70. What does the word ―infuriate‖ in paragraph 2 most mean?
A. annoy. B. remind. C. amuse. D impress.
71. Which two hotels offer a mobile app for customers to check in?
A. Yotel New York and Marriott Detroit Airport.
B. Marriott Detroit Airport and Radisson: LaCrosse.
C. Marriott Detroit Airport. and Hyatt Regency Minneapolis.
D. Hyatt Regency Minneapolis and Radisson: LaCrosse.
72. Which hotel will send you a receipt by email?
A. Yotel New York.
B. Marriott Detroit Airport.
C. Radisson: LaCrosse.
D. Hyatt Regency Minneapolis.
73. Which of the following is TRUE according to the passage?
A. At Yotel New York, a robot will help you with all the check-in process.
B. With its check-in app, you may enter your room in Marriott without a key.
C. Hyatt Regency Minneapolis is close to an airport terminal.
D. The barcode you receive from Radisson contributes to the fast check-in.
( C )
Scriptwriters love to complain. They are disrespected by producers, regarded dispensable (可有可无的) by directors, not duly credited by critics, treated like employees by actors – although few complain about being historically and chronically overpaid. Another thing they don’t complain about is ―the exhaustion of narrative‖, though it weighs very much on their minds. For scriptwriters to complain about the insufficiency of original ideas would be like a salesman complaining about a lack of inventory. It’s not good for business.
Writers have always known there are a limited number of storylines. And it is increasingly difficult to get out in front of a viewer’s expectations. Almost every possible subject has not only been covered but covered exhaustively. How many hours of serial killer plot has the average viewer seen? Fifty? A hundred? This becomes painfully clear to any writer who attempts to orally tell his story (scriptwriter is closer to the oral tradition than it is to literature). Originality has always been in short supply. Does the proliferation (泛滥) of media mean that it is harder to be original today than it was 50 years ago? Well, yea. Today’s viewers live in a biosphere of narrative. Twenty-four-seven, multimedia, all the time. When a storyteller competes for a viewer’s attention, he not only competes with simultaneously occurring narratives, he competes with the variations of his own narrative. That’s real competition. This exhaustion of narrative is behind the rise of recent ―counter-narrative‖ entertainments, such as: