¡iMr.Play¡A¤£²Ö µøµø¬Ý¡j¥]§t­«­n·s»D¡BªÀ¸s³ÌÉq¸ÜÃD¡BÀu½è¸`¥Ø¤º®e¡AÅý§A³z¹LE-mail»´ÃPÆ[¬Ý¼v­µ·s»D¡C ¡i»O¥_µe¥Z¡jºôù¥Í¬¡¥ð¶¢¡BÆ[¥ú®È¹Cµ¥Â×´I¸ê°T¡A²`¨è´yø»O¥_¥Í¬¡°éªºÂIÂIºwºw¡A±Ð§A±¡¤£¦Û¸T·R¤W»O¥_¡I
¡¹ µLªk¥¿±`ÂsÄý¹Ï¤ù¡A½Ð«ö³o¸Ì¬Ý»¡©ú   ¡¹ µLªk¥¿±`ÂsÄý¤º®e¡A½Ð«ö³o¸Ì½u¤W¾\Ū
·s»D  ±MÃD  ²z°]  °l¬P  ªÀ¸s  Blog  «z·s»D  ¹q¤l®Ñ  
2015/02/03 ²Ä200´Á ­q¾\¡þ°h­q¡ý¬Ý¾ú¥v³ø¥÷¡ýª½±µ­q¾\
Àu´f¬¡°Ê°T®§¡G¨£°T®§
   

Time-Lapse Photography Has Brought Us Fascinating Images over the Years¡@¯«©_ªºÁY®ÉÄá¼v
by Brian Foden

By speeding up the processes of nature, time-lapse photography can amaze and astound us.
ÁY®ÉÄá¼vÂǥѥ[§Ö¦ÛµM¬Éªº¹Lµ{¦ÓÅý§Ú­Ì¤j¬°Åå©_¡C

¡@¡@If you've ever seen a TV show or movie featuring stars crossing the night sky at breakneck¡¿ pace or flowers growing and blossoming in mere seconds, then you've witnessed time-lapse photography. Time-lapse photography has a long history in filmmaking¡¿, with the first use of the technique _(1)_ in a movie in Georges Melies' 1897 film, Carrefour De L'Opera. It didn't take long for the technique to be adapted to displaying the wonders of nature by professional moviemakers and _(2)_ outside of the entertainment industry as well.
¡@¡@Perhaps no one popularized the use of time-lapse photography to display nature's wonders more than _(3)_ Dr. John Ott. A banker _(4)_ profession, Ott had a keen interest in photography as a hobby. As his interest grew, he used more and more _(5)_ photographic¡¿ setups¡¿ and built large greenhouses¡¿ in order to demonstrate the beauty of nature. However, it is too subtle¡¿ for the human eye to _(6)_ the beauty under normal conditions. The secret behind time-lapse photography is actually rather simple to understand. A normal film is usually shot at a rate of between 24 and 30 frames¡¿ per second. Time-lapse photography uses a _(7)_ slower rate at which to film subjects. An example of this would be one frame per second. When the movie or video is played back at the regular speed, the rapidity¡¿ at which the action appears to the audience is highly accelerated. Although the technique has existed for more than a century, it continues to be used for a variety of awe-inspiring¡¿ purposes today.

1. (A) occur¡@¡@(B) to occur¡@¡@(C) occurring¡@¡@(D) occurred
2. (A) this¡@¡@(B) that¡@¡@(C) these¡@¡@(D) those
3. (A) were¡@¡@(B) had¡@¡@(C) was¡@¡@(D) did
4. (A) for¡@¡@(B) by¡@¡@(C) as¡@¡@(D) at
5. (A) elaborate¡@¡@(B) accidental¡@¡@(C) contagious¡@¡@(D) indifferent
6. (A) conceive¡@¡@(B) receive¡@¡@(C) perceive¡@¡@(D) deceive
7. (A) many¡@¡@(B) much¡@¡@(C) more¡@¡@(D) most

 
  1. Time-lapse photography has a long history in filmmaking, with the first use of the technique occurring in a movie in Georges Melies' 1897 film, Carrefour De L'Opera.
    ÁY®ÉÄá¼v¦b¹q¼v»s§@¤è­±¦³¬Û·í±y¤[ªº¾ú¥v¡A¦b³ìªv¡E±ö¨½·R 1897 ¦~ªº¹q¼v¡m®a¼ÖºÖºq¼@°|¡n´N­º¦¸¨Ï¥Î¤F³o¶µ§Þ³N¡C
    ²z¥Ñ:
    a. with¤Þ¾Éªº¡y±¡ª¬¤¶µü¤ù»y¡z¤D¥Î¨Óªí¥Ü¥y¤¤¥Dµü©Ò³Bªº±¡§Î©Îª¬ªp¡A¥Î¹L¥h¤Àµü®Éªí³Q°Êª¬ºA¡A¥Î²{¦b¤Àµü®É«hªí¥D°Êª¬ºA¡C
    The guilty boy was talking to his father with his legs shaking.
    ¨º¦W·P¨ì¤ºª¹ªº¨k«Ä»P¤÷¿Ë»¡¸Ü®É¡AÂù»LŸ§ÝµÛ¡C
    Sally sat in the sofa with her eyes closed.
    ²ï²ú³¬µÛ²´·ú§¤¦b¨Fµo¤W¡C
    b. ªÅ®æ«e¦³¤¶µü with¡A¥B¥y¤¤¥Dµü¬°¥D°Êª¬ºA¡A±oª¾ªÅ®æÀ³¸m²{¦b¤Àµü¡C
    c. ®Ú¾Ú¤W­z¥Îªk¡A(C) ¶µÀ³¬°¥¿¿ï¡C
  2. It didn't take long for the technique to be adapted to displaying the wonders of nature by professional moviemakers and those outside of the entertainment industry as well.
    ¨S¦h¤[¡A±M·~ªº¹q¼v»s§@¤H¤Î®T¼Ö°é¤§¥~ªº¹q¼v»s§@¤H«K±N³o¶µ§Þ¥©¾A¥Î©ó®i²{¦ÛµM¬Éªº©_Æ[¡C
    ²z¥Ñ:
    a. ¬Û¦Pªº¦Wµü¦b¦P¤@­Ó¥y¤l¤¤¥X²{®É¡A¬°¤FÁקK­«½Æ¡A·|§ï¥Î¥N¦Wµü that ©Î those¡A³æ¼Æ¦Wµü¥H that ¨ú¥N¡A¦Ó½Æ¼Æ¦Wµü«h¥H those ¨ú¥N¡C
    There are many books for sale—not only those of British authors.¡]those ¥N´À books¡^
    ³\¦h®Ñ³£¦b¥X°â¤¤ ¢w¢w ¤£¶È¬O­^°ê§@ªÌ©Ò¼gªº®ÑÄy¡C
    The number of girls in this classroom is greater than that of boys.
    ³o¶¡±Ð«Ç¸Ìªº¤k«Ä¤H¼Æ¤ñ¨k«Ä¦h¡C¡]that ¥N´À the number¡^
    b. ªÅ®æ«eªº moviemakers¡]¹q¼v»s§@¤H¡^¬°½Æ¼Æ¦Wµü¡A±oª¾ªÅ®æÀ³¸m¥N¦Wµü those ¨ú¥N¤§¡C
    c. ®Ú¾Ú¤W­z¥Îªk¡A(D) ¶µÀ³¬°¥¿¿ï¡C
  3. Perhaps no one popularized the use of time-lapse photography to display nature's wonders more than did Dr. John Ott.
    ¤]³\¨S¦³¤H¤ñ¬ù¿«¡E¼Ú¯S³Õ¤h§ó¯à±NÁY®ÉÄá¼vªº¨Ï¥Î´¶¤Î¤Æ¡A¥H¦¹¨Ó®i²{¦ÛµM¬Éªº©_Æ[¡C
    ²z¥Ñ:
    a. ¥»ÃD´ú¸Õ¥H¤U©T©w¥Îªk¡G
    ... more than + be °Êµü©Î§U°Êµü + S
    ¥Dµü¤ñ……ÁÙ……
    ¦P: ... more than S + (be °Êµü©Î§U°Êµü)
    Daniel is more handsome than is John.
    = Daniel is more handsome than John (is).
    ¤¦¥§º¸¤ñ¬ù¿«ÁÙ«Ó®ð¡C
    b. ªÅ®æ«e¦³¹L¥h¦¡°Êµü popularized¡]¨Ï´¶¤Î¤Æ¡^¡A±oª¾ªÅ®æ«áÀ³¸m¹L¥h¦¡§U°Êµü did ¥H§Î¦¨¤W­z¥yºc¡A¬G (D) ¶µÀ³¬°¥¿¿ï¡C
  4. A banker by profession, Ott had a keen interest in photography as a hobby.
    ¼Ú¯SªºÂ¾·~¬O»È¦æ®a¡A¦ý¥L¹ïÄá¼v³o¶µ¶Ý¦n¦³¿@«pªº¿³½ì¡C
    ²z¥Ñ:
    a. ¥»ÃD´ú¸Õ¥H¤U©T©w¥Îªk¡G
    sb + be + ¨­¥÷ + by profession¡@¡@¬Y¤HªºÂ¾·~¬O……
    Henry is a lawyer by profession.
    ¦ë§QªºÂ¾·~¬O«ß®v¡C
    b. ®Ú¾Ú¤W­z¥Îªk¡A(B) ¶µÀ³¬°¥¿¿ï¡C
  5. As his interest grew, he used more and more elaborate photographic setups and built large greenhouses in order to demonstrate the beauty of nature.
    ÀHµÛ¥Lªº¿³½ìº¥¼W¡A¥L¨Ï¥Î¶V¨Ó¶V¦hºë¥©ªºÄá¼v¸Ë³Æ¡A¨Ã«Ø³y¤j«¬·Å«Ç¨Ó®i²{¦ÛµM¬É¤§¬ü¡C
    ²z¥Ñ:
    a. (A) elaborate a. ºë½oªº¡Aºë¤ßªº
    The elaborate preparations we made helped us achieve success.
    §Ú­Ìºë¤ß°µªº·Ç³ÆÀ°§U§Ú­ÌÀò±o¦¨¥\¡C
    (B) accidental a. ·N¥~ªº
    The mistake was completely accidental.
    ³o­Ó¿ù»~§¹¥þ¬O·N¥~¡C
    (C) contagious a. ¶Ç¬V©Êªº
    The contagious disease can spread quickly.
    ¸Ó¶Ç¬V©Ê¯e¯f·|¨³³t¦a´²¼½¡C
    (D) indifferent a. ºz¤£Ãö¤ßªº
    ­l: be indifferent to...¡@¡@¹ï……ºz¤£Ãö¤ß
    Mary was angry because her husband is indifferent to her complaints.
    º¿ÄR«Ü¥Í®ð¡A¦]¬°¦oªº¤V¤Ò¹ï¦oªº¶D­Wºz¤£Ãö¤ß¡C
    b. ®Ú¾Ú»y·N¡A(A) ¶µÀ³¬°¥¿¿ï¡C
  6. However, it is too subtle for the human eye to perceive the beauty under normal conditions.
    µM¦Ó¡A¦b¥¿±`ª¬ªp¤U¡A³oºØ¬üÄR¹ï¤HÃþªº²´·ú¨Ó»¡¤Ó¹L·L§®¦ÓÃø¥H¹îı¡C
    ²z¥Ñ:
    a. (A) conceive vt. ºc·Q¥X¡A³]·Q
    My brother conceived the idea of turning the old train station into a museum.
    §Ú­ô­ôºc·Q¥X±N¸Ó¤õ¨®¯¸§ï«Ø¬°³Õª«À]ªºÂI¤l¡C
    (B) receive vt. ±µ¦¬
    Kevin received a parcel sent from his friend.
    ³Í¤å¦¬¨ì¥LªB¤Í±H¨Óªº¥]»q¡C
    (C) perceive vt. ¹îı
    The mother perceived a subtle change in her daughter's behavior.
    ¨º¦W¥À¿Ë¹îı¨ì¤k¨àªº¦æ¬°¦³·L§®ªºÅܤơC
    (D) deceive vt. ´ÛÄF
    The blind woman was deceived by a young man who claimed to be her son.
    ¨º¦Wª¼°ü³Q¦ÛºÙ¬O¦o¨à¤lªº¦~»´¨k¤l´ÛÄF¤F¡C
    b. ®Ú¾Ú»y·N¡A(C) ¶µÀ³¬°¥¿¿ï¡C
  7. Time-lapse photography uses a much slower rate at which to film subjects.
    ÁY®ÉÄá¼v«h¨Ï¥ÎºC±o¦hªº³t²v¨Ó©çÄá¥DÃD¡C
    ²z¥Ñ:
    a. ¥i¥Î¨Ó­×¹¢¤ñ¸û¯Å§Î®eµü©Î°Æµüªº¦³¤U¦C¤»­Ó°Æµü©Î°Æµü¤ù»y¡Gfar¡Bmuch¡Ba lot¡Ba great deal¡Bstill ©M even¡C
    Studying Latin is much more difficult than studying English.
    ¾Ç©Ô¤B¤å¤ñ¾Ç­^¤å§xÃø±o¦h¡C
    b. ªÅ®æ«á¦³¤ñ¸û¯Å§Î®eµü slower¡]¸ûºCªº¡^¡A±oª¾ªÅ®æ¤ºÀ³¸m much ¥H­×¹¢ slower¡A¬G (B) ¶µÀ³¬°¥¿¿ï¡C
  1. fascinating a. °g¤Hªº
  2. amaze vt. ¨ÏÅå©_
    We were all amazed at the little boy's ability to play the piano.
    §Ú­Ì³£¹ï¨º¦W¤p¨k«Ä¼u¿ûµ^ªº¯à¤O·P¨ìÅå©_¡C
  3. astound vt. ¨Ï¾_Åå
  4. blossom vi. ¶}ªá
  5. witness vt. ¥Ø¸@ & n. ¥ØÀ»ªÌ¡]»P¤¶µü to ¨Ã¥Î¡^
    Owen witnessed the murder that took place in an alley last night.
    ¼Ú¤å¥Ø¸@¤F¬Q±ßµo¥Í¦b«Ñ¤l¸Ìªº¿Ñ±þ®×¡C
    John was the only witness to the accident that happened this morning.
    ¤µ¤Ñ¦­¤Wµo¥Íªº³o°_·N¥~¡A¬ù¿«¬O°ß¤@ªº¥ØÀ»ªÌ¡C
  6. technique n. §Þ³N
  7. display vt. & n. ®i¥Ü
    The toys displayed in the window attracted the attention of every child that passed by.
    Ãoµ¡¤º®i¥Üªºª±¨ã§l¤Þ¤F¨C¦ì¸g¹Lªº¤pªB¤Íª`·N¡C
  8. wonder n. ©_Æ[¡F©_ÂÝ
  9. entertainment n. ®T¼Ö
  10. popularize vt. ¨Ï´¶¤Î¤Æ
    The creative advertisement will help popularize our product.
    ³o¤ä¥Rº¡³Ð·Nªº¼s§i±N¦³§U©ó§Ú­Ìªº²£«~´¶¤Î¤Æ¡C
  11. keen a. ±j¯Pªº
  12. demonstrate vt. ®i²{
    The company demonstrated its human side when it donated money to a children's hospital.
    ¸Ó¤½¥q®½¿úµ¹¤@©Ò¨àµ£Âå°|¡A®i²{¥¦¤H©Ê¤Æªº¤@­±¡C
  13. accelerate vt. ¥[³t
    We have to accelerate the speed of our work, or we won't finish on time.
    §Ú­Ì±o¥[§Ö¤u§@³t«×¡A§_«h±NµLªk·Ç®É§¹¤u¡C

¡¿ time-lapse a. ©µ®Éªº
¡¿ breakneck a. ·¥§Öªº
¡¿ filmmaking n. ¹q¼v»s§@
¡¿ photographic a. Äá¼vªº
¡¿ setup n. ¸Ë¸m
¡¿ greenhouse n. ·Å«Ç
¡¿ subtle a. ·L§®ªº
¡¿ frame n. ÃèÀY
¡¿ rapidity n. ³t«×¡F¨³³t
¡¿ awe-inspiring a. ¥O¤HÅå¼Ûªº

  1. speed up...¡@¡@¥[³t……
  2. be adapted to...¡@¡@¾A¥Î©ó……

¯«©_ªºÁY®ÉÄá¼v
ÁY®ÉÄá¼vÂǥѥ[§Ö¦ÛµM¬Éªº¹Lµ{¦ÓÅý§Ú­Ì¤j¬°Åå©_¡C

¡@¡@¦pªG§A´¿¸g¬Ý¹L¹qµø¸`¥Ø©Î¹q¼v¼½©ñ¬P¬P¥H·¥§Öªº³t«×¬ï¶V©]ªÅ¡A©Î¬Oªá¨à¦b¼Æ¬í¤º¥Íªø©Mºì©ñ¡A¨º»ò§A«K¥Ø¸@¹LÁY®ÉÄá¼v¡CÁY®ÉÄá¼v¦b¹q¼v»s§@¤è­±¦³¬Û·í±y¤[ªº¾ú¥v¡A¦b³ìªv¡E±ö¨½·R 1897 ¦~ªº¹q¼v¡m®a¼ÖºÖºq¼@°|¡n´N­º¦¸¨Ï¥Î¤F³o¶µ§Þ³N¡C¨S¦h¤[¡A±M·~ªº¹q¼v»s§@¤H¤Î®T¼Ö°é¤§¥~ªº¹q¼v»s§@¤H«K±N³o¶µ§Þ¥©¾A¥Î©ó®i²{¦ÛµM¬Éªº©_Æ[¡C
¡@¡@¤]³\¨S¦³¤H¤ñ¬ù¿«¡E¼Ú¯S³Õ¤h§ó¯à±NÁY®ÉÄá¼vªº¨Ï¥Î´¶¤Î¤Æ¡A¥H¦¹¨Ó®i²{¦ÛµM¬Éªº©_Æ[¡C¼Ú¯SªºÂ¾·~¬O»È¦æ®a¡A¦ý¥L¹ïÄá¼v³o¶µ¶Ý¦n¦³¿@«pªº¿³½ì¡CÀHµÛ¥Lªº¿³½ìº¥¼W¡A¥L¨Ï¥Î¶V¨Ó¶V¦hºë¥©ªºÄá¼v¸Ë³Æ¡A¨Ã«Ø³y¤j«¬·Å«Ç¨Ó®i²{¦ÛµM¬É¤§¬ü¡CµM¦Ó¡A¦b¥¿±`ª¬ªp¤U¡A³oºØ¬üÄR¹ï¤HÃþªº²´·ú¨Ó»¡¤Ó¹L·L§®¦ÓÃø¥H¹îı¡CÁY®ÉÄá¼v­I«áªº¯µ³Z¨ä¹ê¬Û·í®e©ö²z¸Ñ¡C¥¿±`ªº¼v¤ù³q±`¥H¨C¬í¤G¤Q¥|¦Ü¤T¤Q­ÓÃèÀY¤§¶¡ªº³t²v©çÄá¦Ó¦¨¡CÁY®ÉÄá¼v«h¨Ï¥ÎºC±o¦hªº³t²v¨Ó©çÄá¥DÃD¡C¨C¬íÄÁ¤@­ÓÃèÀY«K¬O­Ó¨Ò¤l¡C·í¹q¼v©Î¼v¤ù¥H¥¿±`ªº³t«×­Ë¼½®É¡A¥X²{¦bÆ[²³­±«eªº°Ê§@³t«×·|¤j¬°¼W¥[¡CÁöµM³o¶µ§Þ³N¤w¦s¦b¤@­Ó¦h¥@¬ö¡A¦ý²{¤µ¥¦¤´«ùÄò³Q¨Ï¥Î©ó¦U¦¡¦U¼Ë¥O¤HÅå¼Ûªº¥Î³~¡C
µª®×¡G¡@1. C¡@2. D¡@3. D¡@4. B¡@5. A¡@6. C¡@7. B

 
2015·s¦~·s©¯ºÖ¡I»`¶°¨C­Ó©¯ºÖÀþ¶¡¡I
¡á¦h¯q­^À˵¥¦Ò¸ÕÃþ®M®Ñ75§é¡Iº¡1000¥|¦â¼ÄG¤l¾î±ø¯¾°O¨Æ¥»¡Iº¡2000°e¤â¾÷½u±±§KÂŪަ۩篫¾¹¡I
·x¤ß©¯ºÖ±M®×¡GÅý«Ä¤l¦Yªº¦w¤ß¡IŪªº©ñ¤ß¡I
¡á²{¦b­qÂø»x¥b¦~´N°e·x¤ß¤£ù׿û¯uªÅ«O·ÅªM¡I­q¤@¦~°e¬ü­¹§ÖµNÁç¡I
±`¬KÃí^»yÂø»x iosª©¤¬°Ê¦¡ App¶©­«µn³õ¡I
¡á­q¼Æ¦ìª©Âø»x¤~¬O¤ý¹D¡I²{¦b­q¤@¦~¥÷(12´Á)°¨¤W¬Ù540¤¸¡I
     
¡E¦³¿ú¤H¤£§ë¸êÃÀ³N §ï§ë¸êÅ@·Ó
°£¤FªÑ²¼©M©Ð¦a²£ªº§ë¸ê²Õ¦X¡A¦³¿ú¤H²{¦bÁÙÁʶR¤@ºØ·s§Î¦¡ªº¸gÀÙ«O»Ù¡GÅ@·Ó§ë¸ê²Õ¦X¡C±M®a¦ô­p¡A³o¨Ç¡u¸gÀÙ¤½¥Á¡v¨C¦~ªá¦bÁʶR²Ä¤G©Î²Ä¤T¥»Å@·Ó»PñÃÒªº¿ú¹F20»õ¬ü¤¸¡C

¡E³Õª«À]¦a¤U´MÄ_
ªñ´X¦~¡A«Ü¦h³Õª«À]À]ªø¡B³X°Ý¾ÇªÌ¡A¬Æ¦Ü¬O¹ê²ß¥Í¡A¦b®w©Ðµo²{¨ü¨ì©¿²¤¦h¦~ªº¬Ã¶Q¤åª«©ÎÃÀ³N«~¡AÄ´¦p²¦¥d¯Áªºµ}¥@¨Î§@»P°¨¤B¡E¸ô¼w¡Eª÷¥¢Âܳ\¤[ªººtÁ¿¿ý­µ¡C
 

Copyright c 2011 IVY LEAGUE ANALYTICAL ENGLISH All Rights Reserved. ª©Åv©Ò¦³¡AÂà¸ü¥²¨s¡C

»P§Ú­ÌÁpµ¸ ¹q¸Ü¡G02-23317600 ¶Ç¯u¡G02-23810918

§K¶O¹q¤l³ø | µÛ§@ÅvÁn©ú | Áô¨pÅvÁn©ú | Ápµ¸§Ú­Ì
udnfamily : news | video | money | stars | paper | reading | mobile | data | city | blog | job