In early 1928, almost all movie productions in the United States centered in Hollywood. were silent films. but by the end of the year, virtually every production company in the country was making only sound films. During that year the studios found it necessary to stop all production for significant periods to convert their facilities and train technical staff for talking pictures. Even the basic organization of the industry would be changed by the new technology. Coordinating sound production with film production required far more hands-on management of the process. As a result, producers who oversaw technical and financial aspects of filmmaking. became more powerful in relationship to directors, who guided actors through their performances. There had never been a uniform pay scale for actors. Each film production studio had its own employment rules. But sound production necessitated far more rehearsal time, which some studios paid and others didn’t. This led to discontent and the trend toward the formation of labor unions in the industry. This unionization movement gained force when film projector operators, whose work (showing films in theaters) was greatly complicated by sound, organized and bargained for better working conditions and rights of seniority (long service), benefits that other trades soon also sought to acquire by joining the movement.
The careers of actors, directors, and writers were disrupted by uncertainty about their ability to adapt. The motion picture industry’s leaders assumed that silent picture screenwriters couldn’t write dialogue: that actors would suffer from “microphone nerves” and become unable to perform; and that directors would be equally challenged by the new medium. For a brief period the entire industry shifted its attention from Hollywood to New York, where a pool of talent awaited because of New York’s many theaters and radio stations. For New York stage actors who performed live in theaters, the higher wages offered by the film industry was a boon Playwrights accustomed to living on the meager wages paid by the stage suddenly found themselves courted by the studios and offered unheard of sums of money. The cost of buying the rights for successful plays to turn them into films also soared
In Hollywood, silent actors began to enroll in voice and pronunciation classes. It was assumed that the voice of talking pictures would sound cultured, imitating the accents of the aristocracy. People with perfectly acceptable speaking voices, perhaps regionally accented or unaccented, were trained to talk as if they had been to college at Oxford or Cambridge in England. This rejection of naturalism in talking pictures resulted in films that were awkward and sometimes unintentionally comedic. One early technique used in dialogue recording was for each speaker to pause for an instant before beginning their lines in the belief that audiences would need the time to keep up with what was being said. This effect came off sounding slow and ponderous and artificial. Sound engineers declared that the letter “s” could not be properly reproduced by the technology. This caused writers to tear out their hair out trying to avoid the offending letter in dialogue scenes.
The significant increase in the expense of production caused by sound forced the studios to embark on a campaign of cost cutting An early casualty of the talking era were theater and studio musicians, who had provided background music for silent films. However, a new opportunity arose for them at the same time: contributing the theme song. Theme songs were used extensively in radio to identify programs as well as to promote films in advance of their release. One studio instructed directors that they were allowed only the expense of printing two takes or versions of each scene. This put tremendous pressure on everyone, especially camera operators, to get it right the first time. Following the lead of projectionists, cameramen were soon demanding and receiving better pay and working conditions as a result of the greater responsibility they were bearing. Another economizing move was to fire all of the “gag” men, comedy writers who routinely were assigned to movie sets to add little bits of comedy as the film was being shot. Ordinary actors became restless. They weren’t customarily paid for rehearsals, but sound necessitated they spend much more time in preparation. In September 1928, film industry representatives announced that actors would henceforth be paid for rehearsals on talking films.
1
In early 1928, almost all movie productions in the United States centered in Hollywood. were silent films. but by the end of the year, virtually every production company in the country was making only sound films. During that year the studios found it necessary to stop all production for significant periods to convert their facilities and train technical staff for talking pictures. Even the basic organization of the industry would be changed by the new technology. Coordinating sound production with film production required far more hands-on management of the process. As a result, producers who oversaw technical and financial aspects of filmmaking. became more powerful in relationship to directors, who guided actors through their performances. There had never been a uniform pay scale for actors. Each film production studio had its own employment rules. But sound production necessitated far more rehearsal time, which some studios paid and others didn’t. This led to discontent and the trend toward the formation of labor unions in the industry. This unionization movement gained force when film projector operators, whose work (showing films in theaters) was greatly complicated by sound, organized and bargained for better working conditions and rights of seniority (long service), benefits that other trades soon also sought to acquire by joining the movement.
The word “discontent” in the passage is closest in meaning to
Ainequality
Bgreater expense
Creorganization
Dunhappiness
2
In early 1928, almost all movie productions in the United States centered in Hollywood. were silent films. but by the end of the year, virtually every production company in the country was making only sound films. During that year the studios found it necessary to stop all production for significant periods to convert their facilities and train technical staff for talking pictures. Even the basic organization of the industry would be changed by the new technology. Coordinating sound production with film production required far more hands-on management of the process. As a result, producers who oversaw technical and financial aspects of filmmaking. became more powerful in relationship to directors, who guided actors through their performances. There had never been a uniform pay scale for actors. Each film production studio had its own employment rules. But sound production necessitated far more rehearsal time, which some studios paid and others didn’t. This led to discontent and the trend toward the formation of labor unions in the industry. This unionization movement gained force when film projector operators, whose work (showing films in theaters) was greatly complicated by sound, organized and bargained for better working conditions and rights of seniority (long service), benefits that other trades soon also sought to acquire by joining the movement.
Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.
AFilm projector operators strengthened the movement to unionize workers because sound had complicated their work, and they were soon joined in the movement by other trades
BThe unionization movement used force to organize and bargain for the benefits of film projector operators and other trades.
CFilm projector operators and later other trades greatly complicated the unionization movement by bargaining for better working conditions and rights of seniority.
DThe unionization movement was able to help film projector operators and other trades organize their work. which had become complicated by sound.
3
In early 1928, almost all movie productions in the United States centered in Hollywood. were silent films. but by the end of the year, virtually every production company in the country was making only sound films. During that year the studios found it necessary to stop all production for significant periods to convert their facilities and train technical staff for talking pictures. Even the basic organization of the industry would be changed by the new technology. Coordinating sound production with film production required far more hands-on management of the process. As a result, producers who oversaw technical and financial aspects of filmmaking. became more powerful in relationship to directors, who guided actors through their performances. There had never been a uniform pay scale for actors. Each film production studio had its own employment rules. But sound production necessitated far more rehearsal time, which some studios paid and others didn’t. This led to discontent and the trend toward the formation of labor unions in the industry. This unionization movement gained force when film projector operators, whose work (showing films in theaters) was greatly complicated by sound, organized and bargained for better working conditions and rights of seniority (long service), benefits that other trades soon also sought to acquire by joining the movement.
Paragraph 1 suggests that sound films contributed to the unionization movement because of
Athe need to train additional technical staff
Bthe increased and often unpaid time needed for rehearsal
Cthe changed relationship between producers and directors
Dthe pressure on projector operators to do the work of other trades
4
The careers of actors, directors, and writers were disrupted by uncertainty about their ability to adapt. The motion picture industry’s leaders assumed that silent picture screenwriters couldn’t write dialogue: that actors would suffer from “microphone nerves” and become unable to perform; and that directors would be equally challenged by the new medium. For a brief period the entire industry shifted its attention from Hollywood to New York, where a pool of talent awaited because of New York’s many theaters and radio stations. For New York stage actors who performed live in theaters, the higher wages offered by the film industry was a boon Playwrights accustomed to living on the meager wages paid by the stage suddenly found themselves courted by the studios and offered unheard of sums of money. The cost of buying the rights for successful plays to turn them into films also soared
According to paragraph 2, which of the following was an assumption of industry leaders with respect to changes in the motion picture industry?
AHollywood would provide more talented actors and writers for movie production than New York would.
BPlaywrights should be paid the same to write films as they were when writing for the stage.
CTalented actors who worked in theater or radio could not make the adjustment to movies.
DScreenwriters of silent movies lacked the ability to write dialogue, and silent movie actors could not perform dialogue
5
In Hollywood, silent actors began to enroll in voice and pronunciation classes. It was assumed that the voice of talking pictures would sound cultured, imitating the accents of the aristocracy. People with perfectly acceptable speaking voices, perhaps regionally accented or unaccented, were trained to talk as if they had been to college at Oxford or Cambridge in England. This rejection of naturalism in talking pictures resulted in films that were awkward and sometimes unintentionally comedic. One early technique used in dialogue recording was for each speaker to pause for an instant before beginning their lines in the belief that audiences would need the time to keep up with what was being said. This effect came off sounding slow and ponderous and artificial. Sound engineers declared that the letter “s” could not be properly reproduced by the technology. This caused writers to tear out their hair out trying to avoid the offending letter in dialogue scenes.
According to paragraph 3, which of the following made early sound films awkward?
AThe use of actors who had been trained in England
BThe training of actors to speak in unnatural accents that were thought to be sophisticated
CThe fast rate at which actors spoke
DThe addition of artificial pauses into recordings by sound engineers
6
The significant increase in the expense of production caused by sound forced the studios to embark on a campaign of cost cutting An early casualty of the talking era were theater and studio musicians, who had provided background music for silent films. However, a new opportunity arose for them at the same time: contributing the theme song. Theme songs were used extensively in radio to identify programs as well as to promote films in advance of their release. One studio instructed directors that they were allowed only the expense of printing two takes or versions of each scene. This put tremendous pressure on everyone, especially camera operators, to get it right the first time. Following the lead of projectionists, cameramen were soon demanding and receiving better pay and working conditions as a result of the greater responsibility they were bearing. Another economizing move was to fire all of the “gag” men, comedy writers who routinely were assigned to movie sets to add little bits of comedy as the film was being shot. Ordinary actors became restless. They weren’t customarily paid for rehearsals, but sound necessitated they spend much more time in preparation. In September 1928, film industry representatives announced that actors would henceforth be paid for rehearsals on talking films.
The word “routinely” in the passage is closest in meaning to
Aregularly
Bpreviously
Cinterestingly
Dindividually
7
The significant increase in the expense of production caused by sound forced the studios to embark on a campaign of cost cutting An early casualty of the talking era were theater and studio musicians, who had provided background music for silent films. However, a new opportunity arose for them at the same time: contributing the theme song. Theme songs were used extensively in radio to identify programs as well as to promote films in advance of their release. One studio instructed directors that they were allowed only the expense of printing two takes or versions of each scene. This put tremendous pressure on everyone, especially camera operators, to get it right the first time. Following the lead of projectionists, cameramen were soon demanding and receiving better pay and working conditions as a result of the greater responsibility they were bearing. Another economizing move was to fire all of the “gag” men, comedy writers who routinely were assigned to movie sets to add little bits of comedy as the film was being shot. Ordinary actors became restless. They weren’t customarily paid for rehearsals, but sound necessitated they spend much more time in preparation. In September 1928, film industry representatives announced that actors would henceforth be paid for rehearsals on talking films.
According to paragraph 4, which of the following happened to some of the theater and studio musicians as the age of sound films arrived?
AThey moved from working in the film industry to working in radio.
BThey demanded and received better pay and working conditions.
CThey began to record background music used in sound films when actors were not speaking.
DThey started to produce theme songs.
8
The significant increase in the expense of production caused by sound forced the studios to embark on a campaign of cost cutting An early casualty of the talking era were theater and studio musicians, who had provided background music for silent films. However, a new opportunity arose for them at the same time: contributing the theme song. Theme songs were used extensively in radio to identify programs as well as to promote films in advance of their release. One studio instructed directors that they were allowed only the expense of printing two takes or versions of each scene. This put tremendous pressure on everyone, especially camera operators, to get it right the first time. Following the lead of projectionists, cameramen were soon demanding and receiving better pay and working conditions as a result of the greater responsibility they were bearing. Another economizing move was to fire all of the “gag” men, comedy writers who routinely were assigned to movie sets to add little bits of comedy as the film was being shot. Ordinary actors became restless. They weren’t customarily paid for rehearsals, but sound necessitated they spend much more time in preparation. In September 1928, film industry representatives announced that actors would henceforth be paid for rehearsals on talking films.
In paragraph 4, why does the author include the information that one studio limited the number of takes of each scene to two?
ATo point out a development in cost cutting that led cameramen to demand higher pay and better working conditions
BTo provide an example of the efforts that some studios made to produce sound films earlier than other studios
CTo emphasize that directors were often in conflict with camera operators
DTo introduce an unintended result of using theme songs in movies
9
In Hollywood, silent actors began to enroll in voice and pronunciation classes. It was assumed that the voice of talking pictures would sound cultured, imitating the accents of the aristocracy.[■] People with perfectly acceptable speaking voices, perhaps regionally accented or unaccented, were trained to talk as if they had been to college at Oxford or Cambridge in England. [■] This rejection of naturalism in talking pictures resulted in films that were awkward and sometimes unintentionally comedic. [■] One early technique used in dialogue recording was for each speaker to pause for an instant before beginning their lines in the belief that audiences would need the time to keep up with what was being said. This effect came off sounding slow and ponderous and artificial. Sound engineers declared that the letter “s” could not be properly reproduced by the technology. [■] This caused writers to tear out their hair out trying to avoid the offending letter in dialogue scenes.
Look at the four squaresthat indicate where the following sentence could be added to the passage
There were other practices that had similar effects.
Where would the sentence best fit？Click on a square sentence to the passage.
10
The introduction of sound into movies had a number of different effects on the film industry
AThe popularity of sound films led to the closing down of studios that could not obtain the technology or staff to produce them.
BIn response to assumed challenges that sound films would present various industry professionals, the film industry turned for a time to New York to engage the services of stage actors and playwrights.
CAs the film industry adapted to sound, some early techniques made films seem unnatural
DThe greater demands that the production of sound films placed on workers and the studios’ cost-cutting procedures contributed to unionization among laborers in the film industry
EInstead of using silent film actors in sound films, studios hired other actors who could perform with a variety of different accents.
FAs a result of film industry workers’ demands for better pay, studios cut costs in other ways such as by using fewer songs for background music and by reducing the number of scenes in films.
