Which Hand did they use?
1. Most engravings, for example, are best lit from the left, as befits the work of right-handed artists, who generally prefer to have the light source on the left so that theshadow of their hand does not fall on the tip of the engraving tool or brush.
2. Right-handers tend to have longer, stronger, and more muscular bones on the right side, and Marcellin Boule as long ago as 1911 noted the La Chapelle-aux-Saints Neanderthal skeleton had a right upper arm bone that was noticeably stronger than the left.
3. The part of the brain responsible for fine control and movement is located in the left cerebral hemisphere, and the findings above suggest that the human brain was already asymmetrical in its structure and function not long after 2 million years ago.
4. Among Neanderthalers of 70,000–35,000 years ago, Marcellin Boule noted that the La Chapelle-aux-Saints individual had a left hemisphere slightly bigger than the right, and the same was found for brains of specimens from Neanderthal, Gibraltar, and La Quina.
官方真题Official12: Transition to Sound in Film
1. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovationhas come close to being regarded as a similar kind of watershed.
2. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongside movies' visual images, from the Japanese benshi (narrators) crafting multivoiced dialogue narratives to original musical compositions performed by symphony-size orchestras in Europe and the United States.
3. In Berlin, for the premiere performance outside the Soviet Union of The Battleship Potemkin, film director Sergei Eisenstein worked with Austrian composer Edmund Meisel (1874-1930) on a musical score matching sound to image; the Berlin screenings with live music helped to bring the film its wide international fame.
4. Though it may be difficult to imagine from a later perspective, a strain of critical opinion in the 1920s predicted that sound film would be a technical novelty that would soon fade from sight, just as had many previous attempts, dating well back before the First World War, to link images with recorded sound.
5. To be sure, their evaluation of the technical flaws in 1920s sound experiments was not so far off the mark, yet they neglected to take into account important new forces in the motion picture field that, in a sense, would not take no for an answer.
6. In 1929 the United States motion picture industry released more than 300 sound films—a rough figure, since a number were silent films with music tracks, or films prepared in dual versions, to take account of the many cinemas not yet wired for sound.
7. In Europe it took a little longer, mainly because there were more small producers forwhom the costs of sound were prohibitive, and in other parts of the world problems with rights or access to equipment delayed the shift to sound production for a few more years (though cinemas in major cities may have been wired in order to play foreign sound films).