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French filmmakers of the 1920s emphasized visual style rather than narrative continuity, which was already dominant in the United States and elsewhere. Some critics have asserted that since these films flout the cinematic conventions of Hollywood, they should be regarded as important modernist cinema. While a welcome departure from the traditional denigration of 1920s French cinema, this claim overestimates or distorts the achievement of such directors as Gance and L'Herbier, since the Hollywood conventions they did not use were not yet fully established in France, where the Hollywood-style production practices that would have supported these conventions were lacking. Moreover, though 1920s French films should indeed be judged by criteria other than those underlying the Hollywood aesthetic, their slighting of Hollywood conventions does not, by itself, make them modernist or genuine revolutionary, since the weight of nineteenth-century traditions of art and literature on these films-especially in subject matter and ideological assumptions-cannot easily be disregarded.

The passage suggests that the author would most likely agree with the critics mentioned in the highlighted sentence about which of the following?

AThe difficulty of establishing criteria to replace those by which 1920s French films have traditionally been assessed.
BThe ways in which present-day directors would benefit from learning more about French films of the 1920s
CThe originality of the visual style of French cinema in the 1920s
DThe need to evaluate 1920s French films by criteria different from those used to evaluate Hollywood films
EThe desirability of filmmakers' flouting the cinematic conventions of Hollywood

D显示答案

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