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《考研英语阅读理解100篇 高分版》 Unit 6 - TEXT THREE

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2019年02月01日

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Thousands of writers in Los Angeles and New York went on strike this week, risking their incomes and careers. They want more money for their work when it is used online than Hollywood studios are willing to pay. Because the strike is over matters of principle, not just dollars and cents, it could last for months. The immediate effect was to shut down late-night talk shows, including Late Show with David Letterman and The Tonight Show with Jay Leno. If the last writers' strike, in 1988, is any guide, the talk shows will stay silent for a couple of months before going back on air without scripts. Soaps will be next to go, in a week or two; then prime-time dramas, a few weeks later. Some say the film business is safe, because studios have stockpiled scripts. But scripts often need tweaking by writers at the last minute.
Media companies argue that the market has become increasingly competitive and uncertain for many reasons, including Internet piracy and tumbling box-office receipts. They want to cut writers' income from “residuals”, which are payments made when a TV show is re-used. The writers are determined not to repeat the mistake they made in 1985, when they listened to the studios' plea that home video was an unproven new market and agreed to a residual payment of 0.3%, which translates into about four cents for each sale of a DVD—or one-tenth of what DVD-box manufacturers get. The writers now want a residual payment of 2.5% for re-use of material online and on mobile phones.
The studios say that Internet delivery is the same as home video, so the old rate still applies. And they refuse to pay anything to writers when content is streamed over the Internet free to viewers, supported by ads, because this is merely “promotion”. Both sides made last-minute concessions on traditional-media payments. But because new-media rights are so critical to the future earnings of writers and studios, neither was willing to compromise.
Who will suffer the most? “The strike won't affect most studios unless the writers stay out three to five months,” says a senior executive at a media conglomerate. Because writers on reality and animation programmes are not unionised, the networks will be able to switch to other forms of programming; sport will fill the gaps, too. But Moody's, a credit-rating agency, reckons that a strike lasting into late 2008 would have a serious financial impact. Broadcast networks and premium-cable channels would be hurt most, because they rely most on first-run scripted shows.
Some writers, of course, are wealthy. “I'm walking the picket line with some guys who are worth millions,” says Lou DiMaggio, a reality- and game-show writer who won an Emmy award for Win Ben Stein's Money. But the vast majority of writers, he says, earn about $50,000-75,000 a year. Mr. DiMaggio says he backed out of buying a house because of the strike; junior writers may have to go back to waiting tables. Luckily for Hollywood, however, most scribes are too devoted to their calling to be put off. Gary Goldman, a writer picketing outside Fox Studios who has worked on science-fiction thrillers such as Minority Report, says that many writers will spend their free time working on screenplays that they hope to sell to the studios on spec.
1. Which one of the following statements is TRUE of the strike?
[A] The mere aim of this strike is to increase writers' income in general.
[B] The strike is mainly relevant to the issue of scripts used on TV show and primary dramas.
[C] The strike will be effective only if it lasts for a long time.
[D] Whether the film industry will be affected by the strike or not is open to question.
2. The writers made a mistake in the strike of 1985 because _____.
[A] the studios' offer of payment increase was satisfactory
[B] they readily believed the studios' excuse out of a false judgment
[C] the union failed to unite the majority of the writers
[D] the market prospect of home videos was not so competitive and uncertain
3. Finally the writers and the studios made a compromise on _____.
[A] the TV show payments
[B] the payments of the online drama shows
[C] the payments of the mobile phone shows
[D] the payments of Internet shows
4. The word “unionised” (Line 3, Paragraph 4) most probably means _____.
[A] united
[B]organized
[C] established
[D] arranged
5. The screenplays are written by the writers in their free time will be sold to the studios _____.
[A] on a special offer
[B] with no guarantee of profit
[C] on special occasions
[D] as a speculation

1. Which one of the following statements is TRUE of the strike?
[A] The mere aim of this strike is to increase writers' income in general.
[B] The strike is mainly relevant to the issue of scripts used on TV show and primary dramas.
[C] The strike will be effective only if it lasts for a long time.
[D] Whether the film industry will be affected by the strike or not is open to question.
1. 关于这次罢工,下列哪个陈述是正确的?
[A] 这次罢工唯一的目的就是要提高编剧的整体收入。
[B] 这次罢工主要是针对用于电视节目和重点电视剧的剧本。
[C] 这次罢工只有坚持很长时间才能有效。
[D] 这次罢工是否会对电影业产生影响仍然是一个问题。
答案:C 难度系数:☆☆☆
分析:细节题。选项A,在第一段有这么一句:这次罢工不仅仅是为了钱,而更重要的是为了一些原则。因此,A不正确。B,从全文可以看出,这次罢工主要是编剧为争取其作品在网上使用时能获得较高的回报,而不是电视上,因此该选项与文章不符。C,根据第四段,罢工只有延续几个月才能对制片商有一定影响,因此该选项符合题意。选项D,第一段最后一句提到,剧本还是需要编剧来做修改的,因此,该选项也不符合题意。正确答案为C。
2. The writers made a mistake in the strike of 1985 because _____.
[A] the studios' offer of payment increase was satisfactory
[B] they readily believed the studios' excuse out of a false judgment
[C] the union failed to unite the majority of the writers
[D] the market prospect of home videos was not so competitive and uncertain
2. 编剧们在1985年的罢工中犯了一个错误,因为 _____。
[A] 制片商提出的工资上涨幅度非常令人满意
[B] 他们由于判断错误而轻信了制片商的借口
[C] 工会没有能够团结大部分编剧
[D] 家庭录像的市场前景并不具有竞争力,反而相当不确定
答案:B 难度系数:☆☆☆
分析:细节题。文章第二段提到,他们不会再犯1985年罢工时的那个错误。在那次罢工中,编剧们听信了制片商的借口,说家庭录像是个新市场,有待试验。最终他们同意只拿取很小的一部分利润。因此,那次错误的原因就在于他们听信了制片商的借口,所以B最为符合题意。A显然与原文意思相反。选项C在原文中没有提及,而选项D显然与该题无关。
3. Finally the writers and the studios made a compromise on _____.
[A] the TV show payments
[B] the payments of the online drama shows
[C] the payments of the mobile phone shows
[D] the payments of Internet shows
3. 最后,编剧们和制片商在 _____ 上达成了协议。
[A] 电视节目的报酬
[B] 在线电视剧的报酬
[C] 手机节目的报酬
[D] 网络节目的报酬
答案:A 难度系数:☆☆☆
分析:细节题。文章第三段提到,他们已经就传统媒体节目的报酬达成了最后的协议,而关于新媒体节目的报酬还没有达成一致意见。从文中的其他地方可以看出,所谓的新媒体就是指网络和手机等,传统媒体指的是电视,因此,选项A为正确答案。
4. The word “unionised” (Line 3, Paragraph 4) most probably means _____.
[A] united
[B] organized
[C] established
[D] arranged
4. unionised这个词(第四段第三行)最有可能的意思是 _____。
[A] 联合的
[B] 有组织的
[C] 建立的
[D] 安排的
答案:A 难度系数:☆
分析:猜词题。根据上下文的意思,因为实景剧和动画片的编剧不是结合成一体的,因此广播公司可以转而播出其他形式的节目,体育节目也可以填补这个空白。因此,选项A最为符合。
5. The screenplays are written by the writers in their free time will be sold to the studios _____.
[A] on a special offer
[B] with no guarantee of profit
[C] on special occasions
[D] as a speculation
5. 编剧们在业余时间编写的电影剧本将会 _____ 卖给制片商。
[A] 特价
[B] 对是否赢利没有保证
[C] 特殊情形
[D] 作为投机
答案:B 难度系数:☆☆
分析:猜词题。解这个题的关键在于要理解on spec这个短语的意思,该短语意为“碰运气地,对赢利没有把握地”。再者,可以从文章内容来推理:现在编剧们罢工,没有收入,只能利用业余时间编写剧本撞撞运气,这样的话,编写出来的剧本是否能换来收入是未知的。因此,答案为B。

成千上万洛杉矶和纽约的编剧不惜冒着失去工资和工作的风险,于这周举行了罢工。他们希望,自己的作品在网上使用时,得到的报酬比好莱坞的制片商愿意支付的更多一些。因为这次罢工事关原则问题,而不仅仅是金钱的问题,因此可能会持续几个月。罢工的直接影响就是夜间谈话节目的停播,包括《David Letterman晚间谈话》和《Jay Leno今夜谈》。如果之前那次的编剧罢工(1988年)有点示范作用的话,那么这些谈话节目得沉寂几个月才会重新回到屏幕,但没有剧本,接下来,肥皂剧会在一两周内恢复,之后几周内黄金时间的电视剧才会恢复播出。有人认为电影行业是安全的,因为制片商有成堆的剧本。但是在最后关头剧本总是需要编剧做些调整。
媒体公司认为,市场竞争越来越激烈,而且因为许多原因变得更加扑朔迷离,比如网络盗版和票房收入的下降。他们想要从给编剧的电视片重映报酬中卡掉一些。而编剧们决心不再犯他们1985年犯过的错误了,当时他们听信了制片商的借口,说家庭录像还是一个未知的新市场,于是同意收取0.3%的重映费,这相当于每卖出一张DVD,他们只能得到4美分,这是DVD制造商所得收入的1/10。现在编剧们希望,如果在网上或手机上使用这些材料的话,可以支付给他们2.5%的重映费。
制片商称,网络传播和家庭录像是一样的,因此将执行原来的支付比率。如果相关内容放在网上免费给网民收看,那么他们不会向编剧支付任何费用,因为这些是靠广告支撑的,只是一种“宣传”。双方在传统媒体费用支付上都做出了最后的让步,但是由于新型媒体的权利对于编剧和制片商未来的收入都至关重要,因此双方都不肯妥协。
那么谁的损失最多?“对于大多数制片商来说,这次罢工不会有什么影响,除非编剧可以有三到五个月不干活,”一家媒体集团的高级执行官这样说。因为实景剧和动画片的编剧不是结合成一体的,因此广播公司可以转而播出其他形式的节目,体育节目也可以填补这个空白。但是信用评级机构Moody's认为,如果罢工一直持续到2008年末的话,财政就会受到严重影响。广播网和有线付费频道损失最大,因为它们依赖的就是节目的首轮放映。
当然有一些剧作家是很富有的。“跟我一起冒险的是一些身价百万的家伙们,”实景和游戏编剧Lou DiMaggio这样说,他曾因《赢到本·斯坦的钱》而获得了艾美奖。但是他说,大部分的编剧年薪为5万到7.5万美元。DiMaggio说,他就是因为这次罢工打消了买房子的念头。而级别低的编剧可能得回到搁置名单中了。但是,好莱坞是幸运的,因为大多数编剧都愿意响应他们的号召,不会拖延。Gary Goldman是在福克斯影片公司外工作的编剧,他曾经为科幻惊悚电影如《少数派报告》当过编剧,他说许多编剧都会在业余时间里写电影剧本,他们希望可以碰碰运气,看能否出售给制片商。
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