TPO12-2 Transition to Sound in Film 默片向有声电影的转变
法国黑白浪漫爱情默片《大艺术家》于2012年2月26日一举斩获奥斯卡五项大奖，向“默片年代”致敬的同时，我们也来感受下默片向有声这电影史上极为重要的一跃。
1. The shift from silent to sound film at the end of the 1920s marks, so far, the most important transformation in motion picture history.(最高级是事实信息题的考点之一。)
2. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has come close tobeing regarded as a similar kind of watershed.(练习断句。)
3. In Berlin, for the premiere performance(首映) outsidethe Soviet Union of The Battleship Potemkin, film director Sergei Eisenstein worked with Austrian composer Edmund Meisel (1874-1930) on a musical score matching sound to image; the Berlin screenings with live music helped to bringthe film its wide international fame.(推断题出处：小词汇有深意。)
4. Beyond that, the triumph of recorded sound has overshadowed the rich diversity of technological and aesthetic experiments with the visual image that were going forward simultaneously in the1920s.(段首主旨句)
5. The high costs of converting to sound and the early limitations of sound technology were among the factors that suppressed innovations or retarded advancement in these other areas.
6. Though itmay be difficult to imagine from a later perspective, a strain of critical opinion in the 1920s predicted that sound film would be a technical novelty that would soon fade from sight, just as had many previous attempts, dating well back before the First World War, to link images with recorded sound.(句子简化题：转折逻辑关系+类比)
7. To besure, their evaluation of the technical flaws in 1920s sound experiments wasnot so far off the mark, yet they neglected totake into account important new forces in the motion picture field that, in asense, would not take no for an answer.(试着翻译下吧!)
8. With financial assets considerably greater than those in the motion picture industry, and perhaps a wider vision of the relationships among entertainment and communications media, they revitalized research into recording sound for motion pictures.
9. In Europe it took a little longer, mainly because therewere more small producers for whom the costs of sound were prohibitive, and in otherparts of the world problems with rights or access to equipment delayed the shift to sound productionfor a few more years (though cinemasinmajor cities may have been wired in order to play foreign sound films).
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