How do most students spend their free time? Do they have time to do the things they like? Let’s see what some students do during their free time.Ben is eleven. He has a sister, Kate. Both of them like going to the cinema. Every Sunday morning, they go to the town by train and then they go to the cinema because they live in the country and there is no cinema there.They arrive in the town at noon. They usually have a big lunch in their favourite restaurant first, and then they buy some food in the supermarket before they go to their favourite cinema called Star Cinema. They like it because the seats there are comfortable and the films in the cinema are always the newest. They always have a good time on Sundays. But when the weather is bad or they are busy with their homework, they can’t go.小题1:Ben and Kate always spend their Sundays ________.A．watching TVB．going shoppingC．doing homeworkD．seeing films小题2:They go to see a film ________.A．by trainB．by busC．on footD．at home小题3:They go to the town to see a film because ________.A．they like the cinema thereB．there is no cinema in the countryC．they don’t know other cinemasD．they want to go shopping in the town小题4:When they are in the town, they ________ first.A．go to the cinemaB．buy foodC．have lunchD．play in the street - 跟谁学
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随时随地获取上课信息在线咨询&&&分类：How do most students spend their free time? Do they have time to do the things they like? Let’s see what some students do during their free time.Ben is eleven. He has a sister, Kate. Both of them like going to the cinema. Every Sunday morning, they go to the town by train and then they go to the cinema because they live in the country and there is no cinema there.They arrive in the town at noon. They usually have a big lunch in their favourite restaurant first, and then they buy some food in the supermarket before they go to their favourite cinema called Star Cinema. They like it because the seats there are comfortable and the films in the cinema are always the newest. They always have a good time on Sundays. But when the weather is bad or they are busy with their homework, they can’t go.小题1:Ben and Kate always spend their Sundays ________.A．watching TVB．going shoppingC．doing homeworkD．seeing films小题2:They go to see a film ________.A．by trainB．by busC．on footD．at home小题3:They go to the town to see a film because ________.A．they like the cinema thereB．there is no cinema in the countryC．they don’t know other cinemasD．they want to go shopping in the town小题4:When they are in the town, they ________ first.A．go to the cinemaB．buy foodC．have lunchD．play in the streetHow do most students spend their free time? Do they have time to do the things they like? Let’s see what some students do during their free time.Ben is eleven. He has a sister, Kate. Both of them like going to the cinema. Every Sunday morning, they go to the town by train and then they go to the cinema because they live in the country and there is no cinema there.They arrive in the town at noon. They usually have a big lunch in their favourite restaurant first, and then they buy some food in the supermarket before they go to their favourite cinema called Star Cinema. They like it because the seats there are comfortable and the films in the cinema are always the newest. They always have a good time on Sundays. But when the weather is bad or they are busy with their homework, they can’t go.小题1:Ben and Kate always spend their Sundays ________.A．watching TVB．going shoppingC．doing homeworkD．seeing films小题2:They go to see a film ________.A．by trainB．by busC．on footD．at home小题3:They go to the town to see a film because ________.A．they like the cinema thereB．there is no cinema in the countryC．they don’t know other cinemasD．they want to go shopping in the town小题4:When they are in the town, they ________ first.A．go to the cinemaB．buy foodC．have lunchD．play in the street科目:最佳答案小题1:D小题2:A小题3:B小题4:C解析
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Wednesday | June 10, 2009&&&&
What gives movies the power to arouse emotions in audiences? How is it that films can convey abstract meanings, or trigger visceral responses? How is it that viewers can follow even fairly complex stories on the screen?
General questions like this fall into the domain of film theory. It’s an area of inquiry that divides people. Some filmmakers consider it beside the point, or simply an intellectual game, or a destructive urge to dissect what is best left mysterious. Many readers consider it academic bluffing, another proof of Shaw’s aphorism that all professions are conspiracies against the laity.
These complaints aren’t quite fair. Early film theorists like Hugo Münsterberg, Rudolf Arnheim, André Bazin, and Lev Kuleshov wrote clearly and often gracefully. Even Sergei Eisenstein, probably the most obscure of the major pre-1960 theorists, can be read with comparative ease. Moreover, generations of filmmakers have been influence indeed, some of these writers, like Kuleshov and Eisenstein, were filmmakers themselves.
But those day are gone, someone may say. Does contemporary film theory, bred in the hothouse of universities and fertilized by High Theory in the humanities, have any relevance to filmmakers and ordinary viewers? I think that at least one theoretical trend does, if readers are willing to follow an argument pitched beyond comments on this or that movie.
That is, film theory isn’t film criticism. Its major aim is more general and systematic. A theoretical book or essay tries to answer a question about the nature, functions, and uses of cinema—perhaps not all cinema, but at least a large stretch of it, say documentary or mainstream fiction or animation or a national film output. Particular films come into the argument as examples or bodies of evidence for more general points.
In about three weeks, about fifty people will gather at the University of Copenhagen to do some film theory together. It’s
of . I talked about the group last year (and ) in the runup to our Madison event.
The sort of theorizing we’ll do, for all its variety, is in my view the most exciting and promising on the horizon just now. It’s also understandable by anyone interested in puzzles of cinematic expression, and it has powerful implications for creative media practice.
We’ll also be in Copenhagen for Midsummer Night, which is always pleasant. Go
for the lovely song that thousands of Danes will try to sing, despite terminal drunkenness., however.
Concordance and convergence
But back to topic: Puzzles of cinematic expression, I said. What puzzles? Well, films are understood. Remarkably often, they achieve effects that their creators aimed for. Michael Moore get Judd A a Hitchcock thriller keeps us in suspense. What enables movies to reliably achieve such regularity of response?
It’s not enough to say: Moore hammers home his points, Apatow creates funny situations, Hitchcock puts the woman in danger. Any useful explanation subsumes a single case to a more general law or tendency. So a worthwhile explanation for these cinematic experiences would appeal to more basic features of artworks, cultural activities, or our minds. We can pick up on Moore’s message because we know how to make inferences within certain contexts. We can laugh at a joke because we understand the tacit rules of humor. We recognize a suspenseful situation because… well, there are .
This sort of question is largely overlooked by theorists of Cultural Studies, another area of contemporary media studies. They typically emphasize difference and divergence, highlighting the varying, even conflicting ways that audiences or critics interpret a film.
Studying how viewers appropriate a film differently is an important enterprise, but so is studying convergence. Arguably, studying convergence has priority, since the splits and variations often emerge against a background of common reactions. A libertarian can interpret Die Hard as a paean to individual initiative, while a neo-Marxist can interpret it as a skirmish in the class war, but both agree that John and Holly love each other, that her coworker is a weasel, and that in the end John McClane’s defeat of Hans Gruber counts as worthwhile. Both viewers may feel a surge of satisfaction when McClane, told by a terrorist he should have shot sooner, blasts the man and adds, “Thanks for the advice.”
What enables two ideologically opposed viewers to agree on so much?
Films aren’t just
they arouse remarkably similar emotions across cultures. This is a truism, but it’s been too often sidestepped by post-1960 film theory. Who, watching The World of Apu, doesn’t feel sympathy and pity for the hero when he learns of the sudden death of his beloved wife? Perhaps we even register a measure of his despair in the face of this brutal turn of events.
We can follow a suite of emotions flitting across Apu’s face. I doubt that words are adequate to capture them.
Are these facial expressions signs that we read, like the instructions printed on a prescription bottle? Surely something deeper is involved in responding to them—for want of a better word, fellow-feeling. Indians’ marriage customs and attitudes toward death may be quite different from those of viewers in other countries, but that fact doesn’t suppress a burst of spontaneous sympathy toward the film’s hero. We are different, but we also share a lot.
The puzzle of convergence was put on the agenda quite explicitly by theorists of semiotics. Back in the 1960s, they argued that film consisted of more or less arbitrary signs and codes., the most prominent semiotician, was partly concerned with how codes are “read” in concert by many viewers. Today, I suppose, most proponents of Cultural Studies subscribe to some version of the codes idea, but now the concept is used to emphasize incompatibilities. So many codes are in play, each one inflected by aspects of identity (gender, race, class, ethnicity, etc.), that commonality of response is rare or not worth examining.
A complete theoretical account, if we ever have one, would presumably have to reckon with both differences and regularities. The dynamic of convergence and divergence is a central part of one arena of film studies that has, for better or worse, been called cognitivism.
Gathering for ‘s keynote lecture, SCSMI 2008.
The cognitive approach to media remains a pretty broad one, and the Society for Cognitive Studies of the Moving Image hosts a plurality of approaches at its annual meetings. SCSMI has become home to media aesthetes, empirical researchers, and philosophers in the analytic tradition who are interested in interrogating the concepts used by the other two groups. Last year’s gathering, at our campus here in Madison, created a lively dialogue among these interests.
For instance, some of us Film Studies geeks wonder why people so consistently ignore mismatched cuts. ’s ingenious experiments on “change blindness” provide a hilarious rejoinder. In one study conducted with , a stooge asks directions of an innocent passerby. As they’re talking, a pair of bravos carry a plank between them, and another confederate is substituted for the first one.
You guessed it. Most subjects don’t notice that the person they’re talking to has changed into somebody else! So how can we worry about mismatched details in cuts? Actually, Dan’s research isn’t just deflationary. It helps spell out particular conditions under which change blindness can occur.
Another stimulating talk was offered by . He asked how long-running prime-time TV serials can solve the problem of memory. In this week’s episode what strategies are available to recall the most relevant action of earlier episodes? How can previous action be presented without boring faithful fans? Jason, who has
out this spring, went beyond describing the strategies. He suggested how they can become a new source of formal innovation, as in the Death of the Week in Six Feet Under.
of Istanbul University presented the results of a study on adults living in a village in South Turkey. These viewers were older, ca. 50-75, and—here’s the interesting part—had never seen films or TV shows. To what extent would they understand “film grammar,” the conventions of continuity editing and point-of-view, that people with greater media experience grasp intuitively? To facilitate comprehension, the researchers made film clips featuring familiar surroundings.
The results were intriguingly mixed. Some techniques, such as shots that overlapped space, were understood as presenting coherent locales. But most viewers didn’t grasp shot/ reverse-shot combinations as a social exchange. They simply saw the person in each shot as an isolated figure.
The discussion, as you may expect, was lively, concerning the extent to which a story situation had been present, the need to cue a conversation, and the like. I found it a sharp, provocative piece of research. , who worked with Sermin and Markus Huff, has become a central figure studying how the basic conventions of cutting and framing might be built up on the basis of real-world knowledge, and both he and Sermin are back at SCSMI this year.
Stephan Schwan, Thomas Schick, Markus Huff, and Sermin Ildirar, with Johannes Ri SCSMI 2008.
There were plenty of other stimulating papers: Tim Smith’s usual enlightening work on , Johannes Riis on agency and characterization, Paisley Livingston on what can count as fictional in a film, Patrick Keating on implications for emotion of alternative theories of screenplay structure, Margarethe Bruun Vaage on fiction and empathy, and on and on.
One of the best things about this gathering was that the ideas were sharply defined and presented in vivid, concrete prose. I can’t imagine that ordinary film fans wouldn’t have found something to enjoy, and of course many of these matters lie at the heart of what filmmakers are trying to achieve. Indeed, some filmmakers regularly give papers at our conventions. The much-sought link between theory and practice is being made, again and again, in the arena of the SCSMI.
Last year I came to believe that this research program was hitting its stride. My hunch is confirmed by this year’s gathering in Copenhagen. The department of media studies there has long been a leader in this realm. You can download a Word version of the schedule .
Lest you think that the conference participants don’t talk much about particular movies, I should add that there’s one film we’ll definitely be talking about this time around. Our Copenhagen hosts have arranged for a screening of von Trier’s .
Next time: Going deeper into cognitivism, and three recent explorations.
Malcolm Turvey makes a point to Trevor Ponech and Richard Allen, SCSMI 2008.
Kristin and I have talked about pictorial universals elsewhere on this site. See
on eyeline matching in ancient Egyptian art, and my comments on “representational relativism” .
Images at the top of this entry are taken from the Danish film Himmelskibet (The Space Ship, aka A Trip to Mars, 1918).
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关注微信公众号【英语】英语综合填空,英语好的大大帮帮忙Many British people don't think about the clothes very much.They just like to be comfortable. When they go out to enjoy t1 they can wear almost anything. At theatres,cinemas and concer-学路网-学习路上 有我相伴
英语综合填空,英语好的大大帮帮忙Many British people don't think about the clothes very much.They just like to be comfortable. When they go out to enjoy t1 they can wear almost anything. At theatres,cinemas and concer
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求初二英语综合填空练习long&&&&&&&&&&&&&&&&&5.much综合填空三用方框中单词的正确形式填空,使...英语综合填空,英语好的大大帮帮忙1.themselves2.what3.look4.wear5.busy6.holidays7.restaurants8.difficult9.watch10.different(第五个不太确定)初一英语综合填空题1.Inthefirstphot,mysisterisplayingwith___apetfrommyuncle.2.Nowletmesaysomething____aboutBeijing.3.I'msureChinawillbecomestronger___andstronger.怎样写好英语综合填空也是一个不断完善的过程。考试委员会将不断研究和开发既能检测大学生英语综合应用...不超过太多就行了。考试时超过的那些就要从词汇那里弥补了。3、综合(完形填空或...初一英语综合填空(答好加分)精学精练这资料很合适,我们学校好多老师都是订这个的英语综合填空,英语好的大大帮帮忙ManyBritishpeopledon'tthinkabouttheclothesverymuch.Theyjustliketobecomfortable.Whentheygoouttoenjoyt1theycanwearalmostanything.Attheatres,cinemasandconcer(图17)英语综合填空,英语好的大大帮帮忙ManyBritishpeopledon'tthinkabouttheclothesverymuch.Theyjustliketobecomfortable.Whentheygoouttoenjoyt1theycanwearalmostanything.Attheatres,cinemasandconcer(图19)英语综合填空,英语好的大大帮帮忙ManyBritishpeopledon'tthinkabouttheclothesverymuch.Theyjustliketobecomfortable.Whentheygoouttoenjoyt1theycanwearalmostanything.Attheatres,cinemasandconcer(图24)英语综合填空,英语好的大大帮帮忙ManyBritishpeopledon'tthinkabouttheclothesverymuch.Theyjustliketobecomfortable.Whentheygoouttoenjoyt1theycanwearalmostanything.Attheatres,cinemasandconcer(图32)这是用户提出的一个英语问题,具体问题为:英语综合填空,英语好的大大帮帮忙Many British people don't think about the clothes very much.They just like to be comfortable. When they go out to enjoy t1 they can wear almost anything. At theatres,cinemas and concerts they can put on w2 they like-from elegant suits and dresses to jeans and sweaters.Anything goes,so long as they l3 clean and tidy.初一英语综合填空(答好加分)精学精练这资料很合适,我们学校好多老师都是订这个的防抓取，学路网提供内容。 But in Britain, as well as the US,men in offices usually w4 suit and ties , and women wear dresses or skirts.Doctors,lawyers and b5 people wear quite formal clothes 初三英语综合填空题1.talktalkaboutsth谈论某事2.study学习3.badbebadinsth在某方面糟糕防抓取，学路网提供内容。 In many ways,Americans are more relaxed than British people,but they are more careful with their clothes.At home,or on h6,most Americans wear informal or sports clothes.But when they go out in the evening,they like to look elegant.In good hotels and r7,men wear suits and ties,and women wear pretty clothes.一篇初中英语综合填空~!~!急~!~!1.person,2.two.3.rest4.makes5.help6.them7.important8.happening9.massage10because防抓取，学路网提供内容。 IT is d8 to say exactly what people wear in Britain and the US.If you are sure what to wear,w9 what other people wear and then do the same.You will feel more relaxed if you don't look too d10 from other people.初二英语综合填空1know2不会3leaving4help5不会(可能是time)6what7不会8books9children10不会1young2their3parents4buy5drive6most7不会8simple9Sundays10spe...防抓取，学路网提供内容。首字母填空啦~~英语好的帮帮忙,谢谢啦!英语综合填空一个摇滚乐队来主办一个持续一个小时的音乐会。同学们都玩得很开心。新年的时候,同学将会有3天的假,但是他们大多数都是待要家里为考试做准备。他们知道学习好对他们...防抓取，学路网提供内容。我们通过互联网以及本网用户共同努力为此问题提供了相关答案,以便碰到此类问题的同学参考学习,请注意,我们不能保证答案的准确性,仅供参考,具体如下:好难的英语综合填空!英语高手进来解答!我已经把所有得分都奉...这是八年级英语的一道填空题吧。我有答案TheChangjiangRiver,knowna_s_____theYangtzeRiver,i防抓取，学路网提供内容。用户都认为优质的答案:英语综合填空答：文章太模糊，只能看到部分1probably2看不清3看不清4看不清5made6看不清7看不清8spare9avoided10everybody防抓取，学路网提供内容。1.themselves 2.what 3.look 4.wear 5.busy 6.holidays 7.restaurants 8.difficult 9.watch 10.different英语综合填空。答：willdreamsMosttoactexcitingtobecomeexerciseplayersfewthat防抓取，学路网提供内容。(第五个不太确定）英语综合填空答：参考答案如下：76.taste77.recently78.placed79.When80.often81.rich82.fact助你愉快学习！防抓取，学路网提供内容。初三英语综合填空题1.talktalkaboutsth谈论某事2.study学习3.badbebadinsth在某方面糟糕一篇初中英语综合填空~!~!急~!~!1.person,2.two.3.rest4.makes5.help6.them7.important8.happening9.massage10because初二英语综合填空1know2不会3leaving4help5不会(可能是time)6what7不会8books9children10不会1young2their3parents4buy5drive6most7不会8simple9Sundays10spe...英语综合填空一个摇滚乐队来主办一个持续一个小时的音乐会。同学们都玩得很开心。新年的时候,同学将会有3天的假,但是他们大多数都是待要家里为考试做准备。他们知道学习好对他们...
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