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Like many eco-conscious films, I’ve seen Dont Look Up many times, and shown it to my friends and family whenever anyone suggests a movie night. I rarely pass up the moment to educate my loved ones on any possible disaster or crisis in an entertaining or thought-inspiring way. It’s a refreshing break from the usual doom-mongering that conversations can often get into. The power of cinema in communicating the climate crisis plays a critical role in affecting public attitudes and behaviors in relation to environmental justice.

Films appeal to our emotions in a way scientific presentation, academic papers or broadcast interview rarely can. Accordingly, films have an unusual way of engaging our emotions, which is a vital step in driving changes in people’s behavior. Films can make full use of this by presenting climate messages within fantastic narratives (叙述) that seasoned movie watchers will be familiar with. In the case of Dont Look Up, it’s about meteor (流星) strikes. For The End We Start From, it’s extreme flooding. In First Reformed, climate activism is the predominant focus.

Films and TV dramas can also bring the vastness of climate disaster down to earth by integrating everyday events. The TV series Years and Years, launches climate issues into public debate, helping viewers relate to the characters’ experiences. The End We Start From, set in an extreme flood in London, follows the everyday experience of having a newborn child. This creates a heart-felt emotional connect ion between the themes of the film and the viewers’ own experiences. The Day After Tomorrow, the first hit released in 2004, enhances public awareness and concern through its vivid imagery of environmental disaster.

Films like this generate a strong empathetic (同理心的) connect ion that can help people change the way they behave far more than facts and data can. Of course, the growing type of climate change cinema is not always scientifically accurate. But if cinema is to be used more forcefully as a tool to raise the public awareness of climate crisis, then accuracy is not entirely necessary: it is the emotional connection and thrilling storytelling that are most crucial.

【小题1】What does the underlined word “doom-mongering” probably mean?
A.Misfortune.B.Imbalance.C.Disbelief.D.Irrelevance.
【小题2】What can be inferred about climate disaster movies from Paragraph 2?
A.They can change environmental efforts.B.They can uniquely create emotional link.
C.They can help viewers out of their trouble.D.They can solve social issues academically.
【小题3】How is Paragraph 3 mainly developed?
A.By inferring results.B.By analyzing reasons.
C.By giving examples.D.By making comparisons.
【小题4】What of the following might the author agree with?
A.Disaster films are educational and entertaining.
B.Scientific accuracy is a necessity for disaster films.
C.The growing popularity of cinema is not desirable.
D.Public awareness of entertainment needs raising.
2024·安徽阜阳·模拟预测
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When Malaika Vaz was a kid, living in Goa, India, she was constantly surrounded by nature. Among her childhood experiences, she recalls journeys to the Arctic and Antarctic, climbing mountains, diving, and windsurfing.

At some point in her late teens, Vaz realized adventure didn’t really mean anything if there wasn’t an intention to protect the natural spaces we were exploring in. Motivated by her passion for filmmaking, she began to seek a way that would both satisfy her appetite for adventure and allow her to advocate the protection of the species and ecosystems she interacted with.

Today Vaz wears many hats in the filmmaking world, as a documentary director, producer, and presenter. After falling in love with manta rays (蝠鲼), she discovered they were being hunted illegally and started to dress herself as a seafood trader to get as close as possible to the issue. She traced sellers to figure out why the threatened species were being killed. She shared the shocking details in Peng Yu Sai, her Green Oscar-nominated film on the matter.

The subjects that grab her attention, Vaz admits, run the gamut. When she was asked to define her focus, she replied that she preferred variety. She always argues that the issues she looks into are more interrelated than they may initially appear. “I think that it’s exciting to dive into the different aspects of environmental stories,” she says.

Her work doesn’t stop at recording important stories; she also ensures the message is heard. From Vaz’s viewpoint, real improvement in planetary protection lies in the hands of each of us rather than just those of several environmentalists. “If you’re an engineer and you care about the natural world, you can change the kind of construction materials you use. If you’re a teacher loving nature, you can bring that into the learning for your class.” she says.

As a filmmaker, Vaz believes it’s important to figure out ways that attract the audience who can push for the protection of the natural world.

【小题1】What did Malaika Vaz decide to do in her late teens?
A.Motivate children to get close to nature.
B.Make a film about her childhood experiences.
C.Develop a passion for an adventurous lifestyle.
D.Combine nature exploration with nature conservation.
【小题2】What is the film Peng Yu Sai mainly about?
A.The role of manta rays in the local economy.B.Vaz’s personal life as a seafood trader.
C.The threatened species in India.D.The illegal trade in manta rays.
【小题3】What does the underlined part “run the gamut” in Paragraph 4 probably mean?
A.Are quite popular.B.Cover a wide range.
C.Make little progress.D.Are hard to deal with.
【小题4】What message does the author convey in Paragraph 5?
A.Human beings are closely linked to nature.
B.Stories are effective in changing people’s behavior.
C.Everyone can make a difference to the environment.
D.Environmentalists play a big part in solving environmental issues.
Language teachers have been using films in their classes for decades. 【小题1】

Learning from films is motivating and enjoyable.

Motivation is one of the most important factors in learning second-language, while films are an important part of students’ entertaining lives. 【小题2】 So it makes perfect sense to bring them into the language classroom.

【小题3】

Students can use examples of English from films in real situations outside the classroom. Films expose students to natural expressions and the natural flow of speech. If not living in an English-speaking environment, perhaps only films can provide learners with this real-life language input.

Films give a visual context.

The visuality of films makes them an invaluable language teaching tool. They enable students to understand more by transforming the language in a full visual context. Students can listen to language exchanges and see facial expressions and gestures at the same time. 【小题4】

Films bring about variety and flexibility.

Films can extend the range of teaching techniques and resources, helping students to develop all four communicative skills. 【小题5】 They can also act as a starting point for follow-up tasks such as discussions, debates on social issues, role plays, reconstructing a dialogue or summarizing.

Given the benefits of using films in language learning, it’s not surprising that many teachers are keen to use films with their students. An increasing number of them are successfully integrating films into the language-learning courses.

A.Films provide practical and varied language.
B.Films help to attract the learners’ attention.
C.There are a number of reasons why films are an excellent teaching and learning tool.
D.With so many film resources, it’s sometimes difficult for teachers to see the wood for the trees.
E.They can work as a motivator and make the language learning process more enjoyable.
F.These clues help the spreading of message and provide a focus of attention.
G.For example, films can be used to practise listening and reading, and as a model for speaking and writing.
People fell in love with Elizabeth Taylor in 1944, when she starred in National Velvet—the story of Velvet Brown, a young girl who wins the first place in a famous horse race. At first, the producers of the movie told Taylor that she was too small to play the part of Velvet. However, they waited for her for a few months as she exercised and trained—and added three inches to her height in four months! Her acting in National Velvet is still considered the best by a child actress.
Elizabeth Taylor was born in London, four years after her parents, both Americans, had moved there for business reasons in 1928. When World War II started, the Taylor moved to Beverly Hills, California, and there Elizabeth started acting in movies. After her success as a child star, Taylor had no trouble moving into adult roles and won twice for Best Actress: Butterfield (1960) and Who’s Afraid of Virginia Woolf ? (1966)
Taylor’s fame(名声)and popularity gave her a lot of power with the movie industry, so she was able to demand very high pay for her movies. In 1963, she received $1 million for her part in Cleopatra—the highest pay received by any star up to that time.
Elizabeth Taylor is a legend (传奇人物) of our time. Like Velvet Brown in National Velvet, she has been lucky, she has beauty, fame and wealth. But she is also a hard worker. Taylor seldom acts in movies any more. Instead, she puts her time and efforts into her businesses, and into helping others—several years ago, she founded an organization that has raised more than $40 million for research and education.
【小题1】The producers didn’t let Taylor play the part of Velvet at first because they thought she ____.
A.was too young
B.was small in size
C.did not play well enough
D.did not show much interest
【小题2】What Elizabeth Taylor and Velvet Brown had in common was that they were both _____.
A.popular all their lives
B.famous actresses
C.rich and kind-hearted
D.successful when very young
【小题3】Taylor became Best Actress at the age of .
A.12B.28C.32D.34
【小题4】In her later life, Elizabeth Taylor devoted herself to             .
A.turning herself into a legend
B.collecting money for the poor
C.doing business and helping others
D.do research and education work

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