[外语类试卷]大学英语六级模拟试卷544及答案与解析.doc
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1、大学英语六级模拟试卷 544及答案与解析 一、 Part I Writing (30 minutes) 1 For this part, you are allowed 30 minutes to write a short essay entitled Marriage Upon Graduation. You should write at least 150 words following the outline given below: 1越来越多的大学生一毕业就迈入婚姻殿堂 2产生这种现象的原因 3我的看法 Marriage Upon Graduation 二、 Part II Re
2、ading Comprehension (Skimming and Scanning) (15 minutes) Directions: In this part, you will have 15 minutes to go over the passage quickly and answer the questions attached to the passage. For questions 1-4, mark: Y (for YES) if the statement agrees with the information given in the passage; N (for
3、NO) if the statement contradicts the information given in the passage; NG (for NOT GIVEN) if the information is not given in the passage. 1 Hollywood “Globalized“ When director Adam McKay pitched a sequel (续集 ) to his 2004 hit movie Anchorman, he thought it would be a no-brainer for Hollywood. The $
4、 20 million comedy grossed more than $ 90 million at the box office. But only $ 5 million of that came from ticket sales abroad. Paramount Pictures refused the sequel this spring, fearing the comedys uniquely American brand of humor wouldnt play abroad. “At the end of the day. the economics of the b
5、usiness have changed there is so much more pressure to play globally, and we couldnt fight that,“ says Mr. McKay. International box office The rising power of international audiences is a sea change for Hollywood. Decades ago, a movies foreign box office barely registered with studio executives. Now
6、, foreign ticket sales represent nearly 68% of the roughly $ 32 billion global film market, up from roughly 58% a decade ago, according to Screen Digest Cinema Intelligence Service. The result is that one of the most American of products is now being retooled to suit foreign tastes. Studios have beg
7、un to cast foreign actors in American-themed blockbusters (大片 ) like G. I. Joe. Scripts are being rewritten to lure global audiences. And studios are cutting back on standard Hollywood fare like romantic comedies because foreign movie-goers often dont find American jokes all that funny. Several Holl
8、ywood studios have gone as far as financing, producing and marketing original movies for markets like South Korea and Brazil. “We need to make movies that have the ability to break out internationally,“ says Rob Moore, vice chairman of Paramount Pictures. “Thats the only way to make the economic puz
9、zle of film production work today.“ The rise of the international box office has as much to do with a shifting global economy as with the evolution of the movie business. For years, Hollywoods bottom line was propped up by double-digit growth in DVD sales. Dwindling (缩减 ) in-theater audiences in Nor
10、th America also have contributed to the shift. Another factors Regions from Asia to Eastern Europe went on a credit-fueled building boom, erecting shopping mallsoften with multiplexes attached. Loca1 films IMAX Corp. has opened 66 big-screen theaters abroad in the last three years, including 25 in A
11、sia to increase the companys brand awareness in Asia. Satisfying foreign audiences has been tricky for Hollywood. Years ago, audiences in South Korea would faithfully go to the multiplex to watch movies that were written, produced, and cast out of Hollywood. Now, increasingly sophisticated local fil
12、ms are giving Hollywood a run for its money. In South Korea, ticket sales to local movies accounted for about 10% or 20% of box-office revenue in the 1990s. Hollywood movies grabbed the lions share. Now, local fare makes up nearly 50% of South Korean ticket sales, according to Screen Digest. In 2008
13、, veteran film executive Sanford Panitch was shocked when a Twentieth Century Fox film he worked on called “Jumper“ was nearly eclipsed (衰落 ) in South Korea by a local crime thriller called The Chaser. Just a few months later, Mr. Panitch was plucked to head up the studios new Fox International Prod
14、uctions division. Fox, noticing that local films were eating up more of the foreign box office, had become worried about its ability to reach up-and-coming markets with its Hollywood fare. Fox set up the new division so it could start developing, producing, and distributing local-language movies for
15、 those countries. Mr. Panitch says he sometimes uses Foxs vast array of film production resources like relationships with special-effects companies to dress up foreign films. But he says its more important to draw on local producers and their expertise to make films that appeal to that particular au
16、dience. “Its not about bringing Hollywood tactics to the foreign markets,“ says Mr. Panitch. “Its about participating in a local culture enough to create a product that those audiences will actually want to watch.“ De-Americanize Donna Langley, co-chair of General Electric Co. s Universal Pictures u
17、nit, was recently working on the script for an upcoming big-budget movie based on the Hasbro board game Battleship. The plotline is classic Hollywood : Evil aliens land on earth and live underwater. One of the first people at Universal to read the script was David Kosse, the studios London-based pre
18、sident. One worry surfaced immediately: The aliens only threatened the US a premise deemed “too American.“ Universal asked the writers to redo the script. In the new version, the aliens threaten the entire world. “The movie takes place off the coast of Hawaii, but the question we asked was, How do w
19、e make this a global proposition?“ said Ms. Langley. Universal now tries to have senior executives vet scripts early to look for ways to make them more international. Last summer, Paramount was worried that its 2009 summer release, G. I. Joe, which cost $ 175 million, might flop overseas. “People qu
20、estioned whether it would travel outside the US because the original formulation is a strong US military theme,“ says Mr. Moore, the Paramount executive. The solution: Stuff the cast with international stars. In the end, G. I. Joe grossed slightly more abroad than at home, taking in $ 152 million of
21、 its world-wide $ 302 million in ticket sales overseas. But Hollywood has concluded that some movies just cant make it abroad. “A lot of comedies and a lot of comedians dont travel,“says Mr. Moore. Paramount and others have begun to give them the ax. Fox Searchlight was recently developing “Baggage
22、Claim,“ which chronicles a young flight attendants search for Mr. Right and stars an ensemble of African-American actors. But that film ended up in “turnaround,“ the Hollywood term for when a studio abandons the rights to a project and allows others to acquire it. It was heavily targeted to an Afric
23、an-American audience, a factor that often means the film wont play well abroad. Since Anchorman 2 was killed, Mr. McKay, the director, has been trying to broaden the foreign appeal of his next project, The Other Guys, a $ 100 million comedy. Sony Pictures will bring it out in August. A key plot poin
24、t of the film involves Mr. Wahlberg and Yankee shortstop Derek Jeter. Sonys executives initially worried that Mr. Jeterand the joke that involves himwould seem too American. They found a solution: The studio asked Mr. McKay to spend his summer re-shooting those scenes with international sports stars
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