African-American filmmakers should be in an enviable position, for since the early 1990sthere has been a steady wave of low budget black films which have turned a solid profit due toa very strong response in the African-American community and a larger crossover audience than anticipated. Any rational business manager would now identify this sector as a prime candidate for expansion, but if the films have done so well with limited production and marketing costs,why have they not received full scale support7 Many analysts feel the business is engulfed in a miasma of self-serving and self-fulfilling myths based on the unspoken assumption that Mfrican-American films can never be vehicles of prestige, glamour, or celebrity. The relationship players have convinced themselves that black films can do only a limited domestic business under any circumstance and have virtually no for- eign box office potential. As executives who now control the film industry grew up in those de- cades when there were few black images on the screen and those that did exist were produced by film-makers with limited knowledge of the black community, it is little wonder that they avoid ideological issues, and seek to continue making films that they are comfortable with by avoiding they negative imagery of films they would prefer to eschew entirely.
Also to blame for this deleterious phenomenon are legions of desperate and Machiavellian African-American film producers, directors, and writers who would transform The Birth of A Nation into a black musical as long as it would provide them with gainful studio employment. These filmmakers not only perpetuate negative stereotypes in their films, but they also season them with a sprinkling of African-American authenticity. This situation would be onerous enough, given the economic exploitation of the community involved; unfortunately these films also validate the pathologies they depict. The constant projection of the black community as a kind of urban Wild Kingdom, the glamorization of tragic situations, and the celebration of innercity drug dealers and gangsters has a programming effect on black youth. The power of music in film is a particularly seductive and propagandistic force which in the recent crop of African-American films has rarely been used in a positive social manner.
What flows from this combination of factors is a policy of market exploitation rather than market development, evidenced by the fact that any number of films may open to 1,500 screens in one week, only to totally disappear in less than a month. This restricted body of film products erodes the genre's long-term viability, particularly with the more fickle non-African-American-can audiences and foreign audiences. Furthermore, when African-American actors begin to emerge as stars, their projects are usually designed to be "more" than a black film, such that any success that follows is therefore perceived not as a reflection of the viability of African-American filmmaking but as the broader pursuit of celebrity.
46. According to the passage, all wise managers think that ___
A) the industry of black film would increase in the future
B) the industry of black film would decrease in the future
C) the industry of black film would not receive full scale support
D) the industry of black film is bound to win full scale support（）
47. It is suggested by the analysts that ___
A) black films can be very successful
B) black films can win prestige, glamour, or celebrity
C) black films are mysterious
D) black films can never be the road to prestige
48. It can be inferred from the passage that ___
A) the black community is wild
B) the black youth may learn from the films and commit crimes
C) the black films reflect the real life of the black
D) the black community is flourishing
49. The word "viability" ( in line 4, para. 4) could best be replaced by ______
50. This passage mainly discusses ______.
A) the productivity of black films
B) the limitations of black films
C)the myth of American-African
D)the prestige of American-African