雅思閱讀文《戛納電影節》

　　雅思的閱讀理解文章一向因為篇幅長，詞匯量大而使考生容易丟分。下面，小編為大家整理了一篇雅思閱讀文章，供大家閱讀。

　　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：雅思閱讀技巧之標題題

　　(1)先將例子所在的選項從選項列表中劃去，同時，不讀例子所在的段落。

　　每個選項最多只能用一次，也就是說，兩個段落的小標題不可能是一個選項。這是因為不同段落的主旨肯定是不同的，原文將他們分為不同的段落，就是要分別說不同的內容。如果兩段的主旨相同，即表達的中心思想一致，應該將它們合為一段，是沒有必要分為兩段的。

　　有時，這類題目的要求中有這樣一句話：You may use any heading more than once(你可以使用任何小標題超過一次)。這句話純屬誤導，也就是說，即使題目的要求中有這句話或類似的話，任何選項也不可能被使用兩次以上。既然每個選項最多只能用一次，所以例子所在的段落已經使用的選項是不會被其它段落使用的，將其劃去，以免被其它的段落誤選。而且在選其它段落的答案時，可以不看該選項，節省時間。例子所在的段落已經給出了小標題，所以不必閱讀該段落了，以免浪費時間，直接從下一段讀起。

　　(2)不要先看選項，而要從文章入手，讀一段話，做一道題。

　　大家先想一下，下面的做題方法好嗎?先看第一個選項，讀懂它的意思。然后讀原文的各個段落，判斷該選項是愿文納個段落的小標題。然后按照同樣的方法處理其余的各選項。這樣的做法不好。因為選項的數目遠遠大于原文段落的數目。所以這樣做，不僅花費的時間很多，而且極易受到干擾選項的誤導。很可能第一個選項就是干擾項，你花費了很多時間，將這個選項與原文的各段落相對照，結果發現它是一個干擾項，這已經浪費了很多時間。

　　正確方法：

　　先不要看選項，而是要先讀文章。讀文章的時候，不要一下把文章全讀完，而是讀一段話，做一道題。假如原文的第一段已作為例子給出，那么，先讀第二段，然后到選項列表中找該段話的小標題。然后再讀第三段，同樣處理，直至完成。這樣做，不僅速度快，而且準確率高。

　　(3)讀每段話時，要抓住該段話的主題句和核心詞匯。正確答案常常是主題句的改寫。

　　讀每段話時，并不是該段落全要仔細閱讀。這樣，既浪費時間，也不容易抓住重點。應該抓住該段話的的主題句。先讀該段話的第一句，然后，與選項列表中大各選項一一對應，確定正確答案，正確選項一般就該句話的改寫。如果答案不能確定，應再讀該段話的第二句，然后，與選項列表中的各選項一一對應。如果答案還是不能確定，應再讀該段話的最后一句，再與選項列表中大各選項一一對應。如果還是找不到正確答案，則就需要閱讀整段話了。根據統計，段落的主題句在第一句的可能性超過50%，段落的主題句在第二句的可能性超過20%，段落的主題句在最后一句的可能性超過20%。也就是說，按照上述方法做這種題型，讀完該段話的第一句，就能在選項列表中找出該段話的Heading， 這種可能性超過50%。整段話都需要閱讀的可能性不到10%。這個做題方法不僅有統計數據的依據，還有理論的基礎。英文段落展開的方法比較簡單，主要有兩種：演繹法(deductive method)及歸納法(inductive method)。演繹法指的是由觀點到例子及論據，所以主題句在該段話的第一句，但有時，第一句是個過渡性或描述性的句子，主題句有可能放在放在該段話的第二句，總之，主題句在第一句或第二句，都是deductive method.Inductive method 是指由例子及論據到觀點，所以主題句在該段的最后一句，70%左右的段落使用deductive method寫的，而且其中絕大部分主題句在第一句。20%左右的段落是用inductive method寫的。

　　有的人會問：我怎么知道某段話是用演繹法寫的，還是歸納法寫的?是的，不讀完整段話，是不知道的。但讀完整段話，很浪費時間，而且，由于文章句子結構復雜，再加上有一些不熟悉的單詞，很可能你也讀不太懂。所以，若讀完整段話在來選擇該段的Heading， 不僅時間不夠用，而且往往正確率也不高。

　　上面介紹的方法，就是按照概率，首先認為段落是用演繹法寫的，而且主題句在第一句，按照第一句的意思，在選項列表中確定正確答案。如果選項列表中有一項與這句話的意思相同，即可認為是正確答案。如果不能確定，再依次讀該段話的第二句和最后一句，再與選項列表中的各選項一一對應，確定正確答案。實踐證明，這種方法不僅節省時間，而且正確率也很高。

　　(4)某段話的答案確定后，將它的選項從選項列表中劃去。

　　前面已經講過，每個選項最多用一次，也就是說，不可能兩個段落的小標題是一個選項。所以，一段話的答案確定后，將它的選項從選項列表中劃去，以免被誤選為其它段落的小標題。而且在選其它段落的答案時，可以不看選項，節省時間。但某段話的答案不太確定，如第三段可能是C，也可能不是C，這時不能將C從選項列表中劃去。

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