少，選項B的意思是很多電影是緊緊基于戲劇的，選項C的意思是音樂被添加到了大多數(shù)電影里，選項D的意思是聲音被單獨錄制然后后期加進電影里。選項B合適原文，其余三個選項均不合適。

　　正確答案：C

　　題目解析：本題定位到原文：Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous. 此處原文的大意是：除非我們看到無線電或者管弦樂隊，音樂就是“非同步聲”。如果攝像機拍到的是聽眾，而不是演講者，那就是“非同步聲”。如果我們聽到的不在屏幕上的背景音，那就是“非同步聲”。 題干問的是同步聲的例子是哪一個。 選項A的意思是角色聽到火車聲但看不到火車，選項B的意思是過去的對話在角色腦海中重現(xiàn)，選項C的意思是角色彈吉他唱歌，選項D的意思是片尾曲。只有選項C符合原文，其余三個選項不符合。

　　托福閱讀細節(jié)題應(yīng)該注意哪些錯誤

　　一、托福閱讀細節(jié)題不會定位

　　提及定位，恐怕所有的同學(xué)都會說定位非常簡單。但是，是不是所有同學(xué)都可以準確定位，并且高效地完成閱讀中的細節(jié)題呢?其實不然，我們來看以下這道出自TPO16套的細節(jié)題：

　　According to paragraph 2, how did Middle Eastern shop owners treat their workers?

　　有的同學(xué)一看到這個題目，第一反應(yīng)就是用Middle Eastern shop

　　owners去原文定位，很快可以找到本段的第二句話：Production was generally in the hands of skilled individual artisans doing piecework under the tutelage of a master who was also the shop owner.但是，當(dāng)我們讀過這句話之后，發(fā)現(xiàn)它并沒有回答前面的問題，于是我們開始糾結(jié)。在將這句話反反復(fù)復(fù)看了好幾遍卻仍然找不到答案之后，我們才開始繼續(xù)往下看。有些同學(xué)甚至為了尋找答案干脆將整段看一遍。但是，如果大家一開始在定位的時候，用的是shop owner, treat,和workers來定位，大家就很容易就知道這道題是在問shop

　　owner和workers之間的關(guān)系，在讀原文第二句話時很快就能發(fā)現(xiàn)這句話并沒有提到任何與關(guān)系相關(guān)的單詞。于是往下尋找和關(guān)系有關(guān)的詞或者句子。我們很快便會看到后面有一個In these shops differences of rank were blurred，也就是說在這些shop里等級區(qū)別模糊了。這不正是說明了owner和worker之間的這種等級關(guān)系么?因此，不難確定，這句話才是我們要找的答案。

　　二、托福閱讀細節(jié)題糾結(jié)選項

　　在選項上糾結(jié)的這類同學(xué)，在對文章的定位上一般不存在問題。他們的問題是，在找到原文之后，卻覺得幾個選項在文章中都出現(xiàn)過，于是一遍遍地再來讀文章。這樣做既費時費力，又不一定能對。

　　對于這些同學(xué)，老師提醒大家，你們需要謹記的就是“符合原文”四個大字。

　　例如TPO2中的一道題，假定通過定位我們已經(jīng)找到了原文中答案所在的句子：the presence of a fluke1 and blowhole2 cannot disguise their affinities with land dwelling mammals.這道題對應(yīng)有兩個選項：

　　A It clearly indicates that cetaceans are mammals.

　　B It cannot conceal the fact that cetaceans are mammals.

　　這時愛糾結(jié)的同學(xué)們又開始糾結(jié)了，兩個都說cetaceans是mammals，怎么選?親愛的同學(xué)們，你們首先要搞清楚原文到底說的是什么，是說“暗示”還是說“不能掩蓋”?如果是說暗示，那就選a，因為a選項清楚的有一個indicate，如果是說不能掩蓋，那就選b，因為b選項中有一個cannot conceal。

　　三、托福閱讀細節(jié)題單詞量少

　　單詞量少是一個困擾絕大多數(shù)考生的問題。對于備考托福的同學(xué)來說，攻克單詞這個難題，只有一個方法-背!在備考期間大家需要大量地背單詞。但是，即使我們很努力的去背了單詞，依然會在做題的時候碰到一些我們不認識的單詞。這個時候，很多同學(xué)就會慌了手腳，不知道怎么辦才好。其實，一篇文章對我們造成困難的，不是那些人名、地名和專有名詞，而是構(gòu)成我們要理解的這句話的基本結(jié)構(gòu)。因此，如果碰到一句很長的話，里面有一些生單詞，大家不要慌張。只要把這句話的結(jié)構(gòu)弄清楚，你就能讀懂這句話的大致意思了。這樣，所謂的單詞也就不再是你的攔路虎了。我們來看一個TPO1里的句子：

　　Immediately adjacent to the timberline, the tundra consists of a fairly complete cover of low-lying shrubs, herbs, and grasses, while higher up the number and diversity of species decrease until there is much bare ground with occasional mosses and lichens and some prostrate cushion plants.

　　雖然這句話中生僻的詞比較多，但是如果我們能夠找出句子的主干，那么這句話就會容易很多。整句的主干結(jié)構(gòu)是這樣的：adjacent to timberline, the tundra consists of shrubs and grasses and so on, while rise up, the species and diversities will decrease.

　　同學(xué)們只要能讀出來這句話的核心意思是“靠近林木線的土地上到處覆蓋著灌木和草，而海拔高度提高的時候，物種減少直到出現(xiàn)大片的荒地”，我們就能夠理解這個句子。但是理解的前提是，你必須平時要好好的背單詞，如果連一些很簡單的單詞，例如blur，stimulate都不認識，那么建議大家還是在背單詞上多下點功夫吧!

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