很多雅思考生為了提高雅思閱讀分數，做了很多題目，但成效不大，這時可以想想是不是備考書籍選擇不當造成，建議考生們多多看劍橋雅思真題。今天，上海新航道雅思小編給大家帶來了劍6Test2雅思閱讀Passage2翻譯，希望可以幫助廣大雅思考生輕松備考雅思。

  劍6Test3雅思閱讀Passage1原文翻譯

  The Lumiere Brothers opened their Cinematographe, at 14 Boulevard des Capucines in Paris, to 100 paying customers over 100 years ago, on December 8, 1895. Before the eyes of the stunned, thrilled audience, photographs came to life and moved across a flat screen.

  一百多年前，在1895年12月8日，呂米埃兄弟在巴黎嘉布欣大道14號向100名買票人場的觀眾放映了他們制作的電影。在目瞪口呆、驚恐顫抖的觀眾面前，一張張照片活動起來并在平面的銀幕上穿梭而過。

  So ordinary and routine has this become to us that it takes a determined leap of the imagination to grasp the impact of those first moving images. But it is worth trying, for to understand the initial shock of those images is to understand the extraordinary power and magic of cinema, the unique, hypnotic quality that has made film the most dynamic, effective art form of the 20th century.

  看電影對于我們來說是司空見慣的事，所以要理解這些活動的畫面最初產生的影響，想象力非得來次巨大的飛躍不可。然而這值得一試，因為理解了這些影像最初帶來的震撼，就可以理解電影非同尋常的力量和魔力，理解為什么電影具有獨特而迷人的品質。正是這種品質，使電影成為20世紀最具有活力和感染力的藝術形式。

  One of the Lumiere Brothers’ earliest films was a 30-second piece which showed a section of a railway platform flooded with sunshine. A train appears and heads straight for the camera. And that is all that happens. Yet the Russian director Andrei Tarkovsky, one of the greatest of all film artists, described the film as a ‘work of genius’. ‘As the train approached,’ wrote Tarkovsky, ‘panic started in the theatre: people jumped and ran away. That was the moment when cinema was born. The frightened audience could not accept that they were watching a mere picture. Pictures were still, only reality moved; this must, therefore, be reality. In their confusion, they feared that a real train was about to crush them.’

  呂米埃兄弟的早期電影作品之一是一部30秒長的短片，表現了一段沐浴在陽光下的火車月臺的場景。一輛火車出現了，并且直沖鏡頭開來。這就是電影的全部。然而，杰出的電影藝術家俄羅斯導演安德列·塔科夫斯基卻稱其為“天才之作”。他寫道：“隨著火車不斷駛近，影院里呈現出一片慌恐的景象：人們跳離座位，四散而逃。就在這一刻，電影宣告誕生。恐懼的觀眾無法相信他們看到的僅僅是一幅圖畫。圖畫是靜止的，只有現實中的事物才會運動;因此，這一定是現實。在疑惑迷茫之中，觀眾擔心一列真正的火車將會把他們軋得粉身碎骨。”

  Early cinema audiences often experienced the same confusion. In time, the idea of film became familiar, the magic was accepted — but it never stopped being magic. Film has never lost its unique power to embrace its audiences and transport them to a different world. For Tarkovsky, the key to that magic was the way in which cinema created a dynamic image of the real flow of events. A still picture could only imply the existence of time, while time in a novel passed at the whim of the reader. But in cinema, the real, objective flow of time was captured.

  早期的電影觀眾們經常會有同樣的迷茫。隨著時間的推移，電影這一概念為人們所熟知，電影的魔力也廣為人們接受，但電影的魔力并沒有因此而消失。電影不斷地以其獨特的力量去感染觀眾并將他們帶人一個不同尋常的世界。對塔科夫斯基而言，魔力的關鍵在于電影所創造的表現方式是以動態的影像來反映真實事件的進展。靜止的圖畫僅僅暗示了時間的存在，而小說中的時間則在讀者的幻想中不斷延伸。然而，電影卻捕捉了真實而客觀的時間流動。

  One effect of this realism was to educate the world about itself. For cinema makes the world smaller. Long before people travelled to America or anywhere else, they knew what other places looked like; they knew how other people worked and lived. Overwhelmingly, the lives recorded — at least in film fiction — have been American. From the earliest days of the industry, Hollywood has dominated the world film market. American imagery — the cars, the cities, the cowboys — became the primary imagery of film. Film carried American life and values around the globe.

  這種現實性的作用之一是使世界去了解自身。因為電影將世界縮小。早在人們到美國或其他地方旅行之前，他們就已經欣賞過目的地的風光，也領略過當地人的工作與生活方式。至少在虛構的電影世界中，記錄的絕大多數是美國人的生活。從電影業發展初期至今，好萊塢一直占據著世界電影市場的統治地位。汽車、城市和牛仔這些美國形象已經成為電影中的主要形象。電影將美國人的生活方式和價值觀念傳播到了全世界。

  And, thanks to film, future generations will know the 20th century more intimately than any other period. We can only imagine what life was like in the 14th century or in classical Greece. But the life of the modern world has been recorded on film in massive, encyclopedic detail. We shall be known better than any preceding generations.

  同時，正是由于電影的幫助，相對于其他時代，我們的后代將對20世紀了解得更為清楚。對于14世紀或者古希臘的生活狀況，我們只能想象。但現代世界的生活方式已經被電影事無巨細地大量記錄下來。后人對我們這一代的了解將會比對任何前人的了解更加透徹。

  The ‘star’ was another natural consequence of cinema. The cinema star was effectively born in 1910. Film personalities have such an immediate presence that, inevitably, they become super-real. Because we watch them so closely and because everybody in the world seems to know who they are, they appear more real to us than we do ourselves. The star as magnified human self is one of cinema’s most strange and enduring legacies.

  “影星”是電影帶來的另一個產物。實際上，影星這一概念出現于1910年。電影人物觸手可及，這使他們必然顯得無比真實。對于我們而言，影星們似乎比我們自身更為真實，因此我們可以如此近距離地觀察他們，而縣好像世界上的每個人都認識他們。作為人類自身的放大，影星是電影留下的最不可思議而又最持久的影響。

  Cinema has also given a new lease of life to the idea of the story. When the Lumiere Brothers and other pioneers began showing off this new invention, it was by no means obvious how it would be used. All that mattered at first was the wonder of movement. Indeed, some said that, once this novelty had worn off, cinema would fade away. It was no more than a passing gimmick, a fairground attraction.

  電影也賦予小說故事新的生命。當呂米埃兄弟和其他先驅者初次展示電影這項新發明時，他們根本不淸楚該怎樣應用它。最初重要的只是影像能活動。的確，有些人就斷言，一旦新奇感消失，電影就會逐漸淡出人們的視線。它只不過是一種暫時流行的小玩意兒，或是露天市場上的“雜耍”而已。

  Cinema might, for example, have become primarily a documentary form. Or it might have developed like television — as a strange, noisy transfer of music, information and narrative. But what happened was that it became, overwhelmingly, a medium for telling stories. Originally these were conceived as short stories — early producers doubted the ability of audiences to concentrate for more than the length of a reel. Then, in 1912, an Italian 2-hour film was hugely successful, and Hollywood settled upon the novel-length narrative that remains the dominant cinematic convention of today.

  例如，電影原本可能變成一種以紀錄片為主的形式，或者可能像電視那樣發展，成為傳輸音樂、信息和故事的怪異而喧鬧的工具。然而，事實是，電影已經成為一種敘事的主要媒介。最初講述的都是短小的故事，因為早期制作者們懷疑觀眾頂多只能集中精力去看完一卷膠片。后來，一部長達兩個小時的意大利電影在1912年獲得了巨大的成功，從此好萊塢電影就開始采用這種新的敘事長度。至今，這一形式依然在電影界保持著慣例式的統治地位。

  And it has all happened so quickly. Almost unbelievably, it is a mere 100 years since that train arrived and the audience screamed and fled, convinced by the dangerous reality of what they saw, and, perhaps, suddenly aware that the world could never be the same again — that, maybe, it could be better, brighter, more astonishing, more real than reality.

  而這一切都發生得如此迅速。令人幾乎難以置信的是，距離那輛火車到站時，觀眾們認為所看到的是危險的現實而尖叫不止、四散奔逃的景象，只不過一百年的時間。或許，人們意識到世界已經發生了徹底的改變，而且可能會變得比現實更加美好、光明、驚人和真實。

  更多劍橋雅思真題系列下載：

        劍橋雅思真題11PDF+音頻下載

        劍橋雅思真題9PDF+聽力MP3下載

        劍橋雅思真題8PDF+聽力MP3下載

        劍橋雅思真題7PDF+聽力MP3下載

        劍橋雅思真題5PDF+聽力MP3下載

        劍橋雅思4PDF文本+聽力MP3下載