单项选择题

听力原文：M: Excuse me, but I don't know which is the call number of this book and what a call number is for.
W: The call number is the number in the top right corner of the card. It is used as a guide to find the book you want.
Q: What is the man doing?
(17)
A．Finding a book in the library.
B．Making a phone call.
C．Seeing a doctor in a hospital.
D．Solving an arithmetic problem.

A.
W:
B.
Q:
C.Finding
D.
B．Making
E.
C．Seeing
F.
D．Solving
G.
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单项选择题
听力原文：M: Come on Jody, how're we going to convince everybody that my car wash idea is the best way to raise money for the Thanksgiving party at the student center?W: It won't be easy.M: Thanks a lot !W: Oh, I'm just kidding. Actually, I think once we show how much money it could bring in, we'll be sure to convince everyone on campus to pitch-in.M: Well... how are we going to get the message out?W: One thing I was thinking of is to hang up handout on the bulletin boards.M: But that's not going to attract much attention. We need to do something interesting.W: Let me finish: I know someone who works at the campus print shop. Last week he said he could get hold of materials to make a big banner. That'll attract the attention of a lot of students if we can hang it in front of the student center.M: Nice work !W: I've also arranged to have an article published in the school paper next Wednesday. That way you can get the message out to the entire campus.M: Uh-oh, that means I better come up with an article pretty quickly. How about if I write it up and I'll let you be the first to read it. How about alter English class tomorrow?W: Sounds like a plan. I'll see you then.M: You're the greatest. I don't think I would have known what to do without your help.(20)A．A car wash plan.B．Thanksgiving.C．A newspaper.D．A message service.
A.
M:
B.
M:
C...
D.
M:
E.
W:
F.
M:
G.
M:
H.
M:
I.
(20)
A．A
J.
B．Thanksgiving.
C．A
K.
D．A
L.
单项选择题
听力原文： Today I would like to talk about the early days of movie making in the late 19th and early 20th centuries. Before the pioneering films of D. W. Griffith, film makers were limited by several misguided conventions of the era. According to one, the camera was always fixed at the viewpoint corresponding to that of the spectator in a theater, a position now known as the long shot. It was another convention that the position of the camera never changed in the middle of a scene. In last week's films we saw how Griffith ignored both these limiting conventions and brought the camera closer to the actor. This shot, now known as a full shot, was considered revolutionary at the time, for the Love of Cold was the name of the film in which we saw the first use of the full shot. After progressing from the long shot to the full shot, the next logical step for Griffith was to bring in the camera still closer, in what is now called the close-up. The close-up had been used before, though only rarely and merely as a visual stunt, as for example in Edwin S. Poter's The Great Train Robbery which was made in 1903. But not until 1908, in Griffith's movie called After Many Years was the dramatic potential of the close-up first exploited. In the scene from After Many Years that we're about to see, pay special attention to the close-up of Annie Lee's worried face as she awaits her husband's return. In 1908 this close-up shocked everyone in the Biograph Studio. But Griffith had no time for argument. He had another surprise even more radical to offer. Immediately following the close-up of Annie he inserted a picture of the object of her thoughts, her husband cast away on a desert isle. This cutting from one scene to another without finishing either of them brought a torrent of criticism on the experimenter.(33)A．Close-up shots.B．Full shots.C．Long shots.D．Action shots.
A.
(33)
A．Close-up
B.
B．Full
C.
C．Long
D.
D．Action
E.
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