Đề thi học kì 2 Tiếng Anh 11 English Discovery - Đề số 4

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions.    

The advent of street photography as a distinct genre is a relatively recent development, emerging just over half a century ago. In the early 20th century, pioneering photographers like Alfred Stieglitz explored urban scenes, but the limitations of technology led most photographers to primarily test the camera's capabilities and manipulate images in darkrooms for desired effects. The impulse to capture real-life moments gained momentum with Impressionist painters in the 1880s, setting the stage for street photography.

A pivotal moment arrived with the introduction of the Leica handheld camera in 1924. This 35-mm film camera allowed photographers to be mobile, capturing the essence of movement. Its wide aperture required shorter exposure times, revolutionizing outdoor photography. The Leica's rapid advancement enabled the capture of numerous sequential shots, eliminating the need for long exposure times and blurred movements.

Photographers like André Kertész, Henri Cartier-Bresson, and Ilse Bing, who primarily worked in Europe in the 1930s, favoured the Leica, though they didn't necessarily label themselves as street photographers. Instead, they identified as photojournalists, fashion photographers, or experimentalists. Following World War II, the Leica remained a favourite, particularly among New York City photographers, including Helen Levitt, Lisette Model, William Klein, and Roy DeCarava. Street photography gained ground globally, with notable practitioners like Manuel Álvarez Bravo and Graciela Iturbide in Mexico, Robert Doisneau in Paris, Josef Koudelka in Czechoslovakia, and Bill Brandt in London.

The 1960s brought a new wave of street photographers, with Lee Friedlander, Garry Winogrand, and Diane Arbus leading the way. This generation, epitomized by the 1967 "New Documents" exhibition at the Museum of Modern Art in New York City, demonstrated a documentary approach blended with personal perspectives. This recognition of photography as artistry rather than mere record-keeping paved the path for subsequent generations of street photographers worldwide, both with traditional cameras and, in the 21st century, with cell phones. Street photography continues to thrive as an art form deeply embedded in contemporary culture.

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions.    

The advent of street photography as a distinct genre is a relatively recent development, emerging just over half a century ago. In the early 20th century, pioneering photographers like Alfred Stieglitz explored urban scenes, but the limitations of technology led most photographers to primarily test the camera's capabilities and manipulate images in darkrooms for desired effects. The impulse to capture real-life moments gained momentum with Impressionist painters in the 1880s, setting the stage for street photography.

A pivotal moment arrived with the introduction of the Leica handheld camera in 1924. This 35-mm film camera allowed photographers to be mobile, capturing the essence of movement. Its wide aperture required shorter exposure times, revolutionizing outdoor photography. The Leica's rapid advancement enabled the capture of numerous sequential shots, eliminating the need for long exposure times and blurred movements.

Photographers like André Kertész, Henri Cartier-Bresson, and Ilse Bing, who primarily worked in Europe in the 1930s, favoured the Leica, though they didn't necessarily label themselves as street photographers. Instead, they identified as photojournalists, fashion photographers, or experimentalists. Following World War II, the Leica remained a favourite, particularly among New York City photographers, including Helen Levitt, Lisette Model, William Klein, and Roy DeCarava. Street photography gained ground globally, with notable practitioners like Manuel Álvarez Bravo and Graciela Iturbide in Mexico, Robert Doisneau in Paris, Josef Koudelka in Czechoslovakia, and Bill Brandt in London.

The 1960s brought a new wave of street photographers, with Lee Friedlander, Garry Winogrand, and Diane Arbus leading the way. This generation, epitomized by the 1967 "New Documents" exhibition at the Museum of Modern Art in New York City, demonstrated a documentary approach blended with personal perspectives. This recognition of photography as artistry rather than mere record-keeping paved the path for subsequent generations of street photographers worldwide, both with traditional cameras and, in the 21st century, with cell phones. Street photography continues to thrive as an art form deeply embedded in contemporary culture.