26. [A] affect [B] reduce [C] chock [D] reflect

27. [A] point [B] lead [C] come [D] amount

28. [A] in general [B] on average [C] by contrast [D] at length

29. [A] case [B] short [C] turn [D] essence

30. [A] survived [B] noticed [C] undertaken [D] experienced

31. [A] contrarily [B] consequently [C] similarly [D] simultaneously

32. [A] than [B] that [C] which [D] as

33. [A] expense [B] restriction [C] allocation [D] availability

34. [A] incidence [B] awareness [C] exposure [D] popularity

35. [A] provided [B] since [C] although [D] supposing

Section Ⅲ Reading Comprehension(40 %)

Part A

Directions: Read the following 5 passages. Answer the questions below each passage by choosing A,B,C,orD.Mask your answers on ANSWER SHEET 1.

Questions 36 to 39 are based on the following passage:

It was inevitable: in the rapidly shrinking world of global entertainment, Hollywood was destined to discover Hong Kong. Can a vampire resist fresh blood? Can an industry that always goes where the action is turn its back on an industry whose products are even more thrill-happy than its own? And Hong Kong , the second largest exporter of movies in the world, has been churning out (大批而廉价的造出) some of the most exuberant mayhem since Bruce Lee.

Last week the $ 60 million action film Broken Arrow with John Travolta and Christian Slater opened. It was directed by John Woo, revered for his explosions of violence in hilarious Hong Kong movies. Next week New Line will release an English-language version of Rumble in the Bronx, starring Jackie Chan, whose comic action adventures have made him probably the world’s most popular star.

Hong Kong’s move into Hollywood is an economic marriage of sorts(差劲的). It comes just in time for the British colony. Cinema in Hong Kong is in serious decline-----ticket sales for locally made movies have plummeted(大坡度落下) 30 percent since 1992. Local audiences have become fed up with a flood of low quality productions. Unlike Chan’s movies, made on sizable budgets over a period of six or eight months, many of Hong Kong’s 200 movies a year are made in a little more than a month, with no regard to plausibility or continuity. “Now Asian, Chinese people don’t like Hong Kong movies anymore.” Chan complains, “A hundred moviemakers doing the same thing. Very quick. Quick money. They are not looking for a new road. The audience want to see Western movie.”

This makes Hollywood very tempting-----for the select few who can succeed here. As for what Hollywood gets out of Hong Kong, the biggest economic incentive may be low costs. In addition to delivering cheap thrills, Hong Kong directors have endeared themselves to U.S. studios by working fast and spending little. That’s a refreshing change form profligate(奢侈的) U.S. productions. Then there is the increasing internationalization of Hollywood’s audience: by some estimates, three quarters of an American film’s box-office take will come from outside the United States by the next century. For U.S. studio chiefs, that alone makes it worthwhile to find a non American sensibility for the director’s chair.