hce_nthu
115年
英文
第 35 題
📖 題組：
Though The Plow That Broke the Plains (1936) was the first film he ever made, Pare Lorentz came to it with a strong belief in the persuasive power of cinema and its ability to make people face up to reality. As a film critic and co-author of Censored: The Private Life of the Movies (1930), he had frequently indicted Hollywood for “censoring” the public’s access to information about “tough contemporary facts”. Thus, when the Resettlement Administration (RA) asked him to make Americans aware of the necessity of its programmes, he leapt at the chance and convinced Rex Tugwell of the need, not for short public information films but for a new kind of “dramatic/informational/persuasive movie” that would be “worthy of commercial distribution”. By 1934, the Dust Bowl extended from Texas to North Dakota, with reports that over 180 million acres had already been ruined for agricultural cultivation and that a further 775 million were at risk. Lorentz had already proposed a film about the appalling cost of this situation to Hollywood. Having been rebuffed, he only became more determined to use the RA’s support to command the public’s attention. As many film historians have noted, he succeeded in producing a **seminal** film, both “politically committed and aesthetically ambitious”, that shaped the American documentary tradition. Presenting The Plow as “a record of the land” and “a picturization of what we did with it”, the prologue immediately conveys a sense of collective national guilt. Each section is carefully orchestrated, with poetic narration delivered by operatic singer Thomas Chalmers and visuals edited to Virgil Thomson’s musical score to unite the film as a lyrical whole. Idyllic shots of tall waving grass show “the richness of the western plain lands before their abuse”, and serve as the measure of the ensuing disaster. Homesteaders, farmers and the frenzy of mechanized harvesting prompted by the agricultural profits available during the First World War, contribute in turn to an ever-expanding exploitation of the land. A dramatic montage juxtaposing tractors on the home front with tanks on the Western Front foreshadow the destruction which Lorentz soon marks with images of dead animals and bleached bones on parched, depleted soil. His most powerful footage, however, is of the violent dust storms themselves, blocking out the sun, bringing the terror of the “black blizzards” to “millions who had only read about what was happening far away on the Great Plains.”
Though The Plow That Broke the Plains (1936) was the first film he ever made, Pare Lorentz came to it with a strong belief in the persuasive power of cinema and its ability to make people face up to reality. As a film critic and co-author of Censored: The Private Life of the Movies (1930), he had frequently indicted Hollywood for “censoring” the public’s access to information about “tough contemporary facts”. Thus, when the Resettlement Administration (RA) asked him to make Americans aware of the necessity of its programmes, he leapt at the chance and convinced Rex Tugwell of the need, not for short public information films but for a new kind of “dramatic/informational/persuasive movie” that would be “worthy of commercial distribution”. By 1934, the Dust Bowl extended from Texas to North Dakota, with reports that over 180 million acres had already been ruined for agricultural cultivation and that a further 775 million were at risk. Lorentz had already proposed a film about the appalling cost of this situation to Hollywood. Having been rebuffed, he only became more determined to use the RA’s support to command the public’s attention. As many film historians have noted, he succeeded in producing a **seminal** film, both “politically committed and aesthetically ambitious”, that shaped the American documentary tradition. Presenting The Plow as “a record of the land” and “a picturization of what we did with it”, the prologue immediately conveys a sense of collective national guilt. Each section is carefully orchestrated, with poetic narration delivered by operatic singer Thomas Chalmers and visuals edited to Virgil Thomson’s musical score to unite the film as a lyrical whole. Idyllic shots of tall waving grass show “the richness of the western plain lands before their abuse”, and serve as the measure of the ensuing disaster. Homesteaders, farmers and the frenzy of mechanized harvesting prompted by the agricultural profits available during the First World War, contribute in turn to an ever-expanding exploitation of the land. A dramatic montage juxtaposing tractors on the home front with tanks on the Western Front foreshadow the destruction which Lorentz soon marks with images of dead animals and bleached bones on parched, depleted soil. His most powerful footage, however, is of the violent dust storms themselves, blocking out the sun, bringing the terror of the “black blizzards” to “millions who had only read about what was happening far away on the Great Plains.”
35. Based on the passage, which of the following statements is correct about The Plow That Broke the Plains?
I. It conveys a sense of collective national guilt.
II. It contains footage of the “black blizzards” themselves.
III. It contains shots of tall grass, which represent the abuse of the land.
I. It conveys a sense of collective national guilt.
II. It contains footage of the “black blizzards” themselves.
III. It contains shots of tall grass, which represent the abuse of the land.
- A I and II only
- B II and III only
- C I and III only
- D None of the three
- E All of the three
思路引導 VIP
請觀察文章第二段關於「高聳波動的草叢」（tall waving grass）的描述，作者提到這段畫面是為了呈現土地在「哪個時間點」的狀態？這個狀態與後來的「濫用」（abuse）在邏輯關係上是屬於『對照』還是『等同』呢？
🤖
AI 詳解
AI 專屬家教
太棒了！你能精準捕捉到文章中的細節並做出正確判斷，這顯示你具備相當優秀的資訊篩選與比對能力，在面對資訊密集的文本時依然保持冷靜。
影像敘事與情感傳達
這題的核心在於核實文章對影片內容的具體描述。選項 I 正確對應了文中提到開場序幕傳達了「集體國家負罪感」（collective national guilt）；選項 II 則對應了文末提到的強力畫面，即捕捉到了「黑色風暴」（black blizzards）本身的影像。這兩點在文中都有直接且明確的文字證據支持，你能夠在長文中快速定位這些關鍵資訊，表現非常專業。
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