現在大傢在進行托福備考時 TPO 托福模考軟件相信是大傢用的最多的工具瞭，對於托福成績的提升是非常有幫助的。托福聽力可以說是整個托福考試當中比較重要的一個部分，如何利用現有資料 TPO 模考軟件來提升大傢的托福成績呢 ? 今天小編在這裡整理瞭 TPO3 托福聽力 Lecture2 文本 + 題目 + 答案解析來分享給大傢，希望對大傢托福聽力備考有幫助。
TPO3 托福聽力 Lecture2 原文文本
Narrator: Listen to part of a lecture in a film history class.
Professor: Okay, we ’ ve been discussing films in the 1920s and 30s, and how back then film categories, as we know them today, had not yet been established. We said that by today ’ s standards, many of the films of the 20s and 30s would be considered hybrids, that is, a mixture of styles that wouldn ’ t exactly fit into any of today ’ s categories, and in that context.
Today we are going to talk about a film-maker who began making very unique films in the late 1920s. He was French, and his name was Jean Painlev é . Jean Painlev é was born in 1902. He made his first film in 1928. Now in a way, Painlev é ’ s films conform to norms of the 20s and 30s, that is, they don ’ t fit very neatly into the categories we use to classify films today. That said, even by the standards of the 20s and 30s, Painlev é ’ s films were unique, a hybrid of styles.
He had a special way of fusing, or some people might say confusing, science and fiction. His films begin with facts, but then they become more and more fictional. They gradually add more and more fictional elements. In fact, Painlev é was known for saying that science is fiction.
Painlev é was a pioneer in underwater film-making, and a lot of his short films focused on the aquatic animal world. He liked to show small underwater creatures, displaying what seemed like familiar human characteristics – what we think of as unique to humans. He might take a clip of a mollusk going up and down in the water and set it to music.
You know, to make it look like the mollusk were dancing to the music like a human being – that sort of thing. But then he suddenly changed the image or narration to remind us how different the animals are, how unlike humans. He confused his audience in the way he portrayed the animals he filmed, mixing up on notions of the categories of humans and animals.
The films make us a little uncomfortable at times because we are uncertain about what we are seeing. It gives him films an uncanny feature: the familiar made unfamiliar, the normal made suspicious. He liked twists, he liked the unusual. In fact, one of his favorite sea animals was the seahorse because with seahorses, it ’ s the male that carries the eggs, and he thought that was great. His first and most celebrated underwater film is about the seahorse. Susan, you have a question?
Student 1: But underwater film-making wasn ’ t that unusual, was it? I mean, weren ’ t there other people making movies underwater?
Professor: Well, actually, it was pretty rare at that time. I mean, we are talking about the early 1920s.
Student 1: But what about Jacques Cousteau? Was he like an innovator, you know, with underwater photography too?
Professor: Ah, Jacques Cousteau. Well, Painlev é and Cousteau did both film underwater, and they were both innovators, so you are right in that sense. But that ’ s pretty much where the similarities end. First of all, Painlev é was about 20 years ahead of Cousteau.
And Cousteau ’ s adventures were high-tech, with lots of fancy equipment, whereas Painlev é kind of patched the equipment together as he needed it. Cousteau usually filmed large animals, usually in the open sea, whereas Painlev é generally filmed smaller animals, and he liked to film in shallow water.
Uh, what else, oh well, the main difference was that Cousteau simply investigated and presented the facts – he didn ’ t mix in fiction. He was a strict documentarist. He set the standard really for the nature documentary. Painlev é , on the other hand, as we said before, mixed in elements of fiction. And his films are much more artistic, incorporating music as an important element. John, you have a question?
Student 2: Well, maybe I shouldn ’ t be asking this, but if Painlev é ’ s films are so special, so good, why haven ’ t we ever heard of them? I mean, everyone ’ s heard of Jacques Cousteau.
Professor: Well, that ’ s a fair question. Uh, the short answer is that Painlev é ’ s style just never caught on with the public. I mean, it probably goes back at least in part to where we mentioned earlier, that people didn ’ t know what to make of his films – they were confused by them, whereas Cousteau ’ s documentaries were very straightforward, met people ’ s expectations more than Painlev é ’ s films did. But you are true: film history is about what we know about them. And Painlev é is still highly respected in many circles.
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TPO3 托福聽力 Lecture2 題目文本
Question 1 of 6
What is the main purpose of the lecture?
A. To discuss the style of an early filmmaker..
B. To describe different types of filmmaking in the 1930s..
C. To discuss the emergence of the documentary film..
D. To describe Painleve's influence on today's science-fiction films..
Question 2 of 6
Why are Painleve's films typical of the films of the 1920s and 1930s?
A. They do not have sound..
B. They are filmed underwater..
C. They are easy to understand..
D. They difficult to categorize..
Question 3 of 6
According to the professor,how did Painleve's film confuse the audience?
A. They show animals out of their natural habitat..
B. They depict animals as having both human and animal characteristics..
C. The narration is scientific and difficult to understand..
D. The audiences of the 1920s and 1930s were not used to films shot underwater..
Question 4 of 6
Why does the professor mention sea horses?
A. To explain that they were difficult to film in the 1930s..
B. To point out that Cousteau made documentaries about them..
C. To illustrate Pianleve's fascination with unusual animals..
D. To explain why Painleve's underwater films were not successful..
Question 5 of 6
Why does the professor compare the film style of Jacques Cousteau and Jean Painleve?
A. To explain how Painleve influenced Cousteau..
B. To emphasize the uniqueness of Painleve's filming style..
C. To emphasize the artistic value of Cousteau's documentary films..
D. To demonstrate the superiority of Painleve's filmmaking equipment..
Question 6 of 6
What does the student imply when he say this:
A. He does not like Jean Painleve's films..
B. He thinks that the professor should spend more time discussing Jacques Cousteau's film..
C. He believes that high quality filmmakers are usually well known..
D. He believes that Jean Painleve's film have been unfairly overlooked..
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TPO3 托福聽力 Lecture2 答案解析
正確答案：A
題目解析：Today we are going to talk about a film-maker who began making very unique films in the late 1920s. Today 之前的一大段內容 Professor 都是在 review 上節課的內容，而從 today 之後的一句話則是今天這節課的重點，也就是 main purpose。B，D 是以偏蓋全，要討論的不隻是 Painleve ’ s influence 或者他的風格。C 為無關選項，文中的重點並不是紀錄片的出現。
正確答案：D
題目解析：Now in a way, Painlev é ’ s films conform to norms of the 20s and 30s, that is, they don ’ t fit very neatly into the categories we use to classify films today. That said, even by the standards of the 20s and 30s, Painlev é ’ s films were unique, a hybrid of styles. 從本句描述出看出，P 的電影風格無論在當時或現在都獨特且是一種混合的風格，無法歸類。A 是無聲電影時代共同的特點， B 的話也有其他人拍攝水下電影且可以歸類為記錄片 C 與事實相反 P 的電影難以理解。
正確答案：B
題目解析：A 與事實不符，依然在動物棲息地拍攝，C 是文中提到的但並不能回答這個問題，而且他的電影是 start with scientific 內容，之後有變化。D 在當時也有別的水下電影拍攝者。
正確答案：C
題目解析：首先說 P 喜歡與眾不同的事物，然後說 one of his favorite sea animals was the seahorse。顯然 seahorse 是一個體現他喜歡與眾不同事物的例子。A,B,D 則不想關。
題目解析：He set the standard really for the nature documentary. Painlev é , on the other hand, as we said before, mixed in elements of fiction. And his films are much more artistic, incorporating music as an important element. 一系列的比較就是為瞭體現出 P 的風格是獨特的，與眾不同的。C 以偏蓋全 artistic value 是 P 特色的一部分。D 錯誤，文中強調的是 Cousteau 的設備。A 未提及。
題目解析：從教授之後的回答中可以體現出學生對 P 的質疑來自於 P 沒有 C 那樣的名氣，這反映出學生相信優秀的電影人應該是知名的。A 過於主觀，顯然學生是不瞭解而不是不喜歡。B,D 未提及。
以上就是小編為大傢整理瞭 TPO3 托福聽力 Lecture2 文本 + 題目 + 答案解析，大傢可以邊借助 TPO 模考軟件聽音頻看看自己哪些地方聽不懂，然後來看看原文，同時對練習托福聽力精聽也是很有幫助的。最後，小站教育編輯預祝大傢托福考試能取得理想的成績。
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