Print seems a less treacherous form of leaching out the world, of tu

游客2024-01-11 11

问题          Print seems a less treacherous form of leaching out the world, of turning it
   into a mental object, than photographic images, which now provide most of the
   knowledge people have about the look of the past and the reach of the present.
Line What is written about a person or an event is frankly an interpretation, as are
(5)    handmade visual statements, like paintings and drawings, while photographed
   images do not seem to be statements about the world so much as pieces of it,
   miniatures of reality that anyone can make or acquire as "evidence". The
   camera record incriminates, providing modern states with a tool of surveillance
   and control of increasingly mobile population, and at the same time justifies, by
(10)    presenting purportedly incontrovertible proof that a given thing happened.
         Whatever the limitations (through amateurism) or pretensions (through
   artistry) of the individual photographer, a photograph-any photograph-seems
   to have a more innocent, and therefore more accurate, relation to visible reality
   than do other mimetic objects. A painting or a prose description can never be
(15)    other than a narrowly selective interpretation, while in contrast a photograph
   can be treated as a narrowly selective transparency. Despite the presumption of
   veracity that gives all photographs authority, interest, seductiveness, the work
   that photographers do is no generic exception to the usually shady commerce
   between art and truth, for even when photographers are most concerned with
(20)    mirroring reality, they are still haunted by tacit imperatives of taste and
   conscience. In deciding how a picture should look, in preferring one exposure to
   another, photographers are always imposing standards on their subjects.
   Although there is a sense in which the camera does indeed capture reality, not
   just interpret it, photographs are as much an interpretation of the world as
(25)    paintings and drawings are. Those occasions when the taking of photographs is
   relatively undiscriminating, promiscuous, or self-effacing do not lessen the
   didacticism of the whole enterprise, for indeed this very passivity-and
   ubiquity-of the photographic record is photography’s "message", its
   aggressive impulse.
(30)       Like most fashion and animal photography, images which idealize are no
   less aggressive than work which makes a virtue of plainness, like class pictures,
   still lives of the bleaker sort, and mug shots. There is an aggression implicit in
   every use of the camera, a fact that became evident in the 1840s and 1850s,
   photography’s glorious first two decades, when technology first gave rise to a
(35)    view of the world as a set of potential photographs. From its inception,
   photography implied the capture of the largest possible number of subjects,
   while painting never had so imperial a scope. The subsequent industrialization
   of camera technology only carried out a promise inherent in photography from
   its very beginning: to democratize all experiences by translating them into
(40)    images. [br] The author introduces the concept of class pictures in order to

选项 A、illustrate photography’s capacity for recording a historical moment
B、provide an example of photography that appears only to record but actually imposes aesthetic standards
C、demonstrate one area where photography is clearly more functional then painting
D、establish a case where photography is "transparent", i.e. independent of the photographer’s aims
E、give an instance where photography is capable of democratizing an experience by converting it to an image

答案 B

解析

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Print seems a less treacherous form of leaching out the world, of tu

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