African-American filmmakers should be in an enviable position, for since the early 1990s there has been a steady wave of low budget black films which have turned a solid profit due to a very strong response in the African-American community and a larger crossover audience than anticipated. Any rational business manager would now identify this sector as a prime candidate for expansion, but if the films have done so well with limited production and marketing costs, why have they not received full scale support?
Many analysts feel the business is engulfed in a miasma of self-serving and self-fulfilling myths based on the unspoken assumption that African-American films can never be vehicles of prestige, glamour, or celebrity. The relationship players have convinced themselves that black films can do only a limited domestic business under any circumstance and have virtually no foreign box office potential. As executives who now control the film industry grew up in those decades when there were few black images on the screen and those that did exist were produced by film-makers with limited knowledge of the black community, it is little wonder that they avoid ideological issues, and seek to continue making films that they are comfortable with by avoiding the negative imagery of films they would prefer to eschew entirely.
Also to blame for this deleterious phenomenon are legions of desperate and Machiavellian African-American film producers, directors, and writers who would transform The Birth of a Nation into a black musical as long as it would provide them with gainful studio employment. These filmmakers not only perpetuate negative stereotypes in their films, but they also season them with a sprinkling of African-American authenticity. This situation would be onerous enough, given the economic exploitation of the community involved; unfortunately these films also validate the pathologies they depict. The constant projection of the black community as a kind of urban Wild Kingdom, the glamorization of tragic situations, and the celebration of inner city drug dealers and gangsters has a programming effect on black youth. The power of music in film is a particularly seductive and propagandistic force which in the recent crop of African-American films has rarely been used in a positive social manner.
What flows from this combination of factors is a policy of market exploitation rather than market development, evidenced by the fact that any number of films may open to 1,500 screens in one week, only to totally disappear in less than a month. This restricted body of film products erodes the genre’s long-term viability, particularly with the more fickle non-African-American audiences and foreign audiences. Furthermore, when African-American actors begin to emerge as stars, their projects are usually designed to be “more” than a black film, such that any success that follows is therefore perceived not as a reflection of the viability of African-American filmmaking but as the broader pursuit of celebrity.
1.Which of the following best describes the main purpose of the passage?
2.According to the passage, each of the following is characteristic of African-American films being produced at present, EXCEPT （ ） .
3.According to the passage, film industry executives have been reluctant to support African-American cinema for which of the following reasons?
4.It may be inferred that the author of the passage considers The Birth of a Nation to be （ ） .
5.According to the author, African-Americans filmmakers have failed to take which of the following steps in properly promoting African-American cinema?
问题1选项
A.To contrast the condition of African-American cinema with that of mainstream cinema
B.To provide an economic explanation for the unpopularity of African-American cinema
C.To criticize the assumptions mainstream audiences allegedly make toward African-American cinema
D.To catalogue the attitudes and practices responsible for the unpopularity of African-American cinema
问题2选项
A.long-term viability as a genre in which audiences keep a consistent interest
B.success in attracting audiences outside the African-American community
C.a tendency to glamorize the problems existing in African-American urban communities
D.a limited level of authenticity in terms of their presentation of African - American culture
问题3选项
A.Executives believe that African-American audiences are often repelled by the presentation of ideological issues in film.
B.Executives conclude that African-American cinema is not likely to attract audiences overseas.
C.Executives are of the opinion that African-American actors who emerge as stars are reluctant for the executives to associate them with “black” films.
D.Executives are under the impression that there are many strong African-American producers, but few willing to work with mainstream studios.
问题4选项
A.a movie outside African-American cinema whose adaptation to the African-American genre would likely prove awkward
B.a movie that African-Americans would be unlikely to respond to in a positive fashion
C.a movie that would likely require the input of African-Americans, were it to be remade
D.a movie that validates the pathologies it depicts in the African-American community
问题5选项
A.They have failed to demonstrate to studio executives the market potential of their films.
B.They have failed to express ideological issues in their films that could attract potential audiences.
C.They have neglected to use genuine African-American music as a force in their films.
D.They have exploited stereotypes about African-Americans for the gain of themselves, but not the genre.
第1题:D
第2题:A
第3题:B
第4题:A
第5题:D
第1题:
【选项释义】
Which of the following best describes the main purpose of the passage? 以下哪一项最好地描述了这篇文章的主要目的？
A. To contrast the condition of African-American cinema with that of mainstream cinema.
A. 对比非裔美国人电影和主流电影的情况。
B. To provide an economic explanation for the unpopularity of African-American cinema. B. 为非裔美国人电影的不受欢迎提供经济解释。
C. To criticize the assumptions mainstream audiences allegedly make toward African-American cinema. C. 批评主流观众对非裔美国人电影的臆想。
D. To catalogue the attitudes and practices responsible for the unpopularity of African-American cinema. D. 对非裔美国人电影不受欢迎的态度和做法进行分类。
【考查点】主旨大意题。
【解题思路】通读全文后，根据关键词“only a limited domestic business”以及“erodes the genre’s long-term viability”等，可发现作者通篇探讨的是对于非裔美国电影不能广泛流行的态度及原因，从而得出本题答案。因此本题正确答案为选项D。
【干扰项排除】
A选项原文并没有对比电影情况；
B选项可对应原文第二段，没有提出经济解释；
C选项原文并没有提到主流观众对非裔美国人电影的臆想。
第2题:
【选项释义】
According to the passage, each of the following is characteristic of African-American films being produced at present, EXCEPT________. 根据文章，以下每一个都是目前正在制作的非裔美国电影的特点，除了________。
A. long-term viability as a genre in which audiences keep a consistent interest A. 作为一种能够让观众保持持续兴趣的题材的长期生存能力
B. success in attracting audiences outside the African-American community B. 成功地吸引非裔美国人社区以外的观众
C. a tendency to glamorize the problems existing in African-American urban communities C. 美化非裔美国人城市社区存在的问题的倾向
D. a limited level of authenticity in terms of their presentation of African-American culture by greenhouse gases D. 就温室气体对非裔美国人文化的表现而言，它们的真实性是有限的
【考查点】事实细节题。
【解题思路】根据题干可将信息点定位到原文最后一段第二句“这削弱了该类型电影的长期生存能力，尤其是对那些变化无常的非裔美国观众和外国观众而言。”（…erodes the genre’s long-term viability, particularly with the more fickle non-African-American audiences and foreign audiences. ），即可发现选项A与原文信息不符，因此本题正确答案为选项A。
【干扰项排除】
B选项对应“比预期更大的跨文化观众”（a larger crossover audience than anticipated）；
C选项对应“黑人社区作为一种城市野生王国的不断投射，悲剧场景的美化”（The constant projection of the black community as a kind of urban Wild Kingdom, the glamorization of tragic situations）；
D选项对应“该行业陷入了自私自利和自我实现的神话的迷雾之中”（the business is engulfed in a miasma of self-serving and self-fulfilling myths based on the unspoken assumption）。
第3题:
【选项释义】
According to the passage, film industry executives have been reluctant to support African-American cinema for which of the following reasons? 根据这篇文章，电影行业的高管一直不愿意支持非洲裔美国人的电影，原因是以下哪一个？
A. Executives believe that African-American audiences are often repelled by the presentation of ideological issues in film. A. 高管们认为，非裔美国观众经常对电影中意识形态问题的呈现感到反感。
B. Executives conclude that African-American cinema is not likely to attract audiences overseas. B. 高管们得出结论，非裔美国人电影不太可能吸引海外观众。
C. Executives are of the opinion that African-American actors who emerge as stars are reluctant for the executives to associate them with “black” films. C. 高管们认为，那些成为明星的非裔美国演员不愿意让高管们把他们与“黑人”电影联系在一起。
D. Executives are under the impression that there are many strong African-American producers, but few willing to work with mainstream studios. D. 高管们的印象是，有很多强大的非裔制片人，但很少有人愿意与主流工作室合作。
【考查点】细节推断题。
【解题思路】根据题意可将信息点定位到原文第二段第二句“《恋爱关系》的演员们已经说服自己，在任何情况下，黑色电影只能在国内做有限的生意，几乎没有海外票房潜力。”（The relationship players have convinced themselves that black films can do only a limited domestic business under any circumstance and have virtually no foreign box office potential.），因此本题正确答案为选项B。
【干扰项排除】
A选项文中提到“难怪他们回避意识形态问题”（it is little wonder that they avoid ideological issues），但没有说到观众的反感；
C选项原文并未提及；
D选项对应“只要能为他们提供有报酬的工作室工作”（as long as it would provide them with gainful studio employment.），与原文不符。
第4题:
【选项释义】
It may be inferred that the author of the passage considers The Birth of a Nation to be________. 可以推断，这篇文章的作者认为一个国家的诞生是________。
A. a movie outside African-American cinema whose adaptation to the African-American genre would likely prove awkward A. 一部非裔美国人影院以外的电影，如果改编成非裔美国人类型的电影，很可能会被证明是尴尬的
B. a movie that African-Americans would be unlikely to respond to in a positive fashion B. 一部非裔美国人不太可能做出积极回应的电影
C. a movie that would likely require the input of African-Americans, were it to be remade C. 一部如果要重拍的话，可能需要非裔美国人参与的电影
D. a movie that validates the pathologies it depicts in the African-American community D. 一部证实它所描绘的非裔美国人社区的病态的电影
【考查点】事实细节题。
【解题思路】根据题干关键词The Birth of a Nation可精确定位到原文第三段“在最近一批非裔美国人的电影中，这种力量很少以积极的社会方式使用。”（African-American films has rarely been used in a positive social manner.）因此本题正确答案为选项A。
【干扰项排除】
B选项指的是在电影当中很少以积极的社会方式使用，属于偷换概念；
C选项原文并未提及，属于无中生有；
D选项指的是他改编的音乐剧，属于张冠李戴。
第5题:
【选项释义】
According to the author, African-Americans filmmakers have failed to take which of the following steps in properly promoting African-American cinema? 根据作者的观点，非裔美国电影人在正确推广非裔美国电影方面没有采取以下哪一个步骤？
A. They have failed to demonstrate to studio executives the market potential of their films. A. 他们没能向电影公司高管展示自己电影的市场潜力。
B. They have failed to express ideological issues in their films that could attract potential audiences. B. 他们未能在电影中表达能够吸引潜在观众的意识形态问题。
C. They have neglected to use genuine African-American music as a force in their films. C. 他们忽视了在电影中使用真正的非裔美国人音乐作为一种力量。
D. They have exploited stereotypes about African-Americans for the gain of themselves, but not the genre. D. 他们利用对非裔美国人的刻板印象为自己谋利，而不是为电影题材谋利。
【考查点】细节推断题。
【解题思路】根据题干关键词“African-Americans filmmakers”和“promoting African-American cinema”可精确定位到原文第三段第二句和第三句“在他们的电影中延续消极的刻板印象”（perpetuate negative stereotypes in their films）、“考虑到经济剥削”（given the economic exploitation）以及“验证它们所描述的病态”（validate the pathologies they depict）可知本题正确答案为选项D。
【干扰项排除】
A选项对应“几乎没有外国票房潜力”（have virtually no foreign box office potential），符合原文；
B选项对应“难怪他们回避意识形态问题”（it is little wonder that they avoid ideological issues），符合原文；
C选项对应“音乐在电影中的力量是一种特别具有诱惑力和宣传力的力量，在最近的一批非裔美国人电影中，这种力量很少被用于积极的社会方式”（The power of music in film is a particularly seductive and propagandistic force which in the recent crop of African-American films has rarely been used in a positive social manner.），符合原文。
