D
When Steven Spielberg was a kid growing up in the 1950s in Arizona,watching westerns on his family's 20-inch black-and-white TV,he would climb right up to the screen,as if to surround(围绕)himself with the image. He also wished he could see these moving pictures in colour. So he searched through his family's collection of slides(幻灯片)quickly,having learned that by holding one film or another up to the television screen he could turn grayed-out western skies blue,or the ground to a realistic-looking green. Sometimes his mom walked in,and saw him holding these slides up to both of his eyes,right next to the TV set. Often,she would say,“You're going to burn your eyes out!”
Spielberg's mom,like all the other 50s moms who said the same thing,was wrong about that. But we all know what she must have been thinking：Who is this child?
If you've seen even just one Steven Spielberg movie in the past 50 years or so — *Jaws*,*Schindler's List*,*E.T.* — you have some sense of who this child grew up to be. And when you see his film,*The Fabelmans*,a work of amazing vividness(生动)that's drawn from his own family's story,you'll know even more. Movies have been around for around 130 years；Spielberg's career has covered more than a third of that. Yet *The Fabelmans* hardly feels like a late-career movie. It's a bridge for a new beginning.
Not every 75-year-old filmmaker makes a movie like this. Of the ambitious(雄心勃勃的)young guys who remade Hollywood in the early 1970s,Spielberg is one of the few still making vital(至关重要的)pictures at a consistent(连续的)clip(电影镜头). Not every film he made won high box-office(票房),but naming a badly-made Spielberg film is hard,probably because there isn't one. No living filmmaker can match his devotion to craftsmanship(技艺),to finding new ways of showing us things we think we've seen a million times before.
(
A. Proud but sad. B. Surprised but supportive.
C. Surprised and worried. D. Angry and stressed.
(
A. He is devoted to filming everyday things from new angles(角度).
B. He showed great interest in filming at a very young age.
C. His career covers more than a third of the movie history.
D. All his films are well-made despite(尽管)some don't make much money.
(
A. It's the greatest film he has ever made in his career.
B. It has something to do with his growing experience.
C. It represents a totally brand-new type of film theme.
D. It made Spielberg the most influential filmmaker.
(
A. To introduce a great person in film-making.
B. To show how we should be different.
C. To show that failure makes success.
D. To recommend a pioneering new film.
When Steven Spielberg was a kid growing up in the 1950s in Arizona,watching westerns on his family's 20-inch black-and-white TV,he would climb right up to the screen,as if to surround(围绕)himself with the image. He also wished he could see these moving pictures in colour. So he searched through his family's collection of slides(幻灯片)quickly,having learned that by holding one film or another up to the television screen he could turn grayed-out western skies blue,or the ground to a realistic-looking green. Sometimes his mom walked in,and saw him holding these slides up to both of his eyes,right next to the TV set. Often,she would say,“You're going to burn your eyes out!”
Spielberg's mom,like all the other 50s moms who said the same thing,was wrong about that. But we all know what she must have been thinking：Who is this child?
If you've seen even just one Steven Spielberg movie in the past 50 years or so — *Jaws*,*Schindler's List*,*E.T.* — you have some sense of who this child grew up to be. And when you see his film,*The Fabelmans*,a work of amazing vividness(生动)that's drawn from his own family's story,you'll know even more. Movies have been around for around 130 years；Spielberg's career has covered more than a third of that. Yet *The Fabelmans* hardly feels like a late-career movie. It's a bridge for a new beginning.
Not every 75-year-old filmmaker makes a movie like this. Of the ambitious(雄心勃勃的)young guys who remade Hollywood in the early 1970s,Spielberg is one of the few still making vital(至关重要的)pictures at a consistent(连续的)clip(电影镜头). Not every film he made won high box-office(票房),but naming a badly-made Spielberg film is hard,probably because there isn't one. No living filmmaker can match his devotion to craftsmanship(技艺),to finding new ways of showing us things we think we've seen a million times before.
(
C
)11. How did Spielberg's mom feel when she saw her son's behavior in front of the TV set? A. Proud but sad. B. Surprised but supportive.
C. Surprised and worried. D. Angry and stressed.
(
B
)12. Which of the following is NOT a reason why Spielberg's career is thought as excellent? A. He is devoted to filming everyday things from new angles(角度).
B. He showed great interest in filming at a very young age.
C. His career covers more than a third of the movie history.
D. All his films are well-made despite(尽管)some don't make much money.
(
B
)13. What can be inferred about Spielberg's film *The Fabelmans*? A. It's the greatest film he has ever made in his career.
B. It has something to do with his growing experience.
C. It represents a totally brand-new type of film theme.
D. It made Spielberg the most influential filmmaker.
(
A
)14. What is the purpose of the text? A. To introduce a great person in film-making.
B. To show how we should be different.
C. To show that failure makes success.
D. To recommend a pioneering new film.
答案：11. C
12. B
13. B
14. A
12. B
13. B
14. A
解析：
翻译:
D
20世纪50年代，史蒂文·斯皮尔伯格在亚利桑那州长大，小时候，他会在自家20英寸的黑白电视机上看西部片，他会直接爬到屏幕前，仿佛要让自己被画面包围。他还希望能看到彩色的这些动态画面。于是，他快速翻找家里收藏的幻灯片，因为他了解到，把这样或那样的胶片举到电视屏幕前，他就能把灰蒙蒙的西部天空变成蓝色，或者把地面变成看起来很逼真的绿色。有时他的妈妈走进来，会看到他把这些幻灯片举到双眼前，就在电视机旁边。她常常会说：“你会把眼睛弄瞎的！”
斯皮尔伯格的妈妈和20世纪50年代所有说过同样话的妈妈一样，在这件事上是错的。但我们都知道她当时肯定在想：这个孩子到底是谁？
在过去的50年左右的时间里，如果你哪怕只看过一部史蒂文·斯皮尔伯格的电影——《大白鲨》《辛德勒的名单》《外星人E.T.》——你就会对这个孩子长大后成为什么样的人有所了解。当你看到他的电影《造梦之家》时，这部从他自己家庭故事中汲取灵感、极其生动的作品，你会了解得更多。电影已经存在了大约130年；斯皮尔伯格的职业生涯涵盖了其中的三分之一以上。然而，《造梦之家》几乎不像是一部职业生涯后期的电影。它是一个新开端的桥梁。
不是每个75岁的电影制作人都会拍这样一部电影。在20世纪70年代初重塑好莱坞的雄心勃勃的年轻人中，斯皮尔伯格是少数仍在持续拍摄重要影片的人之一。他拍的每部电影并非都获得了很高的票房，但要说出一部拍得很糟糕的斯皮尔伯格电影很难，可能是因为根本就没有这样的电影。在世的电影制作人中，没有人能像他那样致力于技艺，致力于找到新的方式向我们展示那些我们以为已经看了无数次的事物。
11. 当斯皮尔伯格的妈妈看到儿子在电视机前的行为时，她是什么感受？
A. 自豪但难过。
B. 惊讶但支持。
C. 惊讶且担心。
D. 生气且有压力。
12. 以下哪一项不是斯皮尔伯格的职业生涯被认为很出色的原因？
A. 他致力于从新的角度拍摄日常事物。
B. 他在很小的时候就对拍摄表现出极大的兴趣。
C. 他的职业生涯涵盖了电影历史的三分之一以上。
D. 尽管他的一些电影票房不高，但他所有的电影都制作精良。
13. 关于斯皮尔伯格的电影《造梦之家》，我们可以推断出什么？
A. 这是他职业生涯中拍过的最伟大的电影。
B. 它和他的成长经历有关。
C. 它代表了一种全新的电影主题类型。
D. 它让斯皮尔伯格成为最有影响力的电影制作人。
14. 这篇文章的目的是什么？
A. 介绍一位电影制作领域的杰出人物。
B. 展示我们应该如何与众不同。
C. 展示失败造就成功。
D. 推荐一部开创性的新电影。
D
20世纪50年代，史蒂文·斯皮尔伯格在亚利桑那州长大，小时候，他会在自家20英寸的黑白电视机上看西部片，他会直接爬到屏幕前，仿佛要让自己被画面包围。他还希望能看到彩色的这些动态画面。于是，他快速翻找家里收藏的幻灯片，因为他了解到，把这样或那样的胶片举到电视屏幕前，他就能把灰蒙蒙的西部天空变成蓝色，或者把地面变成看起来很逼真的绿色。有时他的妈妈走进来，会看到他把这些幻灯片举到双眼前，就在电视机旁边。她常常会说：“你会把眼睛弄瞎的！”
斯皮尔伯格的妈妈和20世纪50年代所有说过同样话的妈妈一样，在这件事上是错的。但我们都知道她当时肯定在想：这个孩子到底是谁？
在过去的50年左右的时间里，如果你哪怕只看过一部史蒂文·斯皮尔伯格的电影——《大白鲨》《辛德勒的名单》《外星人E.T.》——你就会对这个孩子长大后成为什么样的人有所了解。当你看到他的电影《造梦之家》时，这部从他自己家庭故事中汲取灵感、极其生动的作品，你会了解得更多。电影已经存在了大约130年；斯皮尔伯格的职业生涯涵盖了其中的三分之一以上。然而，《造梦之家》几乎不像是一部职业生涯后期的电影。它是一个新开端的桥梁。
不是每个75岁的电影制作人都会拍这样一部电影。在20世纪70年代初重塑好莱坞的雄心勃勃的年轻人中，斯皮尔伯格是少数仍在持续拍摄重要影片的人之一。他拍的每部电影并非都获得了很高的票房，但要说出一部拍得很糟糕的斯皮尔伯格电影很难，可能是因为根本就没有这样的电影。在世的电影制作人中，没有人能像他那样致力于技艺，致力于找到新的方式向我们展示那些我们以为已经看了无数次的事物。
11. 当斯皮尔伯格的妈妈看到儿子在电视机前的行为时，她是什么感受？
A. 自豪但难过。
B. 惊讶但支持。
C. 惊讶且担心。
D. 生气且有压力。
12. 以下哪一项不是斯皮尔伯格的职业生涯被认为很出色的原因？
A. 他致力于从新的角度拍摄日常事物。
B. 他在很小的时候就对拍摄表现出极大的兴趣。
C. 他的职业生涯涵盖了电影历史的三分之一以上。
D. 尽管他的一些电影票房不高，但他所有的电影都制作精良。
13. 关于斯皮尔伯格的电影《造梦之家》，我们可以推断出什么？
A. 这是他职业生涯中拍过的最伟大的电影。
B. 它和他的成长经历有关。
C. 它代表了一种全新的电影主题类型。
D. 它让斯皮尔伯格成为最有影响力的电影制作人。
14. 这篇文章的目的是什么？
A. 介绍一位电影制作领域的杰出人物。
B. 展示我们应该如何与众不同。
C. 展示失败造就成功。
D. 推荐一部开创性的新电影。