【每日阅读训练第四期——速度越障22系列】【22-19】文史哲

ElenW

大家好！这是周日的哦~~~前两篇是一起的 后三篇是一起的 题目都有磨白 作了在看吧 嘻嘻嘻嘻
SPEED
[Time1]
Hayao Miyazaki’s latest film
Above the fray
A celebrated director upsets some fans and angers conservatives
Aug 3rd 2013 |From the print edition

A SOMBRE exploration of love, responsibility and death, “Kaze Tachinu” (“The Wind Rises”) is being described as Hayao Miyazaki’s first animated film for adults. After half a lifetime making exquisite fantasy films for children, such as “Princess Mononoke” and “Spirited Away”, Mr Miyazaki, now 72 and viewed as the reigning genius of Japanese cinema, has tackled the true story of an aeroplane maker in the second world war.
The title comes from a Paul Valéry poem: “The wind is rising! We must try to live.” The wind is a portent for the disasters that anchor the film: the 1923 earthquake that levelled much of Tokyo and Yokohama, killing over 100,000 people; and Japan’s terrible war nearly two decades later.
Despite its real-world setting, the film is saturated in fantastical Miyazaki flourishes. It is book-ended with dreams. It starts with a ten-year-old Jiro Horikoshi imagining flying above his provincial home before being wakened by bombs from a hulking aerial warship. The film’s denouement sees him walking through the ruined landscape of wartime Japan, a nightmare partly wrought from his boyhood dreams of flight.
A brilliant but naive engineer, Jiro is based on the real designer of Japan’s Mitsubishi A6M Zero. Once considered the world’s best aerial fighter, the Zero had a feared reputation among American pilots during the second world war. The plane helped launch the war against America when Japanese pilots used it to attack Pearl Harbour in 1941. By 1945 the Zero had lost its technical edge; teenage Kamikaze pilots used them as suicide bombs against the approaching American maritime fleet.
(263)
[Time2]
The film follows Jiro as he pursues his childhood fantasies by building a plane. His love of flying is depicted as pure and uncomplicated. There is a sensual, erotic quality to the air scenes; his budding love for his fiancée, Naoko, is conveyed through the soaring flight of paper aeroplanes. Regret comes only in the final scenes.
Born in the year of the Pearl Harbour attack, Mr Miyazaki is imprinted with the pacifism of many Japanese from his generation. His films are often paeans to the natural world and warnings about its perilous state. His heroes tend to be children who warn others about the dangers of greed and militarism, only for their pleas to fall on deaf adult ears.
Fans have questioned why the great pacifist has made a film that appears to lionise a weapons maker. Mr Miyazaki says he was drawn to the story of one of Japan’s great eccentric geniuses. “It was wrong from the beginning to go to war,” he explained in June. “But it’s useless…to blame Jiro for it.”
In a country where politicians regularly rattle the ghosts of the past, this film has sparked debate. Mr Miyazaki recently published an article in which he said he was “disgusted” by government plans to upgrade Japan’s army and “taken aback” by the leadership’s ignorance of history. Though he did not mention him by name, the attack was clearly aimed at Shinzo Abe, Japan’s prime minister. Conservatives have responded by telling Mr Miyazaki to stay out of politics. Worse, some have called the film’s slow-moving style and lack of digital fireworks “boring”.
Mr Miyazaki’s film feels personal. His father directed a company that made rudders for the Zero. And like Jiro, the director grew up obsessed with aeroplanes. A swansong, artistically and politically, “Kaze Tachinu” may soar past its critics. It has been a box-office success in Japan since it opened this month, and it has been chosen to compete for the main prize at the Venice film festival later this summer.
（336）
[Time3]


The Golden Arches of McModernism
When the ancient Romans marched through arches, it was a celebration of victory, an end to long-fought battles and distant travels. Today, when we march through arches, it is a celebration of globalization, efficiency and Shamrock Shakes. And it is decidedly less triumphant – unless of course, you happen to be a franchise owner.
McDonald’s recently opened up location number 34,492 – its first in Vietnam, the 116th country to serve up the franchise’s famous French fries. In honor of the occasion, The Guardian took a broad look at McDonald’s McInfluence around the world. More interesting to me though, is Nicola Twilley’s closer look at a typical McDonald’s location on the excellent blog Edible Geography. Twilley notes that there are more than 50 different factors that McDonald’s judge when they determine the precise locations to expand their empire:
“These included predictable benchmarks, such as property tax levels and the age, race, and income levels of the local population, as well as more fine-grained details such as speed limits and the direction of traffic flow (e.g. “going home side versus going to work side”). Meanwhile, complex algorithms govern the optimal placement of a McDonald’s in relation to its competition, Burger King.”
McDonald’s even provides potential franchisees with a site plan of an ideal location. It’s an all-too familiar design, though one that looks much more depressing when seen from above. The fast food store becomes an oasis in a sea of cars. A model of efficiency for an automotive culture.
（247）
[Time4]
With so much thought now going into the success of each new location opened by most recognizable fast-food franchise in the world, it’s no surprise that the same type of rigor has been applied to McDonald’s global maneuvers. In 1996, James Cantalupo, then President of McDonald’s International, told The New York Times columnist Thomas Friedman, “We focus our development on the more well-developed economies — those that are growing and those that are large — and the risks involved in being adventuresome…are probably getting too great.” So basically, McDonald’s sticks to the busy intersections of the world.
The statement came in response to Friedman’s “Golden Arches Theory of Conflict Prevention,” which states that “no two countries that both have a McDonald’s have ever fought a war against one another.” Far from the triumphal arches of ancient Rome, any city with the modern arches of McDonalds is much less likely to go to war – at least not with one another. Originally conceived in 1996, Friedman’s tongue-in-cheek (or teeth-in-patty) theory didn’t quite hold up, but it still suggests that most countries with a McDonald’s have stable economies, a strong middle class, and just too much to lose to go to war. Friedman isn’t alone in looking to McDonald’s as a shorthand metric of global politics and economic issues. Before his theory, there was the “Big Mac Index” of currency exchange rates.
Of course, McDonald’s wasn’t always a global power. Before its arches stood for the triumph of globalization, they stood for the triumph of a hamburger stand and the impact of the automobile on American culture and architecture. In a 1986 article for the Journal of the Society of Architectural Historians, architect Alan Hess explains the origins of McDonald’s famous arches.
（287）
[Time5]
In the early 1950s, brothers Richard and Maurice McDonald hired architect Stanley Clark Meston to design a drive-in hamburger stand that carried on the traditions of roadside architecture established in the 1920s and 1930s. They had some experience with previous restaurants and a very clear idea of how they wanted their new venture to work – at least on the inside. Meston described the design as “logically dictated by clear program and commercial necessities” and compared it to designing a factory. Though he didn’t necessarily consider himself a modernist, Meston’s pragmatic, functionalist approach reveals, at the very least, a sympathy with some of the tenets of Modernism. Function before form. But not, it would appear, at the expense of form.
And anyway, the exterior had its own function to fulfill. In an age before ubiquitous mass media advertisements, the building was the advertisement. To ensure the restaurant stood out from the crowd, Meston decided to make the entire building a sign specifically designed to attract customers from the road. Now, many architects have speculated that McDonald’s iconic Golden arches have their origin in Eero Saarinen’s 1948 design for the St. Louis Gateway Arch or Swiss architect Le Corbusier’s unbuilt 1931 design for the Palace of the Soviets. But they tend to read little too much into things. The answer is much simpler.
The building was a sign, but it wasn’t really signifying anything – other than, “Hey! Look over here!” According to Hess, the initial idea for the golden arches –and they were called “golden arches” from the very beginning– came from “a sketch of two half circle arches drawn by Richard McDonald.” It just seemed to him like a memorable form that could be easily identified form a passing car. The longer a driver could see it from behind a windshield, the more likely he or she would be to stop. Oddly enough, the idea to link the arches, thereby forming the letter ‘M’, didn’t come about until five years later. McDonald had no background in design or architecture, no knowledge of Eero Saarinen, Le Corbusier, or the triumphal arches of ancient Rome. He just thought it looked good. Weston turned that sketch into an icon.
（365）
[The Rest]
Technology has long conditioned urban form and continues to do so today. But this was perhaps never quite so clear as it was with roadside attractions and restaurants like McDonald’s. Speeding across the country in cars changed our understanding of the landscape and a new architecture arose in response. But technology changed this roadside architecture in another way too. In Notre-Dame de Paris (also known as The Hunchback of Notre Dame), Victor Hugo wrote a line oft-repeated by architecture scholars: “This will kill that. The book will kill the edifice.” Buildings once transmitted ideas across centuries. Hugo was describing how the printed word and mass media would become the dominant historical and cultural record, obviating what was previously a primary function of architecture: communication. Well, to make his argument more germane to this article, TV killed the Golden Arches.
As television advertising became the primary means of marketing, there was less and less of a need for buildings to serve that function. In 1968 McDonalds completely broke from their automotive-inspired building type when they introduced their first mansard roof structure that, until recent years, was ubiquitous on the main streets and highways of America. No longer part of the building, the arches have become a separate sign, functioning purely as a corporate logo and graphic identity. The roadside attractions of Stanley Meston are quaint novelties and tourist traps. Though it was ultimately entrepreneur Ray Kroc’s business savvy that transformed McDonald’s into the brand it is today, it seems that the early success of the restaurant resulted from detailed, pragmatic, perhaps even Modernist thinking went into the design of the very first McDonald’s location. Though the scale has dramatically changed, in some ways it’s the same type of thinking that went in their 34,492nd
Moreover, the notion of the global franchise itself something of a Modernist concept. This type of identical seriality evolved from mechanical reproduction – a concept close to the heart of early architectural modernists who thought that industry and planning could cure all society’s woes. Architecture might not be the answer to global poverty that early modernists like Le Corbusier hoped for, but it can help assure consumers they’ll be getting a consistent product, whether they’re purchasing it in Vermont or in Vietnam.
（374）
OBSTACLE
The future of advertising agencies
Omnipotent, or omnishambles?
Omnicom and Publicis are combining to try to stay on top of a rapidly changing industry, but sheer size will be no guarantee of success



CROSS-COUNTRY deals in the advertising industry can be painful affairs. Look what happened to Guy MacKendrick, the young executive sent by his London-based agency to oversee its acquisition of a New York rival, in “Mad Men” (yes, it is now compulsory to refer to the hit television series in all articles about the ad business). The staff throw a party to celebrate the takeover, and a drunken secretary drives a lawnmower through the office, shredding Mr MacKendrick’s foot.
On July 28th, however, there were no bizarre gardening accidents as executives of two real-life advertising firms toasted their merger with champagne in Paris. Maurice Lévy, the boss of the French Publicis Group, and John Wren, the head of its American competitor Omnicom, toasted the birth of Publicis Omnicom, which will overtake British-based WPP as the world’s largest advertising and marketing agency, with combined 2012 revenues of $23 billion and a market value of $35 billion.
To placate French fears of foreign domination of one of the country’s most prominent companies, for the time being the combined firm will keep headquarters in both Paris and New York and be listed on exchanges in both cities. Mr Wren and Mr Lévy will serve as joint chief executives for two-and-a-half years, after which Mr Lévy will become non-executive chairman and Mr Wren will continue alone as boss.
This is no love affair, but there are reasons for mutual attraction. Publicis has more exposure to emerging markets and digital advertising (on websites, mobile devices and the like), the main sources of growth for tomorrow’s admen. In return Omnicom provides Publicis with scale—it is the bigger of the two—and a solution to its succession problem. Mr Lévy, who is 71, has been trying to find a replacement for years. He proposed the merger when he met Mr Wren at a party in New York.
There are risks, of course. Some advertisers who are great rivals—such as Coke and Pepsi, or AT&T and Verizon—will find their accounts being handled by subsidiaries of the same group, and may need persuading not to take their business elsewhere. There may be transatlantic cultural clashes between the “berets” and “bow-ties” at executive level; and creative people lower down may also balk at working for such a vast conglomerate.
However, scale also promises to bring big benefits. Messrs Lévy and Wren predict the merger will help them cut around $500m a year in costs, and some analysts think it could be even more. And by combining the two firms’ “media buying” divisions, which purchase advertising space in bulk, Publicis Omnicom may be able to negotiate better rates for their clients. Overall, the combined group will be responsible for about 20% of advertising spending worldwide, and up to 40% of ad slots at some publishers and television networks, reckons Brian Wieser of Pivotal Research Group, which studies the industry.
Perhaps the greatest rationale for the merger is the inexorable rise of digital advertising. Last year online ads were worth $88 billion, or 18.3% of global advertising spending, up dramatically from 2006 (see chart). Advertisers like them because they can be aimed more precisely at a target audience (with a particular demographic profile and browsing history) than, say, television or radio ads. They also get a better idea of whether anyone is actually looking at the ads they are paying for.
Internet killed the agency star
Advertising agencies used to be indispensable when it came to advising clients where best to place ads. They miss those days even more than they miss those three-martini lunches. Now, a host of technology firms, like Adobe, Salesforce and IBM, offer analytical services and software to help advertisers achieve the best bang for each buck.
Big internet firms like Google and Facebook can provide a wealth of data about their vast audiences: this is encouraging many advertisers to deal with them directly to book slots, rather than going through a traditional ad agency’s media-buying division. Google alone now controls around a third of all online advertising spending, according to eMarketer, a research firm. A few advertisers are doing without ad agencies altogether, creating their own campaigns and slogans.
Online advertising is getting speedier and smarter. Many online ads are now bought and sold automatically with “real-time bidding”. In days of old, ad executives would ring round various publishers to find good rates, and then consult the client before placing the ads. Now, advertisers can specify which sort of audience they want to reach and how much they want to pay, and use ad “exchanges” to buy space on websites that fit their requirements, all in a fraction of a second. Michael Rubenstein, the president of AppNexus, one such exchange, say this has improved ad-buying in the same way that eBay was a big improvement on garage sales. It brings price transparency, efficiency and precision to a notoriously fuzzy industry.
All these developments make the future role of the advertising agency a lot murkier. Omnicom and Publicis are trying to take part in this technological revolution, operating “trading desks” that buy display ads for their clients on the new exchanges. But some big advertisers, such as Procter & Gamble, a consumer-goods maker, now operate their own trading desks. Media websites are increasingly, as Google does, selling their slots directly to advertising clients. Ultimately, predicts the head of advertising at a big American news firm that already sells a lot of its space through real-time bidding, “We are not going to need the agencies.”
So far real-time bidding is still a small part of the online-advertising business—around 19% of online display ads in America are now bought and sold in this way. But it is growing quickly and may account for 29% of them by 2017. And it is only a matter of time before digital radio, outdoor and television commercials start to be sold this way too. Paper posters on billboards, bus shelters and elsewhere are rapidly being replaced by electronic screens which can be updated instantly, and thus sold via real-time bidding.
To stay relevant, the agencies will need to transform themselves into “advertising platforms”, says Michael J. Wolf of Activate, a consultancy: this means providing clever technology to their clients to automate the buying process. The problem is that tech companies may prove much better at providing this. But at least, by getting bigger, the merged Publicis Omnicom will improve its chances of success: “You need a big base to make the most of the technology investment,” says Paul Zwillenberg of the Boston Consulting Group.
Being the world’s largest agency group could also, in theory, help Publicis Omnicom persuade clients that it could negotiate better rates for ads with Google and Facebook than they could negotiate for themselves. In practice, though, some of the biggest and most profitable ad clients may feel that they are strong enough to fend for themselves.
Math Men
The talent for creating memorable and persuasive ad campaigns will always be in demand, and not all advertisers will be capable of doing it for themselves. So the agency business will not die out. But, as Wall Street traders found when their trading floors were automated, the move towards buying ads on exchanges will mean that their margins are squeezed and life gets a lot tougher.
Publicis and Omnicom are betting that sheer size is their best chance of surviving in this harsh new climate. But to complete the merger—which they hope to do by early next year—they will need approval from antitrust authorities in more than 40 countries. They may try arguing that the large market share of the combined group should be overlooked because so much of their business is going straight to Google and other digital giants. Penguin and Random House, two merging book publishers, made a similar argument last year about Amazon: it seemed to work.
Assuming the deal is allowed, it is likely to intensify the ad industry’s consolidation. Last year Dentsu, a Japanese advertising firm, bought Aegis Group for $4.8 billion. WPP, not used to second place, may seek to regain the top spot by making acquisitions. Its boss, Martin Sorrell, said further big mergers in the industry were “inevitable”. However much the traditional agency groups bulk themselves up, their glory days will not return. The glamour of the “Mad Men” era is in the past; these days the power is increasingly in the hands of the “Math Men”.
(1441)

chaos1026

哇，抢到好位置！明天补上~

Mint静默

ding!!!!!!!!!!!!!!!!!!!!!!!!!!!!

居然被我做到板凳，捂嘴笑

T1 2’11‘
“Kaze Tachinu” (“The Wind Rises”) is being described as Hayao Miyazaki’s first animated film for adults.
  The outline of the story

T2 2'40''
  link the story with the reality
  Mr Miyazaki's political opinion has received some criticizes

T3 2’39’’

McDonald’s recently opened up locationnumber 34,492 – its first in Vietnam, the 116th country to serve up thefranchise’s famous French fries.

Choose the location of McDonald

看完文章老是回忆不出来，过眼不过脑T T

疑问：

第一段第二句：Today, when we march through arches, it is a celebration ofglobalization, efficiency and Shamrock Shakes.

其中 Shamrock Shakes是什么?

T4 3’35’’

James Cantalupo, the President ofMcDonald’s International, responded to “Golden Arches Theoryof Conflict Prevention,” which suggests that most countries with a McDonald’shave stable economies, a strong middle class, and just too much to lose to goto war.

引出下文the origins of McDonald’s famous arches.

T5 3’32’’

Describe the origins of McDonald’s famousarches.

The rest  4’10’’

As television advertising became theprimary means of marketing, there was less and less of a need for buildings toserve that function.

glorious41

睡觉前占一个！！！




22-19
time1:2'14/263
    Miyazaki's first animated film for adults" Kaze Tachinu"
    the introduction and background of this movie ( Jiro——Zero)
time2:3'06/336
    the initial of Miyazaki' film
    the opposite of M to the military plan of government
    the box-office success of the film
宫崎骏的电影介绍，包括电影的背景，导演的思想和导演对于战争的痛恨。最后介绍这部电影大卖
time3:2'35/247
     the location selection of McDonald
time4:2'18/287
    every new location of M is successful
    McDonald chooses their location in those countries with a more stable economy and polity
    other influence on the haburger stand and automobile culture and architecture ( arches )
time5:3'05/365
    the idea of the golden arches: drive-in hamburger stand  (function)
麦当劳的成功，善于选址，金黄色M造型对“免下车”文化，建筑文化都产生了深远影响
obstacle:12/1441
    main idea: Omnicom and the internet adverising
    attitude: nueutral
    structure: the quick development of internet advertising
               the set-up of Omnicom
               big scale brings big benefits to Omnicom
               online advertising is getting speedier and the future changes of it
               technology will play an important role in it and Omnicom, thanks to it large capital, will take advantage of it
               mad man ---> math man
网络广告和广告公司的一些介绍，网络广告迅速发展。

--------------------------------------------------------------------------------------------------------------------------------------------------------------
今天的越障好长，字也好小= =看上去好可怕
虽然调大了字体可是还是看的不知所云，看懂了写回忆也忘了T T
拿什么去爱你我的阅读？？？

Victoriagirl

啦啦啦，我要占座
02；24 It tells us that the film is based on a earthquack ,besides, the designer adds some fantastic stories in it.
      The film starts as a boy imaging flying above his provincial home ,and it ends up with a dream of the boy.

02;48  The film is conveyed by Jiro's dream.
       The reaon why a peacinism is obssessed with weapons is that the story is based on a eccentric geniuses.
      The designer published a acticle to blame the prime minister for his government plan.Besides, some people criticize the film is a bad movie
      Finally, it tells the designer may soar past its critics.

01;53 Firstly , the passage says the arches' meaning,like victory ,an end of battle and so on.
      Secondly, nowadays, MC has opened the first stores in 越南.
      Lastly, it revals that the success of the Mc is location.

01;42  MC chooses some countries that are well-developed .
       It shows that MC provent the war and increase the economics among the countries to some extent.
       Mc is not always a global power.

02;30  Outstanding among other restaurants,MC is designed a arches.
        In order to be sighted by the driver, the arched is designed to be long enough.

未计时  PO company become the biggest advertisement company in the world.
        The advantage of the PO company. Cost,revenues heiger
        The disadvantage of the company.  Culture
         Internet can influence the profits of advertisement companies.  
        If PO wants to have a place in the advertisement, they need put a lot into tech.
       These companies won't die out,but they can't be "Mad men"any more.

lijinglol

首页XD

time1: 1'10" Miyazaki's first film about a war time story
time2: 1'43" the film sparked debate because it lionises a weapon maker
time3: 1'30" the McDonald's plans to expand their empire
time4: 1'34" definition of golden arches theory of conflict prevention
time5: 1'58" the origins of McDonald's famous arches
obstacle: 9'32"
好长呀~分成两截记忆的
two magnates combined to make the largest advertising agency
the origins and risks of the merging
the huge investment on digital advertising and why
few adversitisers are doing without agencies
on-line advertising is faster and smarter
agengies should turn themselves into platforms
math men are better than mad men these days

AbbyShuai

占一下 睡觉前
Speed
1'53 HM's first movie for

adults...real-world setting and an

outline the story in the movie
2'39 How this story begin....HM's

intention of making this movie
1'45 McDonald's first franchise in

Vietnam....McDonald's McInfluence

around the world
2'McDonald's sticks to the busy

intersections of the world
2'25 How McDonald start a golden

arche beside the road..how it

attract the cars passed...how the

logo 'M'come out
Obstacle
7'30
development of online internet...bidding....risks..
太长了都记不起来了。。

Annabellez

首页啊~~~><

Time1 1:34.8

宫 used to makemany films for children,now his new film-The Wind Rises-is in the process; whatthe content?

Time2 2:01.2

The reason why 宫 want to make this film though hewas a pacifist; related to political; the origin(his father)

Time3  1:26.0

After the war, M opened in Vietnam, theoccasion

Time4 1:32.8

M’s policy, the theretical origin, M standsfor stable economic and “no war”, but won’t always world power

Time5  1:49.2

M’s design for architecture, easily attractcar drivers, it is an icon

Rest    2:03.1

The function of arches has changed,gradually attract people

sherryv

前排占座

Time1 2min A true story about a planemaker during the second World War is made into an animated film.

Time2 2min15 The film is attacked by some politicians.

Time3 2min30 McDonald's consider several factors when setting branches at a certain place.

Time4 2min16 McDonald's can be considered as sign of stable political and economic society

Time5 2min The history of howMcDonald's chose its rodeside location and sign.

Obstacle 9min58 今天这篇好长，看的晕乎乎的~
- P and O have merged for certain reasons.
- The merge can provide benefits in advertising and scale.
- The trend of merge in world business.

kimwang53

谢谢elen〜

1.46
2.38
2.20
1.55
2.36

10.29