英语阅读能力依靠什么？必然是词汇的积累，但，仅仅是词汇的积累是不够了，更应该了解英语句式，不同句型所表达意义。如何培养自己的阅读语感呢？那么就跟着聚创考研小编每天学一点英语，一起为考研筑起坚实的地基。阅读是需要积累的，就像我们需要经常和人沟通才会促进我们的表达能力一样~小伙伴跟着小编一起，每天坚持打卡，培养英语阅读能力及语感，了解文章一些经典词汇的用法。

镜头和现实(2)

Often his uncompromising films lack linear narratives, even protagonists. He is not interested in heroes, but in the crowd; in the audience on the square, not the politicians on the stage. In his documentaries, his impersonal camera does not probe inner lives but simply records: the space, the movements, the sound scape (snatches of pop and folk songs, anthems, tolling bells), the flow of time and ultimately of history. There is no voice over or catharsis. Instead, Mr Loznitsa allows the absurdity and tragedy of life to speak for themselves. “He is not ahunter,” says Mikhail Iampolski, a critic and historian of Russian culture at New York University. “He is a trap, patiently waiting for whatever gets caught in it.”

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他毫不妥协的电影往往缺乏线性叙事，甚至连主角都没有。他对英雄不感兴趣，而是对人群感兴趣；广场上的人群，而不是台上的政客。在他的纪录片中，他那没有感情色彩的相机并不探索内心世界，而只是简单地记录:空间、动作、声景(流行和民谣的片段、国歌、钟声)、时间的流动，最终是历史的流动。没有画外音或宣泄。相反，洛兹尼察先生允许生活的荒谬和悲剧为自己辩护。“他不是猎人，”纽约大学俄罗斯文化评论家和历史学家米哈伊尔·亚姆波尔斯基说。“他是陷阱，耐心地等待着被困住的任何东西。”

The camera, for Mr Loznitsa, is more than a piece of kit—it is a way of seeing. “When we look in front of us, there are things we don’t see,” but which can become visible afterwards, he says. The result may be “something that I could never have imagined, let alone invented”. He cites an aphorism of Alfred Hitchcock’s: “In feature films, the director is God. In documentaries, God is the director.”On with the show.

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对于洛兹尼察先生来说，相机不仅仅是一个小物件，而是一种观察的方式。他说:“当我们看前面的时候，有些东西我们看不到，”但这些东西在看完之后就会变得可见。其结果可能是“我从未想象过的东西，更不用说发明了”。他引用了阿尔弗雷德·希区柯克的一句格言:“在故事片中，导演就是上帝。”在纪录片中，上帝是导演。”和精彩一起继续。

Now 52, Mr Loznitsa was born in Soviet Belarus and brought up in Ukraine. He learned his craft in Russia and now lives in Germany. Like many others, his life has been shaped by the fracturing of the Soviet Union and the Russian empire before it; his work chronicles the political—and moral— disintegrations that followed. His subjects have included the failed coup of 1991 that preceded the Soviet collapse (“The Event”, 2015) and Ukraine’s revolution (“Maidan”, 2014). Today’s world, he says, provides “no firm ground under your feet”. Just as fact and fiction have bled together, it can seem that “there is no good or bad.”

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现年52岁的洛兹尼察出生于前苏联的白俄罗斯，在乌克兰长大。他在俄罗斯学的手艺，现在住在德国。和其他许多人一样，他的一生也受到了前苏联和前俄罗斯帝国解体的影响；他的作品记录了随之而来的政治和道德的瓦解。他的作品包括1991年苏联解体前的未遂政变(《事件》，2015)和乌克兰革命(《独立广场》，2014)。他说，今天的世界“脚下没有坚实的土地”。正如事实与虚构交织在一起一样，似乎“没有好坏之分”。

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