新托福TPO2阅读原文(三):EarlyCinemaTPO-2-3：EarlyCinemaThecinemadidnotemergeasaformofmassconsumptionuntilitstechnologyevolvedfromtheinitial"peepshow"formattothepointwhereimageswereprojectedonascreeninadarkenedtheater.Inthepeepshowformat,afilmwasviewedthroughasmallopeninginamachinethatwascreatedforthatpurpose.ThomasEdison'speepshowdevice,theKinetoscope,wasintroducedtothepublicin1894.ItwasdesignedforuseinKinetoscopeparlors,orarcades,whichcontainedonlyafewindividualmachinesandpermittedonlyonecustomertoviewashort,50-footfilmatanyonetime.ThefirstKinetoscopeparlorscontainedfivemachines.Forthepriceof25cents(or5centspermachine),customersmovedfrommachinetomachinetowatchfivedifferentfilms(or,inthecaseoffamousprizefights,successiveroundsofasinglefight).TheseKinetoscopearcadesweremodeledonphonographparlors,whichhadprovensuccessfulforEdisonseveralyearsearlier.Inthephonographparlors,customerslistenedtorecordingsthroughindividualeartubes,movingfromonemachinetothenexttoheardifferentrecordedspeechesorpiecesofmusic.TheKinetoscopeparlorsfunctionedinasimilarway.EdisonwasmoreinterestedinthesaleofKinetoscopes(forroughly$1,000apiece)totheseparlorsthaninthefilmsthatwouldberuninthem(whichcostapproximately$10to$15each).Herefusedtodevelopprojectiontechnology,reasoningthatifhemadeandsoldprojectors,thenexhibitorswouldpurchaseonlyonemachine-aprojector-fromhiminsteadofseveral.Exhibitors,however,wantedtomaximizetheirprofits,whichtheycoulddomorereadilybyprojectingahandfuloffilmstohundredsofcustomersatatime(ratherthanoneatatime)andbycharging25to50centsadmission.AboutayearaftertheopeningofthefirstKinetoscopeparlorin1894,showmensuchasLouisandAugusteLumiere,ThomasArmatandCharlesFrancisJenkins,andOrvilleandWoodvilleLatham(withtheassistanceofEdison'sformerassistant,WilliamDickson)perfectedprojectiondevices.Theseearlyprojectiondeviceswereusedinvaudevilletheaters,legitimatetheaters,localtownhalls,makeshiftstorefronttheaters,fairgrounds,andamusementparkstoshowfilmstoamassaudience.Withtheadventofprojectionin1895-1896,motionpicturesbecametheultimateformofmassconsumption.Previously,largeaudienceshadviewedspectaclesatthetheater,wherevaudeville,populardramas,musicalandminstrelshows,classicalplays,lectures,andslide-and-lanternshowshadbeenpresentedtoseveralhundredspectatorsatatime.Butthemoviesdifferedsignificantlyfromtheseotherformsofentertainment,whichdependedoneitherliveperformanceor(inthecaseoftheslide-and-lanternshows)theactiveinvolvementofamasterofceremonieswhoassembledthefinalprogram.Althoughearlyexhibitorsregularlyaccompaniedmovieswithliveacts,thesubstanceofthemoviesthemselvesismass-produced,prerecordedmaterialthatcaneasilybereproducedbytheaterswithlittleornoactiveparticipationbytheexhibitor.Eventhoughearlyexhibitorsshapedtheirfilmprogramsbymixingfilmsandotherentertainmentstogetherinwhicheverwaytheythoughtwouldbemostattractivetoaudiencesorbyaccompanyingthemwithlectures,theircreativecontrolremainedlimited.Whataudiencescametoseewasthetechnologicalmarvelofthemovies;thelifelikereproductionofthecommonplacemotionoftrains,ofwavesstrikingtheshore,andofpeoplewalkinginthestreet;andthemagicmadepossiblebytrickphotographyandthemanipulationofthecamera.Withtheadventofprojection,theviewer'srelationshipwiththeimagewasnolongerprivate,asithadbeenwithearlierpeepshowdevicessuchastheKinetoscopeandtheMutoscope,whichwasasimilarmachinet...