1.Passage 2
Steven Spielberg’s first films were made at a time when directors were the most important people in Hollywood, and his more recent ones at a time when marketing controls the industry. He has remained the most powerful filmmaker in the world during both periods, which says something for his talent and his flexibility.
Spielberg’s most important contribution to modem movies is his acute insight to find and attract a large audience. He ingeniously revised old-style B-movie stories with A-level craftsmanship and enhanced them with the latest developments in special effects.
Considering such movies as the "Indiana Jones" series and "Jurassic Park". The story lines were the mediocre stuff, but the filmmaking was cutting edge and delivered what films have always desired: they showed us something amazing that we hadn’t seen before.
The master image created in movies expresses something fundamental about the way the filmmakers see things. Spielberg once said that his master image was a simultaneous combination of brightness and mystery. This appears in many of his films.
In Spielberg, the light source conceals mystery, whereas for many other directors it is darkness that conceals mystery. The difference is that for Spielberg, mystery offers promise instead of threat. One day he talked about a previous experience.
"My dad took me out to see a meteor shower when I was a little kid," he said, "and it was scary for me because he woke me up in the middle of the night. My heart was beating; I didn’t know what he wanted to do. He wouldn’t tell me, and he put me in the car and we went off, and I saw ail these people lying on blankets, looking up at the sky. And my dad spread out a blanket. We lay down and looked at the sky, and I saw for the first time all these meteors."
"What scared me was being awakened in the middle of the night and taken somewhere without being told where. But what didn’t scare me, but was very soothing, was watching this meteor shower. And I think from that moment on, I never looked at the sky and thought it was a bad place."
Spielberg has always maintained superb quality control and when his films work, they work on every level that a film can roach. When his films are shown, they will conquer the most sophisticated filmgoers in the world and invite them to tears and cheers.
参考答案：斯蒂芬·斯皮尔伯格最初执导电影的时候，导演在好莱坞最为重要，而如今拍摄电影正值市场控制了整个行业。无论在哪个时期他始终是世界上最有分量的制片人，这说明他才华横溢，又极富变通。
斯皮尔伯格对现代电影最重要的贡献在于他有着敏锐的视角去发现并吸引广大观众。他巧妙地把二流的电影故事用一流技巧进行改编，并用最新的特技成果进行加工。
想想《印地安那·琼斯》系列，《侏罗纪公园》等电影。故事情节十分平庸，但电影制作是最先进的，它们表达了电影一直所追求的东西，展现出我们从没看过的令人惊叹的东西。
电影塑造的主要意象表达了电影制作人看待事物的根本方式。斯皮尔伯格有一次说他的主要意象就是将光明和神秘同时结合起来。这出现在他的许多电影中。
在斯皮尔伯格看来，光亮中掩藏着神秘，而对其他许多导演而言，黑暗中才掩藏着神秘。这其中的不同在于对斯皮尔伯格来说，神秘给人希望而不是威胁。有一天他提到了从前的一次经历。
“我还是小孩子的时候，爸爸一次带我出去看流星雨。”他说，“我很怕，因为他半夜里把我叫醒，我的心跳的很厉害，不知道他要干什么。他没告诉我，把我放在车上，就开走了，然后我看见有人躺在毯子上，抬头看着天。爸爸也把毯子铺开，我们躺下，看着天，我第一次看到了流星。”
“让我害怕的是半夜里被叫醒，带出去，但不知道去哪里。但看流星雨并没有让我害怕，相反，我觉得非常舒服。我想从那时起，我再也不会看着天空而觉着它是个坏地方了。”
斯皮尔伯格总是保持着电影的卓越品质。他的电影一旦开拍，就总是在各个方面都达到电影所能做到的最好水平。每当他的电影上映，它们总能征服世界上最挑剔的观众，让大家一起流泪，一起欢呼。
解析：
本文是一段介绍美国著名导演斯皮尔伯格的讲话。文中主要介绍了他在影坛的地位和成就，并举例说明其伟大之处。此外，还讲述了他的电影理念，并讲述了对其产生深刻影响的小时候看流星雨的经历。
本文要求应试者掌握一定的电影通俗常识，尤其是对美国电影界有一定了解，熟悉相关的专门词汇和表达方式，这依赖于应试者平时的知识积累，是翻译的基本要求。此外，应试者还需要在短时间内，对长难句进行正确的理解、分析、简化或切分，把握好两种语言各自特色，完成双语间的转换；对于一些较为生僻的短语和表达法，不能死译、硬译，而应该充分联系上下文灵活变通，使译文通顺流畅。
■基本素质采分点
以下单词或短语是本文所要考查的基础知识点，涉及相关知识领域的专有名词和一些惯用表达法，是应试者理解和翻译的基础。
1．Hollywood 好莱坞
2．filmmaker 制片人
3．Indiana Jones series 《印地安那·琼斯》系列
4．Jurassic Park 《侏罗纪公园》
5．meteor shower 流星雨
■结构理解采分点
下面是本文中出现的长难句，要求应试者在听的过程中迅速理解并分析出句子所包含的意群之间的逻辑关系，尊重目的语特点，将原文转换成通顺、地道的目的语。在这个转换的过程中，应试者需要完成诸如语序调整、词类转换、语态转换等翻译过程。
1．Steven Spielberg’s first films were made at a time when directors were the most important people in Hollywood, and his more recent ones at a time when marketing controls the industry.
原句主干是一个由“and”连接的并列复句，在两个并列分句中各自包含一个由“when”引导的关系从句，修饰前面的先行词“time”。前后两个分句结构相同，后面的分句中省略了相同的成分“were made”。翻译时，由于关系从句修饰的是“time”，所以可以把关系从句前面的主句灵活地翻译成为一个状语，关系从句作主句；对于后面的分句中的省略成分最好翻译中补充出来，因为重复对于汉语来说是一种习惯。
2．The story lines were the mediocre stuff, but the filmmaking was cutting edge and delivered what films have always desired: they showed us something amazing that we hadn’t seen before.
原句的主干是由“but”引导的复合句，后面的从句的主语“the filmmaking”又带有两个并列的谓语“was cutting”和“delivered”，并且后一个谓语后面跟着一个以“what”引导宾语从句，冒号后面还引出了一个解释“what”的从句，从句中又含有一个由“that”引导的关系从句，修饰“something”。翻译时，整体上主要是顺译，以“what”引导宾语从句可以固定翻译成“所”字短语；最后面的关系从句，按照汉语的习惯，最好译成一个短语调整到修饰词前面。
3．In Spielberg, the light source conceals mystery, whereas for many other directors it is darkness that conceals mystery.
原句的主干是“whereas”连接的两个并列从句，引导两个相互比较的对象，略带转折意味；而后面的从句中又有一个强调结构“it is... that...”。翻译时，原文的基本结构可以保留，采取顺译即可；“whereas”可以固定地翻译成“而……”；后面的强调结构可以采取一个比较带有强调意味的结构“是……才……”。
4．What scared me was being awakened in the middle of the night and taken somewhere without being told where.
原句主干中包括由“what”引导的一个主语从句，后面的“and”连接起“was”的两个分词结构作表语；使用“what”结构，目的在于强调，“what”在从句中是主语，翻译时，此结构可翻译成“令……的是”；后面的第一个表语中包含一个时间状语，在汉语中，时间状语成分一般要放在谓语动词前面，翻译时应当调整一下语序；后面还有一个“without”引导的方式状语，放在后面，做进一步说明，起一定的强调作用。
5．When his films are shown, they will conquer the most sophisticated filmgoers in the world and invite them to tears and cheers.
原句结构中包括一个由“when”引导的时间状语从句，主句中同一个主语包含两个并列谓语“conquer”和“invite”。翻译时，主要采取顺译，这符合口译的特点；主句中的介词短语“in the world”主要功能是修饰前面名词，按照汉语的习惯，其位置可以调整到所修饰词的前面；后面的名词“tears”和“cheers”，可以通过改变词性变成动词，更符合汉语的特点。
■言语表达采分点
应试者不仅需要从宏观上整体把握原文的结构和意思，还需要从微观上正确理解和表达一些重要词汇和表达法。
1．flexibility 变通，灵活性
2．acute insight 敏锐的视角
3．B-movie stories 二流的电影故事
4．A-level craftsmanship 一流技巧
5．cutting edge 最先进的
6．master image 主要意象
7．simultaneous combination 同时结合
8．for the first time 第一次
9．from that moment on 从那时起
10．sophisticated 世故的，老练的，挑剔的