剑桥雅思6Test3阅读Passage1原文翻译 电影的诞生与发展
剑桥雅思6阅读第三套题目第一篇文章的主题为电影的诞生和发展。文章分为10段，除了描述电影的出现过程之外，还解释了电影对世界、后辈、电影明星、真实生活的影响。下面是具体每一段的翻译。
点击查看这篇雅思阅读中需要大家掌握的重点词汇与具体题目的答案解析：
雅思真题阅读词汇 剑桥雅思6 test 3 passage 1 电影的诞生与发展
剑桥雅思6Test3阅读Passage1答案解析 电影的诞生与影响
剑桥雅思6 Test 3 Passage 1阅读原文翻译
自然段A
The Lumière 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.
1895年12月8日，卢米埃尔兄弟（LumièreBrothers）在100年多前的巴黎Boulevard des Capucines 14号向100位付费客户播放了他们的电影。在震惊而激动的观众眼前，照片活了过来，在屏幕上移动。
自然段B
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.
这对我们来说是如此的普通和平凡，以致于需要想象力的飞跃，才能掌文章来自老烤鸭雅思握这些首次出现的动图的影响。但是这值得一试，因为了解这些图像最初的震撼就是了解电影的非凡力量和魔力。这一独特、催眠般的特点使电影成为20世纪最具活力，最有效的艺术形式。
自然段C
One of the Lumière 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.’
卢米埃尔兄弟（LumièreBrothers）最早的一部电影是一部30秒的片段，它展示了阳光照射下铁路站台的一部分。一列火车出现，直奔摄像机而去。这就是所有发生的事情。然而，俄罗斯导演安德烈·塔尔科夫斯基（Andrei Tarkovsky），最伟大的电影艺术家之一，将这部电影描述为“天才之作” 。塔尔科夫斯基写道：“火车驶近时，剧院开始慌乱：人们跳了起来，然后逃跑。” 那正是电影诞生的时刻。惊恐的观众无法接受他们只是在看图片。图片是静止的，只有现实世界才会动。因此，这必须是现实。在他们的困惑中，他们担心一辆真正的火车要碾压他们。”
自然段D
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.
早期的电影观众经常经历同样的困惑。随着时间的流逝，电影的概念变得熟悉起来，魔法被接受了-但是它永远不会停止自己的魔力。电影从未失去过吸引观众并将他们带到另一个世界的独特能力。对于塔科夫斯基来说，魔术的关键在于电影院如何创建真实事件发生的动态图像。静止的画面只能暗示时间的存在，小说中的时间在读者心中流逝。但是在电影院中，人们却捕获了真实，客观的时间流动。
自然段E
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.
这种现实主义的作用之一是让世界认识自己。电影使世界变得更小。人们远赴美国或其他任何地方之前，他们就知道其他地方的样子。他们知道其他人的工作和生活的方式。
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.
至少在电影中，被记录的生活绝大多数都是美国式的。从电影产业的诞生开始，好莱坞就一直统治着世界电影市场。
American imagery – the cars, the cities, the cowboys – became the primary imagery of film. Film carried American life and values around the globe.
美国的影像-汽车，城市，牛仔-成为电影的主要内容。电影在全世界传播着美国的生活和价值观。
自然段F
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.
由于有了电影，子孙后代将比其他任何时期都更加了解20世纪。我们只能想象14世纪或古典希腊时代的生活。但是，现代世界的生活已经被巨细无遗地记录在电影之中。相比于前辈而言，我们更容易被了解。
自然段G
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.
“明星”是电影院的另一自然产物。电影明星实际上是1910年诞生的。电影人物具有如此直接的存在，以至于他们不可避免地变得超级真实。因为我们密切关注它们，因为世界上每个人似乎都知道他们是谁，所以对我们来说，他们比我们自己更加真实。明星作为人类自身的放大，是电影最奇怪，最持久的遗产之一。
自然段H
Cinema has also given a new lease of life to the idea of the story. When the Lumière 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.
电影也使故事的构思焕然一新。当卢米埃兄弟（LumièreBrothers）和其他先驱者开始炫耀这项新发明时，它的使用方式绝不是显而易见的。一开始，最重要的是活动带来的惊奇。确实，有人说，一旦这种新颖消失了，电影就会消失。它不过是种把戏，就像游乐场一样。
自然段I
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，电影可能会变成一种记录形式。或者它可能像电视一样发展，成为音乐、信息和叙事的一种奇怪而又嘈杂的传播。但是事实是，它成为压倒一切的讲故事的媒介。最初，它们被认为是短篇故事-早期的制片人怀疑观众集中注意力的能力不会超过一卷胶片的长度。然后，在1912年，一部两小时的意大利电影取得了巨大的成功。好莱坞决定采用新颖的叙事形式。它至今仍是当今电影界的主流。
自然段J
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.
一切都发生得如此之快。几乎令人难以置信的是，距火车到达、观众尖叫和逃跑才仅仅仅100年的时间。他们当时对自己看到的危险事实深信不疑，或许突然之间意识到世界再也不会一样了-也许，它可能比现实更好，更光明，更令人惊讶，更真实。
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