The cinema did notemergeas a form ofmassconsumptionuntil its technology evolved from theinitial"peepshow"formatto the point where images were projected on ascreenin a darkened theater. In the peepshowformat, afilmwas viewedthrougha small opening in a machine that was created for that purpose. Thomas Edison's peepshowdevice, theKinetoscope, was introduced to the public in 1894. It was designed for use inKinetoscopeparlors, or arcades, which contained only a fewindividualmachines and permitted only one customer to view a short, 50-footfilmat any one time. The firstKinetoscopeparlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights,successiverounds of a single fight).

TheseKinetoscopearcades were modeled onphonographparlors, which had proven successful for Edison several years earlier. In thephonographparlors, customers listened to recordingsthroughindividualear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. TheKinetoscopeparlors functioned in asimilarway. Edison was more interested in the sale of Kinetoscopes (forroughly$1,000 apiece) to these parlors than in the films that would be run in them (whichcostapproximately$10 to $15 each). He refused to developprojectiontechnology, reasoning that if he made and sold projectors, then exhibitors wouldpurchaseonly one machine-a projector-from himinsteadof several.

Exhibitors, however,wantedto maximize their profits, which they could do morereadilyby projecting ahandfulof films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 centsadmission. About a year after the opening of the firstKinetoscopeparlorin 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with theassistanceof Edison'sformerassistant, William Dickson) perfectedprojectiondevices. These earlyprojectiondevices were used in vaudeville theaters,legitimatetheaters,localtown halls, makeshiftstorefronttheaters, fairgrounds, andamusementparks to show films to amassaudience.

With theadventofprojectionin 1895-1896,motionpictures became theultimateform ofmassconsumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville,populardramas,musicaland minstrel shows,classicalplays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differedsignificantlyfrom these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the activeinvolvementof a master of ceremonies who assembled the final program.

Although early exhibitors regularly accompanied movies with live acts, thesubstanceof the movies themselves is mass-produced, prerecordedmaterialthat can easily be reproduced by theaters with little or no active participation by the exhibitor. Eventhough early exhibitors shaped theirfilmprograms by mixing films and other entertainments together in whichever way they thought would be mostattractiveto audiences or by accompanying them with lectures, theircreativecontrol remained limited. What audiences came to see was thetechnologicalmarvelof the movies; the lifelikereproductionof thecommonplacemotionof trains, of wavesstrikingtheshore, and of people walking in the street; and the magic made possible by trickphotographyand the manipulation of the camera.

With theadventofprojection, the viewer's relationship with theimagewas no longer private, as it had been with earlier peepshow devices such as theKinetoscopeand the Mutoscope, which was asimilarmachine that reproducedmotionby means ofsuccessiveimages onindividualphotographiccardsinsteadof on strips ofcelluloid. It suddenly became public—an experience that the viewer shared with dozens, scores, andevenhundreds of others. At the same time, theimagethat thespectatorlooked at expanded from theminusculepeepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

Questions:
question_stem: According to paragraph 1, all of the following were true of viewing films in Kinetoscope parlors EXCEPT:
choices: tag: A
text: One individual at a time viewed a film.

tag: B
text: Customers could view one film after another.

tag: C
text: Prizefights were the most popular subjects for films.

tag: D
text: Each film was short.
answer_key: C
explanation: BC 对应到最后一句，指出观众可以一部接一部地观看。B 正确；文章并未指出职业拳击赛（prizefight）是最流行的，所以 C 错，选： For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

question_stem: The author discusses phonograph parlors in paragraph 2 in order to
choices: tag: A
text: explain Edison's financial success

tag: B
text: describe the model used to design Kinetoscope parlors

tag: C
text: contrast their popularity to that of Kinetoscope parlors

tag: D
text: illustrate how much more technologically advanced Kinetoscope parlors were
answer_key: B
explanation: 段落首句指出 Kinetoscope arcades 是按照留声机会客厅（phonograph parlors）仿制的，接下来描述留声机会客厅的设置，从而说明 Kinetoscope parlors 的类似作用。选择 B。

question_stem: Which of the sentences below best expresses the essential information in the highlighted sentence from the passage? Incorrect answer choices change the meaning in important ways or leave out essential information.
choices: tag: A
text: Edison was more interested in developing a variety of machines than in developing a technology based on only one.

tag: B
text: Edison refused to work on projection technology because he did not think exhibitors would replace their projectors with newer machines.

tag: C
text: Edison did not want to develop projection technology because it limited the number of machines he could sell.

tag: D
text: Edison would not develop projection technology unless exhibitors agreed to purchase more than one projector from him.
answer_key: C
explanation: 该句指出：爱迪生之所以不愿改进放映技术是因为那样放映者便不会购买大量机器，从而使他收益下降。这句话中的主要逻辑就是因果。C 选项完美的重现原句的因故逻辑，且因果内容完全正确，所以选 C。A 选项的 variety 和原句完全无关，且没有重现因果逻辑；B 选项的结果正确，原因和原句说反；D 的 unless 逻辑不对，而且 exibitors 开始的内容原句没有提及。

question_stem: The word “readily” in the passage is closest in meaning to
choices: tag: A
text: frequently

tag: B
text: easily

tag: C
text: intelligently

tag: D
text: obviously
answer_key: B
explanation: readily: 轻而易举地。和选项 B 呼应。对应原文 Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission.从这句话可以知道，播放者想要利益最大化，这个可以更加 readily 做到，通过一次对几百个观众播放很多电影。从语境中可以推断 readily 应该是容易的意思，其他选项代入都不合理。

question_stem: The word “assistance” in the passage is closest in meaning to
choices: tag: A
text: criticism

tag: B
text: leadership

tag: C
text: help

tag: D
text: approval
answer_key: C
explanation: assistance: 帮助。和选项 C 呼应。对应原文 About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices.这句话中说了这些人完善了投影仪器，在爱迪生助手的 assistance 下，从语境中也不难猜出是帮助的意思。所以正确答案是 C

question_stem: According to paragraph 4, how did the early movies differ from previous spectacles that were presented to large audiences?
choices: tag: A
text: They were a more expensive form of entertainment.

tag: B
text: They were viewed by larger audiences.

tag: C
text: They were more educational.

tag: D
text: They did not require live entertainers.
answer_key: D
explanation: 用 differ 定位到最后一句话： But the movies differed significantly from these other forms of entertainment, which depended on either live performance or the active involvement of a master of ceremonies who assembled the final program.这句话，意思是电影的不同之处在于：它不需要表演者的现场演出或放映者的操纵(live performance or the active involvement)，因此选择 D。

question_stem: According to paragraph 5, what role did early exhibitors play in the presentation of movies in theaters?
choices: tag: A
text: They decided how to combine various components of the film program.

tag: B
text: They advised film-makers on appropriate movie content.

tag: C
text: They often took part in the live-action performances.

tag: D
text: They produced and prerecorded the material that was shown in the theaters.
answer_key: A
explanation: 根据 early exhibitors 定位到第一第二句话： Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited.第一句话中的 live acts 对应 C 选项，但是 C 选项和原文锚段，原文说是伴随电影的，而后半句更是强调可以没有 active participation，所以 C 错；而第二句话说：早期放映者试图将电影和其他娱乐元素结合起来，对应 A 选项，正确。

question_stem: Which of the following is mentioned in paragraph 6 as one of the ways the Mutoscope differed from the Kinetoscope?
choices: tag: A
text: Sound and motion were simultaneously produced in the Mutoscope.

tag: B
text: More than one person could view the images at the same time with the Mutoscope.

tag: C
text: The Mutoscope was a less sophisticated earlier prototype of the Kinetoscope.

tag: D
text: A different type of material was used to produce the images used in the Mutoscope.
answer_key: D
explanation: 定位到首句： With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid.表达出来的意思是：Mutoscope 是与 Kinetoscope 相似的机器，它通过独立胶片上的连续影像来复制动态画面，而不使用胶片，可知 Mutoscope 与 Kinetoscope 的不同在于制造影像的材料不同。因此选择 D。注意：B 选项中”more than one person could view the images at the same time(许多人可以同时观看一部电影)” 是由 the advent of projection(放映机的发明)实现的，而不是 Mutoscope。

question_stem: The word “It” in the passage refers to
choices: tag: A
text: The advent of projection

tag: B
text: The viewer's relationship with the image

tag: C
text: A similar machine

tag: D
text: Celluloid
answer_key: B
explanation: 指代关系，找前一句的主语，结合上句可得出 It 指代的是"the viewer’s relationship with the image(观者与影像的关系)"，它不再私人化，而是逐渐公开化。因此选择 B。

question_stem: According to paragraph 6, the images seen by viewers in the earlier peepshows, compared to the images projected on the screen, were relatively
choices: tag: A
text: Small in size

tag: B
text: Inexpensive to create

tag: C
text: Unfocused

tag: D
text: Limited in subject matter
answer_key: A
explanation: 定位到最后一句： At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.表达出的意思是：早期西洋镜影像比大荧幕影像要小得多，前者只有1-2英寸，而后者是6-9英尺的实物大小。正确答案：A。

question_stem: The word “expanded” in the passage is closest in meaning to
choices: tag: A
text: was enlarged

tag: B
text: was improved

tag: C
text: was varied

tag: D
text: was rejected
answer_key: A
explanation: expanded: 扩充的，展开的。和选项 A 呼应。对应原文 At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.从后面的数字就可以知道是变大了，所以选 A。