TPO-12 Transition to Sound in Film - 英檢

Paragraph 2：Yet this most fundamental standard of historical periodization
conceals a host of paradoxes. Nearly every movie theater, however modest, had
a piano or organ to provide musical accompaniment to silent pictures. In many
instances, spectators in the era before recorded sound experienced elaborate
aural presentations alongside movies' visual images, from the Japanese benshi
(narrators) crafting multivoiced dialogue narratives to original musical
compositions performed by symphony-size orchestras in Europe and the United
States. In Berlin, for the premiere performance outside the Soviet Union of
The Battleship Potemkin, film director Sergei Eisenstein worked with Austrian
composer Edmund Meisel (1874-1930) on a musical score matching sound to
image; the Berlin screenings with live music helped to bring the film its
wide international fame.

5. Paragraph 2 suggests which of the following about Eisenstein’s film The
Battleship Potemkirf?
○ The film was not accompanied by sound before its Berlin screening.
○ The film was unpopular in the Soviet Union before it was screened in
Berlin.
○ Eisenstein’s film was the first instance of collaboration between a
director and a composer.
○ Eisenstein believed that the musical score in a film was as important as
dialogue.


答案為A
想請問大家C答案不能選的原因?
文中提到 首次演出,Eisenstein和澳洲composer合作,matching sound to image.
後半句可以解A，但中間那句感覺也可以解C
兩個答案都有first的概念，一個是跟作曲家合作，一個是結合聲音
不知道C為什麼不能選 @@
麻煩大家解惑了~
thx ^^

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