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African-American filmmakers should be in an enviable position, for s
African-American filmmakers should be in an enviable position, for s
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2024-01-11
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问题
African-American filmmakers should be in an enviable position, for since
the early 1990s there has been a steady wave of low budget black films which
have turned a solid profit due to a very strong response in the African-American
Line community and a larger crossover audience than anticipated. Any rational
(5) business manager would now identify this sector as a prime candidate for
expansion, but if the films have done so well with limited production and
marketing costs, why have they not received full scale support?
Many analysts feel the business is engulfed in a miasma of self-serving and
self-fulfilling myths based on the unspoken assumption that African-American
(10) films can never be vehicles of prestige, glamour, or celebrity. The relationship
players have convinced themselves that black films can do only a limited
domestic business under any circumstance and have virtually no foreign box
office potential. As executives who now control the film industry grew up in
those decades when there were few black images on the screen and those that
(15) did exist were produced by film-makers with limited knowledge of the black
community, it is little wonder that they avoid ideological issues, and seek to
continue making films that they are comfortable with by avoiding they negative
imagery of films they would prefer to eschew entirely.
Also to blame for this deleterious phenomenon are legions of desperate and
(20) Machiavellian African-American film producers, directors, and writers who
would transform The Birth of a Nation into a black musical as long as it would
provide them with gainful studio employment. These filmmakers not only
perpetuate negative stereotypes in their films, but they also season them with a
sprinkling of African-American authenticity. This situation would be onerous
(25) enough, given the economic exploitation of the community involved;
unfortunately these films also validate the pathologies they depict. The constant
projection of the black community as a kind of urban Wild Kingdom, the
glamorization of tragic situations, and the celebration of inner city drug dealers
and gangsters has a programming effect on black youth. The power of music in
(30) film is a particularly seductive and propagandistic force which in the recent crop
of African-American films has rarely been used in a positive social manner.
What flows from this combination of factors is a policy of market
exploitation rather than market development, evidenced by the fact that any
number of films may open to 1,500 screens in one week, only to totally
(35) disappear in less than a month. This restricted body of film products erodes the
genre’s long-term viability, particularly with the more fickle non-African-
American audiences and foreign audiences. Furthermore, when African-
American actors begin to emerge as stars, their projects are usually designed to
be "more" than a black film, such that any success that follows is therefore
(40) perceived not as a reflection of the viability of African-American filmmaking but
as the broader pursuit of celebrity. [br] According to the passage, film industry executives have been reluctant to support African-American cinema for which of the following reasons?
选项
A、Executives believe that African-American audiences are often repelled by the presentation of ideological issues in film.
B、Executives conclude that African-American cinema is not likely to attract audiences overseas.
C、Executives are of the opinion that African-American actors who emerge as stars are reluctant for the executives to associate them with "black" films.
D、Executives are under the impression that there are many strong African- American producers, but few willing to work with mainstream studios.
E、Executives are reluctant to support films which contain too many negative stereotypes about African-Americans.
答案
B
解析
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