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Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Today's cars are smaller, safer, cleaner, and more economical than their predecessors, but the car of the future will be far more pollution-free than those on the road today. Several new types of automobile engines have already been developed that run on alternative sources of power, such as electricity, compressed natural gas, methanol, steam, hydrogen, and propane. Electricity, however, is the only zero- emission option presently available.   Although electric vehicles will not be truly practical until a powerful, compact battery or other dependable source of current is available, transportation experts foresee a new assortment of electric vehicles entering everyday life: shorter-range commuter electric cars, three-wheeled neighborhood cars, electric delivery vans, bikes, and trolleys.   As automakers work to develop practical electrical vehicles, urban planners and utility engineers are focusing on infrastructure systems to support and make the best use of the new cars. Public charging facilities will need to be as common as today's gas stations. Public parking spots on the street or in commercial lots will need to be equipped with devices that allow drivers to charge their batteries while they stop, dine, or attend a concert. To encourage the use of electric vehicles, the most convenient parking in transportation centers might be reserved for electric cars.           Planners foresee electric shuttle buses, trains, buses, and neighborhood vehicles all meeting at transit centers that would have facilities for charging and renting. Commuters will be able to rent a variety of electric cars to suit their needs: light trucks, one-person three-wheelers, small cars, or electric/gasoline hybrid cars for longer trips, which will no doubt take place on automated freeways capable of handling five times the number of vehicles that can be carried by a freeway today. In the second paragraph the author implies that ___________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 28 to 34.         The main difference between urban growth in Europe and in the American colonies was the slow evolution of cities in the former and their rapid growth in the latter. In Europe they grew over a period of centuries from town economies to their present urban structure. In North America, they started as wilderness communities and developed to mature urbanism’s in little more than a century.         In the early colonial day in North America, small cities sprang up along the Atlantic Coastline, mostly in what are now New America, small cities sprang up along the Atlantic United States and in the lower Saint Lawrence valley in Canada. This was natural because these areas were nearest England and France, particularly England, from which most capital goods (assets such as equipment) and many consumer goods were imported Merchandising establishments were, accordingly, advantageously located in port cities from which goods could be readily distributed to interior settlements. Here, too, were the favored locations for processing raw materials prior to export. Boston, Philadelphia, New York, Montreal, and other cities flourished, and, as the colonies grew, these cities increased in importance.         This was less true in the colonial South, where life centered around large farms, known as plantations, rather than around towns, as was the case in the areas further north along the Atlantic coastline. The local isolation and the economic self-sufficiency of the plantations were antagonistic to the development of the towns. The plantations maintained their independence because they were located on navigable streams and each had a wharf accessible to the small shipping of that day. In fact, one of the strongest factors in the selection of plantation land was the desire to have it front on a water highway.                    When the United States became an independent nation in 1776, it did not have a single city as large as 50,000 inhabitants, but by 1820 it had a city of more than 10,000 people, and by 1880 it had recorded a city of over one million. It was not until after 1823, after the mechanization of the spinning and weaving industries, that cities started drawing young people away from farms. Such migration was particularly rapid following the Civil War (1861-1865). The word “they” in paragraph 1 refers to _________ .
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Today's cars are smaller, safer, cleaner, and more economical than their predecessors, but the car of the future will be far more pollution-free than those on the road today. Several new types of automobile engines have already been developed that run on alternative sources of power, such as electricity, compressed natural gas, methanol, steam, hydrogen, and propane. Electricity, however, is the only zero- emission option presently available.   Although electric vehicles will not be truly practical until a powerful, compact battery or other dependable source of current is available, transportation experts foresee a new assortment of electric vehicles entering everyday life: shorter-range commuter electric cars, three-wheeled neighborhood cars, electric delivery vans, bikes, and trolleys.   As automakers work to develop practical electrical vehicles, urban planners and utility engineers are focusing on infrastructure systems to support and make the best use of the new cars. Public charging facilities will need to be as common as today's gas stations. Public parking spots on the street or in commercial lots will need to be equipped with devices that allow drivers to charge their batteries while they stop, dine, or attend a concert. To encourage the use of electric vehicles, the most convenient parking in transportation centers might be reserved for electric cars.           Planners foresee electric shuttle buses, trains, buses, and neighborhood vehicles all meeting at transit centers that would have facilities for charging and renting. Commuters will be able to rent a variety of electric cars to suit their needs: light trucks, one-person three-wheelers, small cars, or electric/gasoline hybrid cars for longer trips, which will no doubt take place on automated freeways capable of handling five times the number of vehicles that can be carried by a freeway today. The word “compact” in the second paragraph is closest in meaning to _________.
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 28 to 34.         The main difference between urban growth in Europe and in the American colonies was the slow evolution of cities in the former and their rapid growth in the latter. In Europe they grew over a period of centuries from town economies to their present urban structure. In North America, they started as wilderness communities and developed to mature urbanism’s in little more than a century.         In the early colonial day in North America, small cities sprang up along the Atlantic Coastline, mostly in what are now New America, small cities sprang up along the Atlantic United States and in the lower Saint Lawrence valley in Canada. This was natural because these areas were nearest England and France, particularly England, from which most capital goods (assets such as equipment) and many consumer goods were imported Merchandising establishments were, accordingly, advantageously located in port cities from which goods could be readily distributed to interior settlements. Here, too, were the favored locations for processing raw materials prior to export. Boston, Philadelphia, New York, Montreal, and other cities flourished, and, as the colonies grew, these cities increased in importance.         This was less true in the colonial South, where life centered around large farms, known as plantations, rather than around towns, as was the case in the areas further north along the Atlantic coastline. The local isolation and the economic self-sufficiency of the plantations were antagonistic to the development of the towns. The plantations maintained their independence because they were located on navigable streams and each had a wharf accessible to the small shipping of that day. In fact, one of the strongest factors in the selection of plantation land was the desire to have it front on a water highway.            When the United States became an independent nation in 1776, it did not have a single city as large as 50,000 inhabitants, but by 1820 it had a city of more than 10,000 people, and by 1880 it had recorded a city of over one million. It was not until after 1823, after the mechanization of the spinning and weaving industries, that cities started drawing young people away from farms. Such migration was particularly rapid following the Civil War (1861-1865). What does the passage mainly discuss?
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Today's cars are smaller, safer, cleaner, and more economical than their predecessors, but the car of the future will be far more pollution-free than those on the road today. Several new types of automobile engines have already been developed that run on alternative sources of power, such as electricity, compressed natural gas, methanol, steam, hydrogen, and propane. Electricity, however, is the only zero- emission option presently available.   Although electric vehicles will not be truly practical until a powerful, compact battery or other dependable source of current is available, transportation experts foresee a new assortment of electric vehicles entering everyday life: shorter-range commuter electric cars, three-wheeled neighborhood cars, electric delivery vans, bikes, and trolleys.   As automakers work to develop practical electrical vehicles, urban planners and utility engineers are focusing on infrastructure systems to support and make the best use of the new cars. Public charging facilities will need to be as common as today's gas stations. Public parking spots on the street or in commercial lots will need to be equipped with devices that allow drivers to charge their batteries while they stop, dine, or attend a concert. To encourage the use of electric vehicles, the most convenient parking in transportation centers might be reserved for electric cars.           Planners foresee electric shuttle buses, trains, buses, and neighborhood vehicles all meeting at transit centers that would have facilities for charging and renting. Commuters will be able to rent a variety of electric cars to suit their needs: light trucks, one-person three-wheelers, small cars, or electric/gasoline hybrid cars for longer trips, which will no doubt take place on automated freeways capable of handling five times the number of vehicles that can be carried by a freeway today. The passage would most likely be followed by details about __________.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Today's cars are smaller, safer, cleaner, and more economical than their predecessors, but the car of the future will be far more pollution-free than those on the road today. Several new types of automobile engines have already been developed that run on alternative sources of power, such as electricity, compressed natural gas, methanol, steam, hydrogen, and propane. Electricity, however, is the only zero- emission option presently available.   Although electric vehicles will not be truly practical until a powerful, compact battery or other dependable source of current is available, transportation experts foresee a new assortment of electric vehicles entering everyday life: shorter-range commuter electric cars, three-wheeled neighborhood cars, electric delivery vans, bikes, and trolleys.   As automakers work to develop practical electrical vehicles, urban planners and utility engineers are focusing on infrastructure systems to support and make the best use of the new cars. Public charging facilities will need to be as common as today's gas stations. Public parking spots on the street or in commercial lots will need to be equipped with devices that allow drivers to charge their batteries while they stop, dine, or attend a concert. To encourage the use of electric vehicles, the most convenient parking in transportation centers might be reserved for electric cars.           Planners foresee electric shuttle buses, trains, buses, and neighborhood vehicles all meeting at transit centers that would have facilities for charging and renting. Commuters will be able to rent a variety of electric cars to suit their needs: light trucks, one-person three-wheelers, small cars, or electric/gasoline hybrid cars for longer trips, which will no doubt take place on automated freeways capable of handling five times the number of vehicles that can be carried by a freeway today. The author's purpose in the passage is to ___________.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Today's cars are smaller, safer, cleaner, and more economical than their predecessors, but the car of the future will be far more pollution-free than those on the road today. Several new types of automobile engines have already been developed that run on alternative sources of power, such as electricity, compressed natural gas, methanol, steam, hydrogen, and propane. Electricity, however, is the only zero- emission option presently available.   Although electric vehicles will not be truly practical until a powerful, compact battery or other dependable source of current is available, transportation experts foresee a new assortment of electric vehicles entering everyday life: shorter-range commuter electric cars, three-wheeled neighborhood cars, electric delivery vans, bikes, and trolleys.   As automakers work to develop practical electrical vehicles, urban planners and utility engineers are focusing on infrastructure systems to support and make the best use of the new cars. Public charging facilities will need to be as common as today's gas stations. Public parking spots on the street or in commercial lots will need to be equipped with devices that allow drivers to charge their batteries while they stop, dine, or attend a concert. To encourage the use of electric vehicles, the most convenient parking in transportation centers might be reserved for electric cars.           Planners foresee electric shuttle buses, trains, buses, and neighborhood vehicles all meeting at transit centers that would have facilities for charging and renting. Commuters will be able to rent a variety of electric cars to suit their needs: light trucks, one-person three-wheelers, small cars, or electric/gasoline hybrid cars for longer trips, which will no doubt take place on automated freeways capable of handling five times the number of vehicles that can be carried by a freeway today. The following electrical vehicles are all mentioned in the passage EXCEPT  .
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions. THE ILLUSION OF FILM   Film is an illusion because the moving pictures seen on the screen are not moving at all. A film is actually a series of tiny still pictures, or flames. They appear to be moving because the retina of the human eye retains the impression of an object for a split second after that object has actually disappeared. This principle is known as the persistence of vision. When we look at a single frame of film, the image persists in the brain's visual center for a fraction of a second. Then, the next frame comes along and the brain has to catch up with the new image. Thus, our eyes and brain trick US into thinking that we see a smoothly moving image rather than a series of still ones.   Another illusion of film is known collectively as special effects, the tricks and techniques that filmmakers use when makeup, costume, and stunts are still not enough to make a scene convincing. Special effects artists apply science to filmmaking, showing US things that no plain camera could ever photograph. Even since the introduction of computer graphics in recent decades, the films of today still rely on some special effects that have existed since the early years of cinema.   One category of special effects is called optical or visual effects, tricks made with the camera. One of the pioneers of optical effects was the French filmmaker Georges Méliès, who invented a technique called stop-motion photography. With this technique, a scene is filmed, the camera is stopped, the scene is changed in some way, and then the camera rolls again. Stop motion photography can create the illusion of an actor disappearing on screen. In one short film, an actor's clothes keep returning to his body as he tries to get undressed. Méfiés also invented a technique known as split screen. By putting a card over the camera lens, he prevented half of the frame of film from being exposed. He filmed a scene on the uncovered half of the frame and then backed up the same strip of film in his camera. For the second shot, he covered the exposed half and took another series of pictures on the half that had been covered the first time. With the technique of split screen, it is possible to achieve illusions such as having the same actor play twins.   Mechanical effects are another category of special effects. Mechanical effects are objects or devices used during the filming to create an illusion, such as feathers or plastic chips to simulate snow, and wires to create the illusion that people are flying. Many sound effects are mechanical effects. Wood blocks create a horse's hoof beats, and a vibrating sheet of metal sounds like thunder. During the silent film era, the music machine called the Kinematophone was popular because it could produce the sounds of sirens, sleigh bells, gunfire, baby cries, and kisses-all at the press of a key.   Other mechanical effects are puppets, robots of all sizes, and tiny copies of buildings or cities. To reduce the cost of studio sets or location photography, special-effects technicians create painted or projected backgrounds, which replace the set or add to it. For example, in a long shot of a town, the set might be only a few feet high, and the remainder of the town is painted onto a sheet of glass positioned in front of the camera during filming. In a 1916 silent film called The Flying Torpedo, mechanical effects created the appearance of an enemy invasion of the California seacoast. Technicians threw small contact-rigged explosives into toy cities, scattering the tiny buildings into the air. An artist painted a row of battleships on a board that was only six feet long. Carpenters drilled small holes in the ships, which were filled with small charges of flash powder to simulate guns. An electrician wired the charges so they could be fired on cue from a small battery. For audiences of the time, the effect was of a real fleet of ships firing on the California coast.           Sometimes optical and mechanical effects are used together. For the original 1933 version of King Kong, the filmmakers wanted to show the giant ape climbing the Empire State Building in New York City. To show Kong's climb, the special-effects technicians built a tiny movable model of the ape and a proportionately small model of the Empire State Building. Then, stop-motion photography was used to create the illusion that Kong was moving up the building. What point does the author make in paragraph 6 about the 1933 film King Kongl A. The
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions. THE ILLUSION OF FILM   Film is an illusion because the moving pictures seen on the screen are not moving at all. A film is actually a series of tiny still pictures, or flames. They appear to be moving because the retina of the human eye retains the impression of an object for a split second after that object has actually disappeared. This principle is known as the persistence of vision. When we look at a single frame of film, the image persists in the brain's visual center for a fraction of a second. Then, the next frame comes along and the brain has to catch up with the new image. Thus, our eyes and brain trick US into thinking that we see a smoothly moving image rather than a series of still ones.   Another illusion of film is known collectively as special effects, the tricks and techniques that filmmakers use when makeup, costume, and stunts are still not enough to make a scene convincing. Special effects artists apply science to filmmaking, showing US things that no plain camera could ever photograph. Even since the introduction of computer graphics in recent decades, the films of today still rely on some special effects that have existed since the early years of cinema.   One category of special effects is called optical or visual effects, tricks made with the camera. One of the pioneers of optical effects was the French filmmaker Georges Méliès, who invented a technique called stop-motion photography. With this technique, a scene is filmed, the camera is stopped, the scene is changed in some way, and then the camera rolls again. Stop motion photography can create the illusion of an actor disappearing on screen. In one short film, an actor's clothes keep returning to his body as he tries to get undressed. Méfiés also invented a technique known as split screen. By putting a card over the camera lens, he prevented half of the frame of film from being exposed. He filmed a scene on the uncovered half of the frame and then backed up the same strip of film in his camera. For the second shot, he covered the exposed half and took another series of pictures on the half that had been covered the first time. With the technique of split screen, it is possible to achieve illusions such as having the same actor play twins.   Mechanical effects are another category of special effects. Mechanical effects are objects or devices used during the filming to create an illusion, such as feathers or plastic chips to simulate snow, and wires to create the illusion that people are flying. Many sound effects are mechanical effects. Wood blocks create a horse's hoof beats, and a vibrating sheet of metal sounds like thunder. During the silent film era, the music machine called the Kinematophone was popular because it could produce the sounds of sirens, sleigh bells, gunfire, baby cries, and kisses-all at the press of a key.   Other mechanical effects are puppets, robots of all sizes, and tiny copies of buildings or cities. To reduce the cost of studio sets or location photography, special-effects technicians create painted or projected backgrounds, which replace the set or add to it. For example, in a long shot of a town, the set might be only a few feet high, and the remainder of the town is painted onto a sheet of glass positioned in front of the camera during filming. In a 1916 silent film called The Flying Torpedo, mechanical effects created the appearance of an enemy invasion of the California seacoast. Technicians threw small contact-rigged explosives into toy cities, scattering the tiny buildings into the air. An artist painted a row of battleships on a board that was only six feet long. Carpenters drilled small holes in the ships, which were filled with small charges of flash powder to simulate guns. An electrician wired the charges so they could be fired on cue from a small battery. For audiences of the time, the effect was of a real fleet of ships firing on the California coast.           Sometimes optical and mechanical effects are used together. For the original 1933 version of King Kong, the filmmakers wanted to show the giant ape climbing the Empire State Building in New York City. To show Kong's climb, the special-effects technicians built a tiny movable model of the ape and a proportionately small model of the Empire State Building. Then, stop-motion photography was used to create the illusion that Kong was moving up the building. The word “which” in paragraph 5 refers to ____________.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions. THE ILLUSION OF FILM   Film is an illusion because the moving pictures seen on the screen are not moving at all. A film is actually a series of tiny still pictures, or flames. They appear to be moving because the retina of the human eye retains the impression of an object for a split second after that object has actually disappeared. This principle is known as the persistence of vision. When we look at a single frame of film, the image persists in the brain's visual center for a fraction of a second. Then, the next frame comes along and the brain has to catch up with the new image. Thus, our eyes and brain trick US into thinking that we see a smoothly moving image rather than a series of still ones.   Another illusion of film is known collectively as special effects, the tricks and techniques that filmmakers use when makeup, costume, and stunts are still not enough to make a scene convincing. Special effects artists apply science to filmmaking, showing US things that no plain camera could ever photograph. Even since the introduction of computer graphics in recent decades, the films of today still rely on some special effects that have existed since the early years of cinema.   One category of special effects is called optical or visual effects, tricks made with the camera. One of the pioneers of optical effects was the French filmmaker Georges Méliès, who invented a technique called stop-motion photography. With this technique, a scene is filmed, the camera is stopped, the scene is changed in some way, and then the camera rolls again. Stop motion photography can create the illusion of an actor disappearing on screen. In one short film, an actor's clothes keep returning to his body as he tries to get undressed. Méfiés also invented a technique known as split screen. By putting a card over the camera lens, he prevented half of the frame of film from being exposed. He filmed a scene on the uncovered half of the frame and then backed up the same strip of film in his camera. For the second shot, he covered the exposed half and took another series of pictures on the half that had been covered the first time. With the technique of split screen, it is possible to achieve illusions such as having the same actor play twins.   Mechanical effects are another category of special effects. Mechanical effects are objects or devices used during the filming to create an illusion, such as feathers or plastic chips to simulate snow, and wires to create the illusion that people are flying. Many sound effects are mechanical effects. Wood blocks create a horse's hoof beats, and a vibrating sheet of metal sounds like thunder. During the silent film era, the music machine called the Kinematophone was popular because it could produce the sounds of sirens, sleigh bells, gunfire, baby cries, and kisses-all at the press of a key.   Other mechanical effects are puppets, robots of all sizes, and tiny copies of buildings or cities. To reduce the cost of studio sets or location photography, special-effects technicians create painted or projected backgrounds, which replace the set or add to it. For example, in a long shot of a town, the set might be only a few feet high, and the remainder of the town is painted onto a sheet of glass positioned in front of the camera during filming. In a 1916 silent film called The Flying Torpedo, mechanical effects created the appearance of an enemy invasion of the California seacoast. Technicians threw small contact-rigged explosives into toy cities, scattering the tiny buildings into the air. An artist painted a row of battleships on a board that was only six feet long. Carpenters drilled small holes in the ships, which were filled with small charges of flash powder to simulate guns. An electrician wired the charges so they could be fired on cue from a small battery. For audiences of the time, the effect was of a real fleet of ships firing on the California coast.           Sometimes optical and mechanical effects are used together. For the original 1933 version of King Kong, the filmmakers wanted to show the giant ape climbing the Empire State Building in New York City. To show Kong's climb, the special-effects technicians built a tiny movable model of the ape and a proportionately small model of the Empire State Building. Then, stop-motion photography was used to create the illusion that Kong was moving up the building. All of the following would necessarily involve mechanical effects EXCEPT _________.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions. THE ILLUSION OF FILM   Film is an illusion because the moving pictures seen on the screen are not moving at all. A film is actually a series of tiny still pictures, or flames. They appear to be moving because the retina of the human eye retains the impression of an object for a split second after that object has actually disappeared. This principle is known as the persistence of vision. When we look at a single frame of film, the image persists in the brain's visual center for a fraction of a second. Then, the next frame comes along and the brain has to catch up with the new image. Thus, our eyes and brain trick US into thinking that we see a smoothly moving image rather than a series of still ones.   Another illusion of film is known collectively as special effects, the tricks and techniques that filmmakers use when makeup, costume, and stunts are still not enough to make a scene convincing. Special effects artists apply science to filmmaking, showing US things that no plain camera could ever photograph. Even since the introduction of computer graphics in recent decades, the films of today still rely on some special effects that have existed since the early years of cinema.   One category of special effects is called optical or visual effects, tricks made with the camera. One of the pioneers of optical effects was the French filmmaker Georges Méliès, who invented a technique called stop-motion photography. With this technique, a scene is filmed, the camera is stopped, the scene is changed in some way, and then the camera rolls again. Stop motion photography can create the illusion of an actor disappearing on screen. In one short film, an actor's clothes keep returning to his body as he tries to get undressed. Méfiés also invented a technique known as split screen. By putting a card over the camera lens, he prevented half of the frame of film from being exposed. He filmed a scene on the uncovered half of the frame and then backed up the same strip of film in his camera. For the second shot, he covered the exposed half and took another series of pictures on the half that had been covered the first time. With the technique of split screen, it is possible to achieve illusions such as having the same actor play twins.   Mechanical effects are another category of special effects. Mechanical effects are objects or devices used during the filming to create an illusion, such as feathers or plastic chips to simulate snow, and wires to create the illusion that people are flying. Many sound effects are mechanical effects. Wood blocks create a horse's hoof beats, and a vibrating sheet of metal sounds like thunder. During the silent film era, the music machine called the Kinematophone was popular because it could produce the sounds of sirens, sleigh bells, gunfire, baby cries, and kisses-all at the press of a key.   Other mechanical effects are puppets, robots of all sizes, and tiny copies of buildings or cities. To reduce the cost of studio sets or location photography, special-effects technicians create painted or projected backgrounds, which replace the set or add to it. For example, in a long shot of a town, the set might be only a few feet high, and the remainder of the town is painted onto a sheet of glass positioned in front of the camera during filming. In a 1916 silent film called The Flying Torpedo, mechanical effects created the appearance of an enemy invasion of the California seacoast. Technicians threw small contact-rigged explosives into toy cities, scattering the tiny buildings into the air. An artist painted a row of battleships on a board that was only six feet long. Carpenters drilled small holes in the ships, which were filled with small charges of flash powder to simulate guns. An electrician wired the charges so they could be fired on cue from a small battery. For audiences of the time, the effect was of a real fleet of ships firing on the California coast.           Sometimes optical and mechanical effects are used together. For the original 1933 version of King Kong, the filmmakers wanted to show the giant ape climbing the Empire State Building in New York City. To show Kong's climb, the special-effects technicians built a tiny movable model of the ape and a proportionately small model of the Empire State Building. Then, stop-motion photography was used to create the illusion that Kong was moving up the building. It can be inferred from paragraph 4 that silent films __________.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions. THE ILLUSION OF FILM   Film is an illusion because the moving pictures seen on the screen are not moving at all. A film is actually a series of tiny still pictures, or flames. They appear to be moving because the retina of the human eye retains the impression of an object for a split second after that object has actually disappeared. This principle is known as the persistence of vision. When we look at a single frame of film, the image persists in the brain's visual center for a fraction of a second. Then, the next frame comes along and the brain has to catch up with the new image. Thus, our eyes and brain trick US into thinking that we see a smoothly moving image rather than a series of still ones.   Another illusion of film is known collectively as special effects, the tricks and techniques that filmmakers use when makeup, costume, and stunts are still not enough to make a scene convincing. Special effects artists apply science to filmmaking, showing US things that no plain camera could ever photograph. Even since the introduction of computer graphics in recent decades, the films of today still rely on some special effects that have existed since the early years of cinema.   One category of special effects is called optical or visual effects, tricks made with the camera. One of the pioneers of optical effects was the French filmmaker Georges Méliès, who invented a technique called stop-motion photography. With this technique, a scene is filmed, the camera is stopped, the scene is changed in some way, and then the camera rolls again. Stop motion photography can create the illusion of an actor disappearing on screen. In one short film, an actor's clothes keep returning to his body as he tries to get undressed. Méfiés also invented a technique known as split screen. By putting a card over the camera lens, he prevented half of the frame of film from being exposed. He filmed a scene on the uncovered half of the frame and then backed up the same strip of film in his camera. For the second shot, he covered the exposed half and took another series of pictures on the half that had been covered the first time. With the technique of split screen, it is possible to achieve illusions such as having the same actor play twins.   Mechanical effects are another category of special effects. Mechanical effects are objects or devices used during the filming to create an illusion, such as feathers or plastic chips to simulate snow, and wires to create the illusion that people are flying. Many sound effects are mechanical effects. Wood blocks create a horse's hoof beats, and a vibrating sheet of metal sounds like thunder. During the silent film era, the music machine called the Kinematophone was popular because it could produce the sounds of sirens, sleigh bells, gunfire, baby cries, and kisses-all at the press of a key.   Other mechanical effects are puppets, robots of all sizes, and tiny copies of buildings or cities. To reduce the cost of studio sets or location photography, special-effects technicians create painted or projected backgrounds, which replace the set or add to it. For example, in a long shot of a town, the set might be only a few feet high, and the remainder of the town is painted onto a sheet of glass positioned in front of the camera during filming. In a 1916 silent film called The Flying Torpedo, mechanical effects created the appearance of an enemy invasion of the California seacoast. Technicians threw small contact-rigged explosives into toy cities, scattering the tiny buildings into the air. An artist painted a row of battleships on a board that was only six feet long. Carpenters drilled small holes in the ships, which were filled with small charges of flash powder to simulate guns. An electrician wired the charges so they could be fired on cue from a small battery. For audiences of the time, the effect was of a real fleet of ships firing on the California coast.           Sometimes optical and mechanical effects are used together. For the original 1933 version of King Kong, the filmmakers wanted to show the giant ape climbing the Empire State Building in New York City. To show Kong's climb, the special-effects technicians built a tiny movable model of the ape and a proportionately small model of the Empire State Building. Then, stop-motion photography was used to create the illusion that Kong was moving up the building. The author primarily defines special effects as _____________.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions. THE ILLUSION OF FILM   Film is an illusion because the moving pictures seen on the screen are not moving at all. A film is actually a series of tiny still pictures, or flames. They appear to be moving because the retina of the human eye retains the impression of an object for a split second after that object has actually disappeared. This principle is known as the persistence of vision. When we look at a single frame of film, the image persists in the brain's visual center for a fraction of a second. Then, the next frame comes along and the brain has to catch up with the new image. Thus, our eyes and brain trick US into thinking that we see a smoothly moving image rather than a series of still ones.   Another illusion of film is known collectively as special effects, the tricks and techniques that filmmakers use when makeup, costume, and stunts are still not enough to make a scene convincing. Special effects artists apply science to filmmaking, showing US things that no plain camera could ever photograph. Even since the introduction of computer graphics in recent decades, the films of today still rely on some special effects that have existed since the early years of cinema.   One category of special effects is called optical or visual effects, tricks made with the camera. One of the pioneers of optical effects was the French filmmaker Georges Méliès, who invented a technique called stop-motion photography. With this technique, a scene is filmed, the camera is stopped, the scene is changed in some way, and then the camera rolls again. Stop motion photography can create the illusion of an actor disappearing on screen. In one short film, an actor's clothes keep returning to his body as he tries to get undressed. Méfiés also invented a technique known as split screen. By putting a card over the camera lens, he prevented half of the frame of film from being exposed. He filmed a scene on the uncovered half of the frame and then backed up the same strip of film in his camera. For the second shot, he covered the exposed half and took another series of pictures on the half that had been covered the first time. With the technique of split screen, it is possible to achieve illusions such as having the same actor play twins.   Mechanical effects are another category of special effects. Mechanical effects are objects or devices used during the filming to create an illusion, such as feathers or plastic chips to simulate snow, and wires to create the illusion that people are flying. Many sound effects are mechanical effects. Wood blocks create a horse's hoof beats, and a vibrating sheet of metal sounds like thunder. During the silent film era, the music machine called the Kinematophone was popular because it could produce the sounds of sirens, sleigh bells, gunfire, baby cries, and kisses-all at the press of a key.   Other mechanical effects are puppets, robots of all sizes, and tiny copies of buildings or cities. To reduce the cost of studio sets or location photography, special-effects technicians create painted or projected backgrounds, which replace the set or add to it. For example, in a long shot of a town, the set might be only a few feet high, and the remainder of the town is painted onto a sheet of glass positioned in front of the camera during filming. In a 1916 silent film called The Flying Torpedo, mechanical effects created the appearance of an enemy invasion of the California seacoast. Technicians threw small contact-rigged explosives into toy cities, scattering the tiny buildings into the air. An artist painted a row of battleships on a board that was only six feet long. Carpenters drilled small holes in the ships, which were filled with small charges of flash powder to simulate guns. An electrician wired the charges so they could be fired on cue from a small battery. For audiences of the time, the effect was of a real fleet of ships firing on the California coast.           Sometimes optical and mechanical effects are used together. For the original 1933 version of King Kong, the filmmakers wanted to show the giant ape climbing the Empire State Building in New York City. To show Kong's climb, the special-effects technicians built a tiny movable model of the ape and a proportionately small model of the Empire State Building. Then, stop-motion photography was used to create the illusion that Kong was moving up the building. The phrase “catch up with” in paragraph 1 is closest in meaning to ___________.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions. THE ILLUSION OF FILM   Film is an illusion because the moving pictures seen on the screen are not moving at all. A film is actually a series of tiny still pictures, or flames. They appear to be moving because the retina of the human eye retains the impression of an object for a split second after that object has actually disappeared. This principle is known as the persistence of vision. When we look at a single frame of film, the image persists in the brain's visual center for a fraction of a second. Then, the next frame comes along and the brain has to catch up with the new image. Thus, our eyes and brain trick US into thinking that we see a smoothly moving image rather than a series of still ones.   Another illusion of film is known collectively as special effects, the tricks and techniques that filmmakers use when makeup, costume, and stunts are still not enough to make a scene convincing. Special effects artists apply science to filmmaking, showing US things that no plain camera could ever photograph. Even since the introduction of computer graphics in recent decades, the films of today still rely on some special effects that have existed since the early years of cinema.   One category of special effects is called optical or visual effects, tricks made with the camera. One of the pioneers of optical effects was the French filmmaker Georges Méliès, who invented a technique called stop-motion photography. With this technique, a scene is filmed, the camera is stopped, the scene is changed in some way, and then the camera rolls again. Stop motion photography can create the illusion of an actor disappearing on screen. In one short film, an actor's clothes keep returning to his body as he tries to get undressed. Méfiés also invented a technique known as split screen. By putting a card over the camera lens, he prevented half of the frame of film from being exposed. He filmed a scene on the uncovered half of the frame and then backed up the same strip of film in his camera. For the second shot, he covered the exposed half and took another series of pictures on the half that had been covered the first time. With the technique of split screen, it is possible to achieve illusions such as having the same actor play twins.   Mechanical effects are another category of special effects. Mechanical effects are objects or devices used during the filming to create an illusion, such as feathers or plastic chips to simulate snow, and wires to create the illusion that people are flying. Many sound effects are mechanical effects. Wood blocks create a horse's hoof beats, and a vibrating sheet of metal sounds like thunder. During the silent film era, the music machine called the Kinematophone was popular because it could produce the sounds of sirens, sleigh bells, gunfire, baby cries, and kisses-all at the press of a key.   Other mechanical effects are puppets, robots of all sizes, and tiny copies of buildings or cities. To reduce the cost of studio sets or location photography, special-effects technicians create painted or projected backgrounds, which replace the set or add to it. For example, in a long shot of a town, the set might be only a few feet high, and the remainder of the town is painted onto a sheet of glass positioned in front of the camera during filming. In a 1916 silent film called The Flying Torpedo, mechanical effects created the appearance of an enemy invasion of the California seacoast. Technicians threw small contact-rigged explosives into toy cities, scattering the tiny buildings into the air. An artist painted a row of battleships on a board that was only six feet long. Carpenters drilled small holes in the ships, which were filled with small charges of flash powder to simulate guns. An electrician wired the charges so they could be fired on cue from a small battery. For audiences of the time, the effect was of a real fleet of ships firing on the California coast.           Sometimes optical and mechanical effects are used together. For the original 1933 version of King Kong, the filmmakers wanted to show the giant ape climbing the Empire State Building in New York City. To show Kong's climb, the special-effects technicians built a tiny movable model of the ape and a proportionately small model of the Empire State Building. Then, stop-motion photography was used to create the illusion that Kong was moving up the building. Why does the author discuss the principle of “persistence of vision” in paragraph 1?
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature’s provision is the oldest known subsistence strategy and has been practised for at least the last two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of wild animals were introduced about 10,000 years ago.   Because hunter-gatherers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments, such as deserts and arctic wastelands. In higher latitudes, the shorter growing seasons have restricted the availability of plant life. Such conditions have caused a greater dependence on hunting, and on fishing along the coasts and waterways. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies.   Contemporary hunter-gatherers may help US understand our prehistoric ancestors. We know from the observation of modem hunter-gatherers in both Africa and Alaska that a society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area has become exhausted, the community moves on to exploit another site. We also notice seasonal migration patterns evolving for most hunter-gatherers, along with a strict division of labor between the sexes. These patterns of behavior may be similar to those practised by mankind during the Paleolithic Period. Which of the following would serve as the best title of the passage?
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature’s provision is the oldest known subsistence strategy and has been practised for at least the last two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of wild animals were introduced about 10,000 years ago.   Because hunter-gatherers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments, such as deserts and arctic wastelands. In higher latitudes, the shorter growing seasons have restricted the availability of plant life. Such conditions have caused a greater dependence on hunting, and on fishing along the coasts and waterways. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies.   Contemporary hunter-gatherers may help US understand our prehistoric ancestors. We know from the observation of modem hunter-gatherers in both Africa and Alaska that a society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area has become exhausted, the community moves on to exploit another site. We also notice seasonal migration patterns evolving for most hunter-gatherers, along with a strict division of labor between the sexes. These patterns of behavior may be similar to those practised by mankind during the Paleolithic Period. According to the author, most contemporary and prehistoric hunter-gatherers share
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature’s provision is the oldest known subsistence strategy and has been practised for at least the last two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of wild animals were introduced about 10,000 years ago.   Because hunter-gatherers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments, such as deserts and arctic wastelands. In higher latitudes, the shorter growing seasons have restricted the availability of plant life. Such conditions have caused a greater dependence on hunting, and on fishing along the coasts and waterways. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies.   Contemporary hunter-gatherers may help US understand our prehistoric ancestors. We know from the observation of modem hunter-gatherers in both Africa and Alaska that a society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area has become exhausted, the community moves on to exploit another site. We also notice seasonal migration patterns evolving for most hunter-gatherers, along with a strict division of labor between the sexes. These patterns of behavior may be similar to those practised by mankind during the Paleolithic Period. According to the passage, which of the following is NOT mentioned?
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature’s provision is the oldest known subsistence strategy and has been practised for at least the last two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of wild animals were introduced about 10,000 years ago.   Because hunter-gatherers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments, such as deserts and arctic wastelands. In higher latitudes, the shorter growing seasons have restricted the availability of plant life. Such conditions have caused a greater dependence on hunting, and on fishing along the coasts and waterways. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies.   Contemporary hunter-gatherers may help US understand our prehistoric ancestors. We know from the observation of modem hunter-gatherers in both Africa and Alaska that a society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area has become exhausted, the community moves on to exploit another site. We also notice seasonal migration patterns evolving for most hunter-gatherers, along with a strict division of labor between the sexes. These patterns of behavior may be similar to those practised by mankind during the Paleolithic Period. A typical feature of both modem and prehistoric hunter-gatherers is that ____.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature’s provision is the oldest known subsistence strategy and has been practised for at least the last two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of wild animals were introduced about 10,000 years ago.   Because hunter-gatherers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments, such as deserts and arctic wastelands. In higher latitudes, the shorter growing seasons have restricted the availability of plant life. Such conditions have caused a greater dependence on hunting, and on fishing along the coasts and waterways. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies.   Contemporary hunter-gatherers may help US understand our prehistoric ancestors. We know from the observation of modem hunter-gatherers in both Africa and Alaska that a society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area has become exhausted, the community moves on to exploit another site. We also notice seasonal migration patterns evolving for most hunter-gatherers, along with a strict division of labor between the sexes. These patterns of behavior may be similar to those practised by mankind during the Paleolithic Period. In the lower latitudes of the tropics, hunter-gatherers ______
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature’s provision is the oldest known subsistence strategy and has been practised for at least the last two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of wild animals were introduced about 10,000 years ago.   Because hunter-gatherers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments, such as deserts and arctic wastelands. In higher latitudes, the shorter growing seasons have restricted the availability of plant life. Such conditions have caused a greater dependence on hunting, and on fishing along the coasts and waterways. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies.   Contemporary hunter-gatherers may help US understand our prehistoric ancestors. We know from the observation of modem hunter-gatherers in both Africa and Alaska that a society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area has become exhausted, the community moves on to exploit another site. We also notice seasonal migration patterns evolving for most hunter-gatherers, along with a strict division of labor between the sexes. These patterns of behavior may be similar to those practised by mankind during the Paleolithic Period. According to the passage, subsistence societies depend mainly on ________.
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions.   Very few people in the modem world obtain their food supply by hunting and gathering in the natural environment surrounding their homes. This method of harvesting from nature’s provision is the oldest known subsistence strategy and has been practised for at least the last two million years. It was, indeed, the only way to obtain food until rudimentary farming and the domestication of wild animals were introduced about 10,000 years ago.   Because hunter-gatherers have fared poorly in comparison with their agricultural cousins, their numbers have dwindled, and they have been forced to live in marginal environments, such as deserts and arctic wastelands. In higher latitudes, the shorter growing seasons have restricted the availability of plant life. Such conditions have caused a greater dependence on hunting, and on fishing along the coasts and waterways. The abundance of vegetation in the lower latitudes of the tropics, on the other hand, has provided a greater opportunity for gathering a variety of plants. In short, the environmental differences have restricted the diet and have limited possibilities for the development of subsistence societies.   Contemporary hunter-gatherers may help US understand our prehistoric ancestors. We know from the observation of modem hunter-gatherers in both Africa and Alaska that a society based on hunting and gathering must be very mobile. While the entire community camps in a central location, a smaller party harvests the food within a reasonable distance from the camp. When the food in the area has become exhausted, the community moves on to exploit another site. We also notice seasonal migration patterns evolving for most hunter-gatherers, along with a strict division of labor between the sexes. These patterns of behavior may be similar to those practised by mankind during the Paleolithic Period. The word “domestication” in the first paragraph mostly means _________