Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-1948). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the camera’s possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.
Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.
Besides developing the cinema’s language, Griffith immensely broadened its range and treatment of subjects.
第二段最后一句指出“Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space”，表示Griffith将维多利亚时期小说的创作手法引入电影业的拍摄，而小说的内容则与电影主题无关，Ⅰ表述不正确；第二段第三句表明是Griffith坚持使用“cinematic syntax”进行拍摄，而不是“other film directors”，Ⅱ的表述也不正确；只有Ⅲ是正确的，这点从全文描述可以推断出来：正是Griffith孜孜不倦的创新和试验才使电影拍摄技术突破传统局限，实现技术，体裁，主题的多元化。
（ ）用来改变冷却水的循环路线及流量，自动调节冷却的温度。
AJR发动机机油泵安装在发动机的（ ）。
后驱式传动系统传动间隙的标准值为（ ）角。
对于送厂大修的汽车进厂检验，下面说法不正确的是（ ）。
根据《汽车驱动桥修理技术条件》（GB8825－88）技术要求，圆锥主动齿轮与突缘键槽的侧隙不大于（ ）mm。
对于汽车制动试验台，以下哪种说法不正确（ ）。
以下属于二级维护内容的是：（ ）。
关于EQ1090型汽车电路，以下哪种说法正确（ ）。
当冷却液不足时，将会使发动机水温过低，而导致发动机机件的损坏。（ ）
进行自动变速器（ ）时，时间不得超过5s。
