수능 기출 영어 지문 읽기
전체지문
Cinema is valuable not for its ability to make visible the hidden outlines of our reality, but for its ability to reveal what reality itself veils ― the dimension of fantasy.
This is why, to a person, the first great theorists of film decried the introduction of sound and other technical innovations (such as color) that pushed film in the direction of realism.
Since cinema was an entirely fantasmatic art, these innovations were completely unnecessary.
And what’s worse, they could do nothing but turn filmmakers and audiences away from the fantasmatic dimension of cinema, potentially transforming film into a mere delivery device for representations of reality.
As long as the irrealism of the silent black and white film predominated, one could not take filmic fantasies for representations of reality.
But sound and color threatened to create just such an illusion, thereby destroying the very essence of film art.
As Rudolf Arnheim puts it, “The creative power of the artist can only come into play where reality and the medium of representation do not coincide.”
수능 기출 영어 지문 쓰기
영화는 우리 현실의 숨겨진 윤곽을 보이게 만드는 능력 때문이 아니라 현실 자체가 가리고 있는 것, 즉 환상의 차원을 드러내는 능력 때문에 가치가 있다.
C_____ i_ v_______ n__ f__ i__ a______ t_ m___ v______ t__ h_____ o_______ o_ o__ r______, b__ f__ i__ a______ t_ r_____ w___ r______ i_____ v____ ― t__ d________ o_ f______.
보기
Cinema is valuable not for its ability to make visible the hidden outlines of our reality, but for its ability to reveal what reality itself veils ― the dimension of fantasy.
이것이 최초의 위대한 영화 이론가들이 영화를 사실주의 쪽으로 밀어붙였던 소리와 (색채와 같은) 다른 기술 혁신의 도입을 이구동성으로 비난한 이유이다.
T___ i_ w__, t_ a p_____, t__ f____ g____ t________ o_ f___ d______ t__ i___________ o_ s____ a__ o____ t________ i__________ (s___ a_ c____) t___ p_____ f___ i_ t__ d________ o_ r______.
보기
This is why, to a person, the first great theorists of film decried the introduction of sound and other technical innovations (such as color) that pushed film in the direction of realism.
영화는 전적으로 환상적인 예술이었기 때문에 이러한 혁신은 완전히 불필요했다.
S____ c_____ w__ a_ e_______ f__________ a__, t____ i__________ w___ c_________ u__________.
보기
Since cinema was an entirely fantasmatic art, these innovations were completely unnecessary.
그리고 설상가상으로 그것들은 잠재적으로 영화를 현실의 묘사를 위한 단순한 전달 장치로 변형시키면서, 영화 제작자와 관객을 영화의 환상적인 차원에서 멀어지게 할 수 있을 뿐이었다.
A__ w___’_ w____, t___ c____ d_ n______ b__ t___ f_________ a__ a________ a___ f___ t__ f__________ d________ o_ c_____, p__________ t___________ f___ i___ a m___ d_______ d_____ f__ r______________ o_ r______.
보기
And what’s worse, they could do nothing but turn filmmakers and audiences away from the fantasmatic dimension of cinema, potentially transforming film into a mere delivery device for representations of reality.
무성 흑백 영화의 비현실주의가 지배하는 동안은 영화적 환상을 현실에 대한 묘사로 착각할 수 없었다.
A_ l___ a_ t__ i________ o_ t__ s_____ b____ a__ w____ f___ p___________, o__ c____ n__ t___ f_____ f________ f__ r______________ o_ r______.
보기
As long as the irrealism of the silent black and white film predominated, one could not take filmic fantasies for representations of reality.
그러나 소리와 색채는 바로 그러한 착각을 만들겠다고 위협하여 영화 예술의 바로 그 본질을 파괴했다.
B__ s____ a__ c____ t_________ t_ c_____ j___ s___ a_ i_______, t______ d_________ t__ v___ e______ o_ f___ a__.
보기
But sound and color threatened to create just such an illusion, thereby destroying the very essence of film art.
Rudolf Arnheim이 표현한 것처럼 “예술가의 창의적 힘은 현실과 묘사의 매체가 일치하지 않는 곳에서만 발휘될 수 있다.“
A_ Rudolf Arnheim p___ i_, “T__ c_______ p____ o_ t__ a_____ c__ o___ c___ i___ p___ w____ r______ a__ t__ m_____ o_ r_____________ d_ n__ c_______.”
보기
As Rudolf Arnheim puts it, “The creative power of the artist can only come into play where reality and the medium of representation do not coincide.”