公共英语五级-Entertainment

2020年10月26日发(作者：池生春)

公共英语五级-Entertainment
(总分：56.00，做题时间：90分钟)
一、Unit 1(总题数：0，分数：0.00)
二、Part Ⅰ(总题数：1，分数：6.00)
Questions 1--6 Choose the best answer.

（分数：6.00）
(1).Which statement is wrong according to the first two paragraphs of this article?（分数：1.00）
ood completely dominated international market after 1910s.
ent groups keep working to break Hollywood's monopoly.
profit of playing Hollywood movies is taken to support local movie.
-US governments claim their cultures are threatened by Hollywood. √
解析：选项A见原文第一句话，Hollywood's dominance of the international audio-visual marketplace
for all but the first ten years of the 20th century意思是：“除了 前十年，好莱坞电影占据了20
世纪全球音像市场的垄断地位。”选项B见第二段第一句话。选项C见第 二段The siphoning-off of profits
from the screening of Hollywood programming to assist in the development of a local production
capacity is attempted in cinema, television and DVD markets。选项D在这两段中没有明确表述。
(2).What is Guback's view on Hollywood and cultural difference through his quotation?（分数：
1.00）
thinks Hollywood products stick to free trade principle.
claims that Hollywood exerts a positive role in integrating world market.
agrees that Hollywood films are by-passing cultural differences. √
thinks that Hollywood's success is that foreign people like their films. < br>解析：选项A和B与原文不符，选项D中没有准确理解原文引言中like的含义。Guback的观点是 好莱坞
电影对本土电影和文化有负面的影响。这一段引文也是用来说明上一段最后一句话的。
(3).Which word best expresses the meaning of （分数：1.00）
ational.
. √
.
ular.
解析：原文中Local programming has the vice or virtue of being in that it is not ostensibly
made for global consumption根据not可以判断endemic与后面的global是相 反的。
(4).What is the hypothesis that both critics and protectionists believe?（分数：1.00）
ood will have lion's share of the global box office.
wars and TV did reverse the trend of Hollywood products.
ood films help to push forward cultural globalization. √
ood's international popularity is due to their non-culture specificity.
解析：见文章第九段末尾：Hollywood does not by-pass these differences, but works with them. 选
项A中的将来时态用得不准确。选项B的内容是正确的，但不是批评家和反对者们的假设。
(5).What does the example of Britain and Japan prove?（分数：1.00）
1980s, Japan surpassed Britain to become the largest export market.
ood doesn't have stable international market share.
ood international success is linked with overseas market situation. √
ood should recognize cultural differences to reach international popularity.
解析：文章最后一段提到了好莱坞的海外市场，英国和日本的市场变化是与其经济发展状况密切相关的。
(6).What is the author's attitude towards Hollywood popularity?（分数：1.00）

ly disapproving. √
y neutral.
ive.
alistic.
解析：本文分析了好莱坞电影垄断地位的原因、后果以及有关人士的看法。作者没有 明确的表明态度，但
通过其选词、引言等可以看出作者的隐忧。
三、Part Ⅱ(总题数：0，分数：0.00)
四、Exercise 1 Gapped Text(总题数：1，分数：10.00)
Without exaggeration, all products and services -- explicitly or not -- may be described
as certain luster now serves as the indispensable
packaging for every commodity, as a general gloss on the rationality and intelligence of the
capitalist system as a whole, and as the chief product of that system.
1. ______
Wars, riots, law enforcement, criminal justice, elections, political scandals, investigative
journalism, expert opinion of all stripes, predictions and forecasts, and news, traffic and
weather reports (to name just a few) are produced, distributed and consumed as entertainment
products. Even commercial advertisements for products are produced to be consumed as entertainment,
as integrated
The spectacular integration that produces
and information are capable of and are now being created with the needs of the marketplace
mind
comprehended as a bar of soap or any other commodity, and it must contain or lead to nothing harmful
to the logic or regime of the commodity. Data must be narrowly re-cast as and strictly
defined as a source of value and a form of merchandise before it can be integrated into

2. ______
Data can only circulate productively after it has been
of the objective and the universal. When the process of abstraction works according to the
of the commodity -- that is, when the process isolates what it produces from its context, its
past, its original intentions, and its consequences -- the end result can only be irrational.
3. ______
But because
totalitarian: information as commodity is the imposition of a fragmentary vision on the totality
of social practice. Therefore, there is nothing
all, except for its relationship to power, which is absolute.
4. ______
An example: the rhyme of the neologism
educational entertainment) with
for the Information Ageand that can't be so bad because it can mutate
into something called
infotainment, which is its role model. Industry has long regarded the school systems (the main
repositories and sources of popular knowledge) as an important potential entrance point into the
minds of children and, thus, into the minds and pocketbooks of parents.
But advertising has wisely been forbidden in textbooks and on school grounds, thus depriving the
marketing specialists of the beach-head needed for their invasion, so to speak. And so they have
had to produce
by the likes of the Cartoon Channel, the Discovery Channel, CNN in the Classroom, and Turner
Broadcasting Systems. The degree of the commodity's colonisations of edutainment generally can
be gauged by the title of TBS's very popular edutainment tape, Just Yabba-Dabba-Doo It.t, which

plays on both Fred Flintstone's cry of falsified happiness and the command-slogan of the Nike
Corporation (itself a recuperation of the Yippies' slogan
indeed be the
clear that what they teach is how to be a good
5. ______
These are an ominous developments --
in an increasing number of important municipal entities and functions, such as sanitation,
security, correctional institutions and park maintenance -- but especially because of the
conditions in which all of the other libraries, archives and museums are now forced to operate.
A The interest of a neologism like (which is applied to a lot more these days than
just half-hour-long commercials) is that, like a spectacle-commodity, it is as easily conceived
and comprehended as a bar of soap: its meaning -- such as it is -- is immediately clear to a broad
range of people. Though essentially it is an empty phrase,
as an object of exchange the more the term can be filled with references to other
easily- comprehended spectacles.
B For this to have happened, all of culture must first have been stabilized, homogenized and
integrated into something called Once it may have been upsetting to contemplate
the idea that war struggle is the new entertainmentToday, the all-embracing spectacle
of televised entertainment (mass culture) includes even (and ever) more exotic forms of social
practice.
C And yet there is a certain to the systematic irrationality of all information: if theory
can define information as the probability of a message being selected from the set
of all possible messagesthen the probability of information containing a message
is, in a capitalist society, very high indeed.
D Faced with severe budgetary restrictions and declining in-person usage, public and private
knowledge centers have had, some more willingly than others, to begin the long process of
digitizing and commercializing access to their entire holdings and to promote the corporations
that so graciously allowed them to do so at such a good price.
E There are always plenty of fresh examples to hammer home the point that there is no other choice
but to be a good
the (only) pedagogic method, no more compelling a lesson could be imagined than the current
campaign in New York State to shrink drastically tax-derived funding for the State University
of New York system and then to commercialize and profit from decentralized access to all of the
individual components and everything that they each contain -- the libraries, museums,
and archives -- in the names of
productivity
F But, unlike culture, which is locus of the search for lost unitydata is concrete knowledge
about particular facts or circumstances. Won in the course of the straggles of everyday life,
data is local and subjective by definition. As such, it poses a problem for the marketplace, which
can only circulate

（分数：10.00）
填空项1:__________________ （正确答案：B）
解析：此类文章开篇通常有直接了当的主题句，本文的第一句话，Without exaggeration, all products and
services- explicitly 即点明了文
章的主旨：亳不夸张的说，所有的产品和服务，不管是否与文化相关 ，都可以认为是展示商品。选项B大
意为所有文化都要带有娱乐性，当前的电视节目包含了社会行为中各 种各样的奇怪的形式。而第三段就列
举了各种社会现象，战争、司法、选举和政治丑闻等等都可以当作娱 乐产品来消费。
填空项1:__________________ （正确答案：F）

< p>
解析：文章开头三段都在讲各种文化现象，infotainment是作者由informati on和entertainment两个词
派生出来的，指信息娱乐化的现象。而在题目上下文中都提到 了data，可见作者的思路已经转到了分析数
据方面。几个选项中唯有F比较了文化和数据的不同，提 出因为数据本身的特点，传媒业如何客观报道数
据的问题。
填空项1:__________________ （正确答案：C）
解析：根据上下文中提到的irrationality，可以推断达一段还足在闸释raised up data已经丧失了客观
性和l普遍性。
填空项1:__________________ （正确答案：A）
解析：题目下文中第十段的第一句话即为An example: the rhyme of the neologism
这个例子应该是说明选项所包含的意思，neologism这个词在选项A中出现，故选A。
填空项1:__________________ （正确答案：E）
解析：上文中提到了一个例子，edutainment，教育娱乐化。下文又写These are an ominous developments…
出现了复数代词these，与选项E中的There are always plenty of fresh examples呼应。
五、Exercise 2 Multiple Matching(总题数：1，分数：10.00)
A = Steve Frost B = Kate Harwood C = Kate Beedles
Which producer(s)
used to work with high budgets?
is the producer of the soap with the longest history?
is satisfied with being and trying to be an invisible producer?
believes that the soap is being undervalued now?
admit that their soaps are not the top ones?
joined the team when the soap was in a difficult situation?
has the experience of working in two soaps?
criticizes tabloids of destroying the aura of soap?
wasn't discouraged by negative comment on story-writing skills?
1. ______
2. ______
3. ______
4. ______
5. ______
6. ______
7. ______
8. ______
9. ______
10. ______
A Steve Frost
Producer, Coronation Street, 33
Steve Frost has, he says, a lot to do at Coronation Street. He admits the soap is not at the top
of its game and he is engaged in a constant battle with a tabloid culture that exposes the artifice
of what he does.

because they do, it's harder for them to lose themselves in it. It's hard to carry people away
like you used to -- and it's getting harder.
Frost blames, among other things, the rise of celebrity.
tells you every detail of actors' lives does make it harder and harder to create characters with
mystique and magic that people really believe in. Whet Raquel left, there was such magic to that,
it was a really compelling moment. But now, it is impossible for people not to know, six months
in advance that Jane Danson is taking maternity leave.
Having been in the job six months, he has no urge to make a name for himself. Not for Frost the

desire to coin some moniker? like to be as invisible as possible,he says. would
hope viewers wouldn't notice a new producer because it's not about the producer. The producer
should be unseen and of no interest. The writers should be unseen and of no interest. In a way,
to be bothered about who's producing it is to detract entirely from the fiction of it.
Frost says his only brief is to keep the viewing figures up, to make it fresh. He has his work
cut out for him. He concedes, with so many episodes, it is not appointment to view any more and
that one of his tasks is to inspire more loyalty in viewers.
anything is long gone. That mass viewing experience has passed. But even in the fragmented,
depleted market, soaps remain the most-viewed things.
Frost argues that the audience has a finite appetite for soap. was a peak of soap saturation
some years back,then, we've seen Night and Day, Crossroads, Family Affairs and
Brookside all go. I think that's telling. In a competitive market, people will only watch so much.
And there is no room for complacency. Street has been there for 45 years and there's
a real danger in that. It can't afford to remain what it's always been. The show in 1960 wasn't
the same as the show that was being made in 1970 or 1980 or 1990. It has to keep up with modern
life. People need to see something that's recognisably Corrie but also something they've never
seen before -- I feel, at the moment, it's moving out of the 1990s five years too late. What is
entirely new? What is the 21st century character? What does 21st century Corrie look like? don't
think we've seen it yet. That's my big challenge.
B Kate Harwood
Executive producer, EastEnders, 46
When Kate Harwood got the job as executive producer of EastEnders arms were folded, brows were
furrowed and eyebrows raised, Pauline Fowler- style. Her pedigree was in plush, lush costume drama.
She produced, among other things, David Copperfield, Daniel Deronda and Charles I1: The Power
& the Passion for the BBC. She was hardly the most obvious choice to take charge of a soap with
its higher volume and lower budgets, not to mention its vital place in BBC1 's schedule. At the
time, EastEnders was in a hole. Under Kathleen Hutchison and before her, Louise Berridge, it had
hit, if not rock bottom, then perilously close to it. The disastrous resurrection of Dirty Den
exemplified everything that was wrong with EastEnders -- it was desperate, backward-looking,
downright embarrassing.
a difference 18 months makes,says Harwood, who walked off with this year's Bafta for best
soap. Making a virtue out of the departure of several high- profile cast members, Harwood has,
with the help of veteran writer Tony Jordan and under the watchful eye of John Yorke, restored
EastEnders' credibility. It is not quite at the talking about itstage, but she says
it is getting there.

capable of. When it's firing on all cylinders, there's something for everyone,
It has been a steep learning curve for Harwood who says she has learnt to think faster (
this, I would spend 18 months buffing up four hours of drama
being in a Mike Figgis film. You've got one part of your brain on what's transmitting tonight,
one on what we're currently working on the scripts of, one on what we're shooting, one on what
we're storylining.
Harwood is conscious of the political nature of the job too, but says she tries not to get bogged
down in that side of things.
public eye. It's a bit like managing Arsenal in that everyone has an opinion on what you're doing.
The amount of feedback you get on a daily basis is enormous.
She says she's aware of Coronation Street and Emmerdale as competition -- hope it's respectful
rivalry rather than cutthroat sneeriness
looking too hard at the other soaps, you stop being true to yourself.

So has she acclimatized to the less rarefied atmosphere of soap as compared to costume drama?
the end, drama is drama. It's just made with different budgets and different time constraints.
In some ways, the basic questions remain absolutely the same. And in a way, Bleak House showed
that -- it's the same stories and concerns, however we tell them.
C Kath Beedles
Producer, Emmerdale, 30
Having worked as Emmerdale's story editor before she took over the producer's chair vacated by
Steve Frost, Kath Beedles knows the Cinderella situation in which the soap finds itself. Despite
creeping up on EastEnders in the ratings and anchoring ITV's primetime schedule six nights a week,
she says the Farm-less saga of demented Yorkshire folk still does not get the recognition it
deserves.

is fantastic even when it's not -- which does happen; I worked on Corrie so I know the atmosphere
there and I presume it's the same at EastEnders -- you can get complacent very easily. When you're
the underdog, you strive.
Beedles has been striving since she was 12 and was inspired to write after watching Monty Python.
When she was a teenager, she sent scripts she had written to the makers of Birds of a Feather
and despite being told by her English teacher she could not write, she persevered with her ambition.
At 21, she did an MA in screenwriting. When she was 23, she got a storylining job on Coronation
Street and then moved to Emmerdale.

level because it was horrendously difficult, but you learn so much.
With more than 300 episodes a year, she has plenty of characters and stories to work on. She has
just added another, in fact -- a new Dingle. Beedles says that chief among her soap's strengths
is the consistency of its characters.
he was 12 years ago. The stable moral things that drove him when he arrived still drive him today.
And stories come from those consistent characters, stories that really reward the audience.
Beedles says one of the most important things she has learnt is that
OK

that and learn from it, and not beat yourself up over it. The wheels don't come off when mistakes
happen. Having the balls to admit you've made a mistake and make a change -- and while it's not
ideal, we have made major changes at very late stages -- is really important. You can do that
and nobody dies, nobody loses respect for you.
Isn't that another way of saying that with such high volume, standards slip? at all. Standards
haven't fallen. The more pressure you're under, the better work you do.

（分数：10.00）
填空项1:__________________ （正确答案：B）
解析：Paragraph 1: Her pedigree was in plush，lusb costume drama.
填空项1:__________________ （正确答案：A）
解析：Paragraph 7: Coronation Street has been there for 45 years and there's a real danger in
that.
填空项1:__________________ （正确答案：A）
解析：Paragraph 4: Having been in the job six months, he has no urge to make a name for himself.
填空项1:__________________ （正确答案：C）
解析：Paragraph 1: Despite creeping up on EastEnders in the ratings and anchoring ITV's primetime
schedule six nights a week, she says the Farm-less saga of demented Yorkshire folk still does
not get the recognition it deserves.

填空项1:__________________ （正确答案：A）
解析：Pararaph 1: He admits the soap is not at the top of its game…
填空项1:__________________ （正确答案：B）
解析：Paragraph 2: It is not quite at the
填空项1:__________________ （正确答案：B）
解析：Paragraph 2: At the time, EastEnders was in a hole. in a holeboxjamtight comer tight
spot. 意为“处在危险或尴尬的境地”。例如：He quit without giving notice and now we're really in
a hole. 他没打招呼就辞职了，我们现在比较麻烦了。第一段的最后一句破折号后面的部分也表示同样的
意思。
填空项1:__________________ （正确答案：C）
解析：Paragraph 3: When she was 23, she got a storylining job on Coronation Street and then moved
to Emmerdale…
填空项1:__________________ （正确答案：A）
解析：Paragraph 1: …he is engaged in a constant battle with a tabloid culture that exposes the
artifice of what he does. 下文具体说明了由于小报对于名人隐私的关注 ，使观众提前知道了故事的发
展，这样给编剧带来了更大的挑战。
填空项1:__________________ （正确答案：C）
解析：Paragraph 3: When she was a teenager, she sent scripts she had written to the makers of
Birds of a Feather and despite being told by her English teacher she could not write, she persevered
with her ambition.
六、Exercise 3 Speaking(总题数：1，分数：5.00)
-identification
relaxation
excitement
humour
exotic location
good interaction
competition


（分数：5.00）
______ __________________________________________________ __________________________________
正确答案：(Topic: Why is reality show appealing?
Tips, Words and Expressions
Self- identification: People may relate to the real situation. Nothing is more entertaining than
watching real people truly freak out and or handle situations that any of us could potentially
be faced with.
Relaxation: to escape their mundane & routine lives
Interaction: We like to dictate what others should do ... and these shows let us therewithout
taking the risk ourselves of going under a microscope in front of millions of people ourselves.
Excitement: With shows, one feels like they're truly having a close, personal look into
the lives of strangers. In any case, reality shows are a fad these days for the reason that the
participants are regular people, not celebrities, which makes them accessible to the general
public.)
解析：
七、Exercise 4 Writing(总题数：1，分数：25.00)
film critics worry that with the increase application and improvement of technology, more
special effects distract the attention of audience instead of focusing on the plot, the performance
of actors. Film is losing its touching and inspiring appeal. So they suggest the use of technology

be limited. To what extent do you agree or disagree with this view?


（分数：25.00）
_____ __________________________________________________ ___________________________________
正确答案：(Topic: Shall we limit the use of technology in film?
Tips, Words and Expressions
The pros
computer-generated scenes suit certain particular movie genre, e.g. horror movie, simulate epic
war help with shoe-string budget and avoid possible injury a sophisticated combination of
artistry, computation, and physics create the stunning magical effect Movie special effects
have been around for pretty much as long as the movies themselves, but with the latest digital
cameras, editing equipment and animation technology it is has become possible to work more magic
than ever before. Real skill of special effects lies in the artistic expression used rather
than the sheer processing power of the technology.
The cons
distract audience attention ignore the plot and performance cheesy computer special effects
There is little doubt that computer generated visual effects can help to hype a movie, but a
quick look at the films which have managed to sustain audiences after the initial hype and recouped
the most money are the ones the critics agree have two things computers cannot do: great writing
and great performances.)
解析：