UNIT 1 Lights， camera， action！(课时跟踪检测)-【优学精研】2027年高考英语一轮总复习学用Word（译林版）

**基本信息** 聚焦电影、戏剧及社会人物等人文素材，设阅读理解（3篇12题）和阅读七选五（5题），适配一轮复习，提升语言理解与人文素养。 **题型特征** |题型|题量/分值|知识覆盖|命题特色| |----|-----------|----------|----------| |阅读理解|12题|细节理解、推理判断、人物分析、写作意图|人文素材（Hitchcock/Mark Beer/《狮子王》），梯度设问，源自江苏南通大联考等名校试题| |阅读七选五|5题|逻辑衔接、上下文推理|聚焦野生动物纪录片拟音技术，考查信息匹配能力|

必修第二册 UNIT 1　Lights， camera， action！ Ⅰ. 语篇解读：本文是一篇记叙文。文章主要介绍了著名电影导演Alfred Hitchcock的生平、成就及其电影风格。 1.C　推理判断题。根据第二、三段可知，他童年的经历使得他的电影中会有令人恐惧的时刻。 2.A　推理判断题。根据第三段可推断，他的电影能够让观众沉浸在生动的场景中，感同身受。 3.A　推理判断题。根据第一段可推知，Alfred Hitchcock在电影领域非常专业；再根据第三段中的He carefully designed shots ...the point of view of the characters.可知，他具有很强的创造力。 4.B　推理判断题。根据最后一段可推知，作者在该段提到过山车是为了阐述Hitchcock的导演方式。 语篇解读：本文是一篇记叙文。文章主要讲述了身患残疾的著名演员Mark Beer在演艺行业中的奋斗历程和他对残疾演员在行业中现状的看法。 5.D　细节理解题。根据第二段中Mark所说可知，表演帮助他忘记自己的疾病，所以他选择成为一名演员。 6.B　细节理解题。根据第三段第二句可知，Mark认为残疾演员面临的主要障碍是人们对他们的偏见。 7.B　推理判断题。根据第四、五段中Mark所说可推知，Mark公司的残疾演员和健全的演员一起出演是为了给残疾演员发声。 8.A　推理判断题。根据文章首句可知，Mark Beer很有天赋；根据最后一段可知，Mark Beer很有社会责任感。 语篇解读：本文是一篇说明文。文章主要介绍了《狮子王》音乐剧的成功及其背后的创意过程，以及Taymor如何通过独特的戏剧方法和技巧实现了这一成功。 9.B　推理判断题。根据第一段可知，音乐剧《狮子王》成功的关键是Taymor的创意天赋。 10.C　推理判断题。根据第二段最后一句可知，Taymor在改编《狮子王》时遇到的挑战是如何呈现角色。 11.D　细节理解题。根据第三段可知，“双重事件”将动物形象与演员情感相结合。 12.C　推理判断题。根据倒数第二段中Taymor所说可推知，Taymor认为剧场不像电影那样隐藏真实，而是让观众看到制作过程并参与其中，体现了剧场开放且吸引人的特质。 Ⅱ. 语篇解读：本文是一篇说明文。文章介绍了野生生物纪录片制作过程中声音录制的技术细节，特别是拟音师的工作，以及这些技术手段对观众理解动物行为和动物保护工作的影响。 13.A　上文说人们可能认为野生生物纪录片对动物是完全真实的描绘，下文说实际上很多声音是后期拟音师在录音棚录制并添加的。A项（但事实并非如此）引出下文对实际情况的介绍。 14.G　上文提到纪录片中的许多声音是后期制作的，下文提到纪录片制作人无法在不打扰动物的情况下近距离捕捉清晰声音。G项（这是现代野生生物电影制作中不可避免的结果）总结了上文所说的做法以及下文提到的相关问题。 15.E　下文提到如果在实地录制声音会有工作人员聊天或走动等背景噪声，这是图像和声音不能同时录制的第二个原因。E项（野生生物纪录片往往也需要大量的工作人员）引出下文关于工作人员产生背景噪声的内容。 16.B　上文说拟音师会用各种方式模拟动物声音，下文说动物叫声太复杂而无法模拟，只能从声音库获取，这是一种特殊情况，与上文模拟声音的情况有所不同。B项（不过，也有一些例外情况）承上启下。 17.F　上文讲述观看拟音师工作的感受，下文讲述声音对理解一种特定的物种以及对动物保护工作的影响。F项（诚然，这项技术的重要性还不止于此）承上启下。 学科网（北京）股份有限公司 $ UNIT 1　Lights， camera， action！ Ⅰ.阅读理解 A 　　（2026·江苏南通第二次大联考）Alfred Hitchcock is easily one of the most influential film directors of all time.He was known throughout his life as a brilliant but bad-tempered man.He pioneered many techniques in the suspense （悬疑） and thriller genres （流派）.He developed a style all of his own， which has defined entire genres of film and inspired other hugely successful films. 　　Hitchcock was born on 13 August 1899 in London， the son of a greengrocer.He often described his childhood as being very lonely and sheltered， a situation worsened by his obesity.He once said that he was sent by his father to the local police station with a note asking the officer to lock him away for 10 minutes as punishment for behaving badly.He also remarked that his mother would force him to stand for several hours as punishment.This idea of being harshly treated or wrongfully accused would later be reflected in Hitchcock’s films. 　　In 1920， Hitchcock entered the film industry.Hitchcock directed more than fifty feature films in a career within six decades.In Hitchcock’s movies， viewers are made to identify with the camera which moves in a way meant to imitate a person’s gaze and which forces viewers to engage in a form of prying （窥探）.He carefully designed shots to influence the feelings of the audience and maximize anxiety， fear， or empathy， and used innovative film editing to demonstrate the point of view of the characters.Many of Hitchcock’s films have twist endings and thrilling plots. 　　Hitchcock compared himself as the operator of a switchback railway — an early form of rollercoaster — knowing how far to push his audience to thrill them but not going so far as to make it unpleasant.“I am， in some respects， the man who says， in constructing it， ‘how steep can we make the first dip （下落）？’， and ‘this will make them scream’，” he said.“If you make the dip too deep， the screams will continue as the whole car goes over the edge and destroys everyone.Therefore， you mustn’t go too far， because you do want them to get off the switchback railway giggling （咯咯地笑） with pleasure.” 1.How do Hitchcock’s childhood experiences influence his films？（　　） A.His films advocate child punishment. B.His films criticize some violent events. C.His films involve frightening moments. D.His films center around family business. 2.What can we infer from Hitchcock’s movies？（　　） A.They make viewers immersed in vivid scenes. B.They depend on cameras to imitate audience. C.They have light-hearted plots for the most part. D.They maximize the feelings of the characters. 3.Which of the following can best describe Alfred Hitchcock？（　　） A.Professional and creative. B.Considerate and cautious. C.Self-disciplined but rude. D.Brilliant but short-sighted. 4.Why does the author mention the rollercoaster in the last paragraph？（　　） A.To prove Hitchcock’s love for amusement parks. B.To illustrate Hitchcock’s approach to directing films. C.To emphasize Hitchcock’s preference for action films. D.To show the great challenge of operating a rollercoaster. B 　　（2026·江苏扬州期末）Mark Beer， a distinguished actor with over 40 years in the industry， has a lot of firsts to his name： the first disabled children’s presenter on “Playdays” and the first disabled actor to star a TV drama series.Despite these achievements， he understands disabled actors still face various challenges， particularly in landing roles. 　　Born with 2nd degree Cerebral Palsy and wheelchair-bound， Mark started acting professionally at 17 and won a Bronze Medal at a festival.Later， he studied drama at the City Literary Institute in London.“My love for theatre started in childhood.Performing plays with my brothers in the garden provided an escape from my health issues and confirmed my belief in being any character， not just a child with severe disabilities，” Mark says. 　　He never views himself as a disabled actor but as one competing for the same roles as others.He acknowledges that if he had considered the barriers， mainly the unfriendly judgement by others， he might have chosen a different career.“Thankfully， things are getting much better for us and the stage entry is no longer a problem for those in wheelchairs！” 　　While disabled actors are more visible in films and TV， the industry still has a long way to go before it stops simply casting disabled actors as angry， disabled victims.In his own theatre company， Dramaioch Productions， Mark adopts a creative approach by fully casting disabled actors alongside non-disabled ones on stage. 　　“It’s important we highlight disabilities in the arts to ensure this world doesn’t remain divided，” explains Mark.“By bringing disabilities to the mainstream will hopefully encourage the industry to develop and represent society more accurately.We are casting people with disabilities based on worth， ability and talent.” 5.Why did Mark choose to be an actor？（　　） A.His brothers encouraged him to act. B.Disabled people were badly treated. C.He could become famous through acting. D.Acting helped him forget about his illness. 6.What does Mark think is the major barrier for disabled actors？（　　） A.No wheelchair access. B.Prejudice against them. C.A lack of competence. D.Their health conditions. 7.Why are disabled actors cast together with non-disabled in Mark’s company？（　　） A.To meet the needs of viewers. B.To speak up for disabled actors. C.To promote company growth. D.To make the play quite unique. 8.Which of the following best describes Mark Beer？（　　） A.Talented and socially responsible. B.Determined and modest. C.Open-minded and humorous. D.Sympathetic and tolerant. C 　　（2026·南京师大附中月考）The Lion King musical， a beast of a show captivating US audiences since 1997， has been staged all around the world.Central to its success was Julie Taymor， the theatre， film and opera director and designer whose unique vision helped the musical spring into life on stage — proving that theatrical versions of Disney movies could not only be hugely profitable， but could do so while being artistically innovative in their own right. 　　But when Disney initially approached her， Taymor hadn’t actually seen The Lion King.“I thought， well， why not， let’s go look at the movie，” she recalls.“And I was really taken.” The challenge of adapting an epic， wide-screen story excited her： how， she recalls wondering， would you put hundreds of African grassland animals on stage？ 　　The answer was by embracing a distinctly theatrical approach： masks and puppetry （木偶）.“I went through every animal： okay， we’ve got a giraffe.I’ll put the puppet neck on top of the head of the dancer， but you’re going to see the dancer’s face ...” remembers Taymor.Her designs allowed the audience to see the mechanics of how each character is made.“You can see Simba’s emotion on the actor’s face， while a mask on top of his head reminds you that this is， in fact， a lion.There is no attempt to hide the human being behind the masks or inside the puppet，” she says， a technique she called the “double event”. 　　“I wanted to do what theatre does best，” recalls Taymor.“Film hides the strings： we know it’s fake， but we’re pretending that it’s really there.Whereas in the theatre， we will enjoy seeing a little puppet of a boat， and a big ocean of silk ...The audience is not played down to — they’re brought into the game.” 　　The show was a hit — and a new kind of musical was born. 9.What was key to the success of The Lion King musical？（　　） A.Disney’s promotion plan. B.Taymor’s creative genius. C.Disney’s movie technique. D.Taymor’s public reputation. 10.What challenge did Taymor face in adapting The Lion King？（　　） A.How to decorate the stage. B.How to train various animals. C.How to present the characters. D.How to mirror the original movie. 11.What can we learn about the “double event”？（　　） A.It provided performers with confidence. B.It reduced the danger of animal presence. C.It helped to distinguish humans from animals. D.It combined animal imagery with actor emotions. 12.What does Taymor appreciate most about theatre？（　　） A.Its high-tech stage design. B.Its ever-changing story line. C.Its open and engaging nature. D.Its loyal and appreciative audience. Ⅱ.阅读七选五 　　（2026·湖北名校联盟第二次测评）Wildlife documentaries are known for offering breathtaking images of animals in their natural habitats.You might be thinking that these shows offer a totally real portrayal （描绘） of these animals — an objective window into their lives as they hunt， rest and raise their young.13.　　 While the images we see are filmed on location， many of the sounds are recorded in a sound studio and added to the programmes later by human “Foley artists （拟音师）”. 　　14.　　 Usually， documentary film-makers can film their subjects from a great distance， but they typically can’t get close enough to capture clear sounds without disturbing the animals.15.　　 There will probably be background noises such as crew members chatting or walking around if sounds are recorded on location.In other cases， the animals might make sounds of a frequency or volume that most microphones simply can’t capture clearly. 　　“Foley artists” will use a variety of tools to simulate （模拟） the sounds made by animals.And most of them will create the close-up sounds of animals chewing or yawning with their own mouths.These sounds are created as the artist watches the videos， making sure they perfectly match the actions they’re paired with.16.　　 Animal cries — which are far too complex to be simulated — will have to be taken from library recordings. 　　Watching “Foley artists” at work on wildlife projects gives me a thrill like the one we get when we see how a magic trick is done.17.　　 Sounds have the ability to affect how we understand a given species.The way certain animals are portrayed in popular media may affect support for conservation efforts. A.But this isn’t quite the case. B.There are some exceptions， though. C.The Foley process involves a large team. D.“Foley artists” are creative and resourceful. E.Wildlife documentaries also tend to require large crews. F.Admittedly， the significance of the technique goes further. G.This is an unavoidable outcome of modern wildlife film-making. 1 / 1 学科网（北京）股份有限公司 $