雅思阅读文《戛纳电影节》

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雅思阅读文《戛纳电影节》

　　雅思的阅读理解文章一向因为篇幅长，词汇量大而使考生容易丢分。下面，小编为大家整理了一篇雅思阅读文章，供大家阅读。

雅思阅读文《戛纳电影节》

　　Cannes Film Festival 2011: How Hollywood invaded

　　It’s the showcase for serious cinema – yet the festival is also in thrall to America’s most populist schlock .

　　Cannes has been the world’s greatest film festival for 64 years – and one reason it continues to flourish is its willingness to accommodate the glamour and glitz of the movie world alongside cerebral films made by serious-minded directors from all over the world.

　　The organisers of Cannes understand the allure of star power: of ravishing actresses in stunning frocks and handsome actors in bespoke tuxedos strolling along a red carpet to a world premiere. Stars somehow look even more gorgeous in Cannes – maybe it’s the Mediterranean light – and it’s mostly their images that will be photographed or beamed across the world, reinforcing the festival’s glamour.

　　This is why each year at Cannes the normal proceedings of an otherwise high-minded film festival suddenly come to a halt, as the promotional machines for mega-budget Hollywood movies hit town and briefly take it over. Crucially, these films receive “special screenings” and stay firmly out of competition for the Palme d’Or.

　　At this year’s festival (which starts next Wednesday), Johnny Depp and Penlope Cruz will monopolise the public gaze as stars of Pirates of the Caribbean: On Stranger Tides, the fourth film in this hugely successful franchise. Jodie Foster and Mel Gibson will be there as co-stars of The Beaver (which Foster also directed), about a depressed executive who communicates via a glove puppet.

　　Word on The Beaver is favourable, though it doesn’t seem an obvious festival film. As for Pirates 4, few releases this year would be less likely to make it to Cannes on purely artistic merit. That’s missing the point, of course. Cannes receives an enormous publicity boost from the presence of these global stars, while the distributors of their films use the festival as a glittering launch pad.

　　Still, it’s notable that so many American films that have “invaded” Cannes in recent years have been so ropey. They arrive with a huge fanfare but often disappoint.

　　Last year was a good example. Ridley Scott’s Robin Hood, starring Russell Crowe, was not only welcomed to Cannes, but opened the entire festival. It’s safe to say the film was no one’s finest hour. The other American invader was Wall Street: Money Never Sleeps, and, while leading man Michael Douglas swanned around town looking every inch a major movie star, this Wall Street sequel won little affection or respect.

　　But then the pattern was set a few years previously. It’s often remembered that in 2007 Jerry Seinfeld, promoting his animated Bee Movie, dressed up as a bee and abseiled down the front of the Carlton Hotel in Cannes. It’s harder to recall much about the movie itself.

　　In 2006, The Da Vinci Code opened Cannes to widespread scorn; most of the audience at the press screening were too dispirited even to boo. As its star Tom Hanks admitted later: “The reception couldn’t have been worse. ”

　　Visiting critics’ eyes had collectively rolled the previous year, when Star Wars: Revenge of the Sith blew into town – thankfully the last of the series. Indeed, there’s a tendency for franchises past their artistic sell-by date to use Cannes as a springboard: it happened in 2007 with Ocean’s 13 and the next year with Indiana Jones and the Kingdom of the Crystal Skull. Pirates 4 continues that tradition.

　　Two years ago, Disney took over the Carlton Hotel to promote A Christmas Carol 3D, starring Jim Carrey and Colin Firth. The hotel’s imposing frontage was covered with fake snow, creating a winter wonderland in the middle of May; part of its ground floor became a wintry grotto leading to a vast press conference hall. That year, the Palme d’Or went to Michael Haneke’s brilliant Austrian film The White Ribbon; its entire production probably cost less than Disney’s snowy extravaganza.

　　It would be amusing to report that the festival’s high-minded French cineaste organisers take a dim view of these shenanigans. But it wouldn’t be remotely true. They understand perfectly that Cannes can be both a refuge for rigorous, arthouse filmmaking and an ideal theme park for the glitz, vulgarity and showmanship of mainstream movies.

　　In terms of the major Cannes competition, America has had a lean time of it recently. This year, of 19 Palme d’Or entries, only The Tree of Life, by the legendary US filmmaker Terrence Malick, feels purely American. Another entry, Drive, was financed and shot in the States, but its director Nicolas Winding Refn is Danish.

　　Last year, the political thriller Fair Game, starring Sean Penn and Naomi Watts (a baffling choice) was the sole American Palme d’Or contender. It has been eight years since an American film ( Fahrenheit 9/11) won the competition.

　　Yet Cannes – indeed France in general – loves Hollywood. Remember how much in thrall its New Wave directors Godard, Truffaut and Chabrol were to American genre films? And Hollywood movies and their stars have traditionally received a warm welcome on the Croisette. Over the years actors ranging from Elizabeth Taylor, Faye Dunaway, Arnold Schwarzenegger, Brad Pitt and Angelina Jolie have happily strolled around town .

　　Cannes’s love affair with the Yanks continues this year. Woody Allen directed this year’s opener, Midnight in Paris, and this year’s jury chairman is Robert De Niro, who first visited Cannes in 1976, to promote Taxi Driver.

　　With him then was his 13-year-old co-star, Jodie Foster. Now she’s back in town with The Beaver. Cannes and Hollywood: it’s a long-term romance.

　　附：雅思阅读技巧之标题题

　　(1)先将例子所在的选项从选项列表中划去，同时，不读例子所在的段落。

　　每个选项最多只能用一次，也就是说，两个段落的小标题不可能是一个选项。这是因为不同段落的主旨肯定是不同的，原文将他们分为不同的段落，就是要分别说不同的内容。如果两段的主旨相同，即表达的中心思想一致，应该将它们合为一段，是没有必要分为两段的。

　　有时，这类题目的要求中有这样一句话：You may use any heading more than once(你可以使用任何小标题超过一次)。这句话纯属误导，也就是说，即使题目的要求中有这句话或类似的话，任何选项也不可能被使用两次以上。既然每个选项最多只能用一次，所以例子所在的段落已经使用的选项是不会被其它段落使用的，将其划去，以免被其它的段落误选。而且在选其它段落的答案时，可以不看该选项，节省时间。例子所在的段落已经给出了小标题，所以不必阅读该段落了，以免浪费时间，直接从下一段读起。

　　(2)不要先看选项，而要从文章入手，读一段话，做一道题。

　　大家先想一下，下面的做题方法好吗?先看第一个选项，读懂它的意思。然后读原文的各个段落，判断该选项是愿文纳个段落的小标题。然后按照同样的方法处理其余的各选项。这样的做法不好。因为选项的数目远远大于原文段落的数目。所以这样做，不仅花费的时间很多，而且极易受到干扰选项的误导。很可能第一个选项就是干扰项，你花费了很多时间，将这个选项与原文的各段落相对照，结果发现它是一个干扰项，这已经浪费了很多时间。

　　正确方法：

　　先不要看选项，而是要先读文章。读文章的时候，不要一下把文章全读完，而是读一段话，做一道题。假如原文的第一段已作为例子给出，那么，先读第二段，然后到选项列表中找该段话的小标题。然后再读第三段，同样处理，直至完成。这样做，不仅速度快，而且准确率高。

　　(3)读每段话时，要抓住该段话的主题句和核心词汇。正确答案常常是主题句的改写。

　　读每段话时，并不是该段落全要仔细阅读。这样，既浪费时间，也不容易抓住重点。应该抓住该段话的的主题句。先读该段话的第一句，然后，与选项列表中大各选项一一对应，确定正确答案，正确选项一般就该句话的改写。如果答案不能确定，应再读该段话的第二句，然后，与选项列表中的各选项一一对应。如果答案还是不能确定，应再读该段话的最后一句，再与选项列表中大各选项一一对应。如果还是找不到正确答案，则就需要阅读整段话了。根据统计，段落的主题句在第一句的可能性超过50%，段落的主题句在第二句的可能性超过20%，段落的主题句在最后一句的可能性超过20%。也就是说，按照上述方法做这种题型，读完该段话的第一句，就能在选项列表中找出该段话的Heading，这种可能性超过50%。整段话都需要阅读的可能性不到10%。这个做题方法不仅有统计数据的依据，还有理论的基础。英文段落展开的方法比较简单，主要有两种：演绎法(deductive method)及归纳法(inductive method)。演绎法指的是由观点到例子及论据，所以主题句在该段话的第一句，但有时，第一句是个过渡性或描述性的句子，主题句有可能放在放在该段话的第二句，总之，主题句在第一句或第二句，都是deductive method.Inductive method 是指由例子及论据到观点，所以主题句在该段的最后一句，70%左右的段落使用deductive method写的，而且其中绝大部分主题句在第一句。20%左右的段落是用inductive method写的。

　　有的人会问：我怎么知道某段话是用演绎法写的，还是归纳法写的?是的，不读完整段话，是不知道的。但读完整段话，很浪费时间，而且，由于文章句子结构复杂，再加上有一些不熟悉的单词，很可能你也读不太懂。所以，若读完整段话在来选择该段的Heading，不仅时间不够用，而且往往正确率也不高。

　　上面介绍的方法，就是按照概率，首先认为段落是用演绎法写的，而且主题句在第一句，按照第一句的意思，在选项列表中确定正确答案。如果选项列表中有一项与这句话的意思相同，即可认为是正确答案。如果不能确定，再依次读该段话的第二句和最后一句，再与选项列表中的各选项一一对应，确定正确答案。实践证明，这种方法不仅节省时间，而且正确率也很高。

　　(4)某段话的答案确定后，将它的选项从选项列表中划去。

　　前面已经讲过，每个选项最多用一次，也就是说，不可能两个段落的小标题是一个选项。所以，一段话的答案确定后，将它的选项从选项列表中划去，以免被误选为其它段落的小标题。而且在选其它段落的答案时，可以不看选项，节省时间。但某段话的答案不太确定，如第三段可能是C，也可能不是C，这时不能将C从选项列表中划去。

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