hce_cmu
107年
英文
第 22 題
📖 題組：
The shift from silent to sound film at the end of the 1920’s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has 21 being regarded as a similar kind of watershed. In nearly every language, 22 the words are phrased, the most basic division in cinema history lies between films that are mute and films that speak. Yet this most fundamental standard of historical periodization conceals a host of 23 . Nearly every movie theater, however modest, had a piano or organ to provide musical accompaniment to silent pictures. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongside movies’ visual images, from the Japanese benshi (narrators) crafting multivoiced dialogue narratives to original musical compositions performed by symphony-size orchestras in Europe and the United States. Beyond that, the triumph of recorded sounds 24 the rich diversity of technological and aesthetic experiments with the visual image that were going forward simultaneously in the 1920’s. New color process, larger or differently shaped screen sizes, multiple-screen projections, even television, were among the developments invented or tried out during the period, sometimes with limited success. The high costs of converting to sound and the early limitations of sound technology were among the factors that suppressed innovations or retarded advancement in these other areas. The introduction of new screen formats was put off for a quarter century, and color, though utilized over the next two decades for special productions, also did not 25 until the 1950’s.
The shift from silent to sound film at the end of the 1920’s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has 21 being regarded as a similar kind of watershed. In nearly every language, 22 the words are phrased, the most basic division in cinema history lies between films that are mute and films that speak. Yet this most fundamental standard of historical periodization conceals a host of 23 . Nearly every movie theater, however modest, had a piano or organ to provide musical accompaniment to silent pictures. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongside movies’ visual images, from the Japanese benshi (narrators) crafting multivoiced dialogue narratives to original musical compositions performed by symphony-size orchestras in Europe and the United States. Beyond that, the triumph of recorded sounds 24 the rich diversity of technological and aesthetic experiments with the visual image that were going forward simultaneously in the 1920’s. New color process, larger or differently shaped screen sizes, multiple-screen projections, even television, were among the developments invented or tried out during the period, sometimes with limited success. The high costs of converting to sound and the early limitations of sound technology were among the factors that suppressed innovations or retarded advancement in these other areas. The introduction of new screen formats was put off for a quarter century, and color, though utilized over the next two decades for special productions, also did not 25 until the 1950’s.
22.
- A because
- B however
- C regarding
- D therefore
- E though
思路引導 VIP
請觀察空格後方的句型「the words are phrased」（這些話語被表達出來），這是一個完整的動作描述。如果我們想表達「無論是用『什麼方式』來表達這句話，結果都是一樣的」，你會聯想到哪一個疑問詞可以轉化為具有「無論如何」意義的連接詞呢？
🤖
AI 詳解
AI 專屬家教
複合關係代名詞的靈活運用
恭喜你精準地掌握了這題的邏輯！你能選出 (B) however，代表你正確辨識出此處並非一般的轉折語法，而是作為連接詞引導一個讓步子句，表達「無論如何」的概念。這句話的意思是：在幾乎每一種語言中，無論措辭如何（no matter how），電影史上最基本的劃分始終存在於「無聲」與「有聲」之間。這裡的 however 修飾的是整個動詞片語 phrased 的方式，展現了語言形式雖異，但核心概念一致的對比。
難度切入點與語意判讀
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