TEXT C The third branch of the federal government, the judiciary, consist of a system of courts spread throughout the country, headed by the Supreme Court of the United States. A system of state courts existed before the Constitutional Convention as to whether a federal court system was needed, and whether it should supplant the state courts. As in other matters under debate, a compromise was reached in which the state courts were continued while the Constitution mandated a federal judiciary with limited power. Article III of the Constitution states the basis for the federal court system: The judiciary of power of the United States shall be vested in one Supreme Court, and such inferior courts as the Congress may from time to time ordain and establish. With this guide, the first Congress divided the nation into districts and created federal courts for each district. From that beginning has evolved the present structure: the Supreme Court, 11 courts of appeals, 91 district courts, and three courts of special jurisdiction. Congress today retains the power to create and abolish federal courts, as well as to determine the number of judges in the federal judiciary system, It cannot, however, abolish the Supreme Court. The Judicial power extends to cases arising under the Constitution; laws and treaties of the United States; admiralty and wartime access; cases affecting ambassadors, ministers and consuls of foreign countries in the United States; controversies in which the US government is a party; and controversies between states (or their citizens) and foreign nations (or their citizens or subjects). The 11th Amendment removed from federal jurisdiction cases in which citizens of one state were the plaintiffs and the government of another state was the defendant. It did not disturb federal jurisdiction in cases in which a state government is a plaintiff and a citizen of another state the defendant. The power of the federal courts extends both to civil actions for damages and other redress, and to criminal cases arising under federal law. Article III has resulted in a complex set of relationships between state and federal courts. Ordinarily, federal courts do not hear cases during under the laws of individual states. However, some cases over which federal courts have jurisdiction may also be heard and decided by state courts. Both court systems thus have exclusive jurisdiction in some areas and concurrent jurisdiction in others. The Constitution safeguards judicial independence by providing that federal judges shall hold office "during good behavior" —— in practice, until they die, retire or resign, although a judge who commits an offense while in office may be impeached in the same way as the president or other officials of the federal government. US judges are appointed by the president and confirmed by the Senate. Congress also determines the pay scale of judges.
　　44. By Article III of the Constitution,_______.
　　A) the Congress, as an inferior court, has judicial power
　　B) only the Supreme Court has the judicial power
　　C) lower level courts established by law have judicial power
　　D) the Supreme Court is inferior to the Congress
　　45. US Congress doesn't have the power to _______.
　　A) create federal courts
　　B) abolish federal courts
　　C) determine the number of judges in the federal judiciary system
　　D) abolish the Supreme Court
　　46. Federal jurisdiction has power to deal with cases except _______.
　　A) admiralty and maritime cases
　　B) cases affecting ambassadors, ministers and consuls of foreign countries in the US
　　C) controversies in which the US government is a party
　　D) cases in which citizens of one state were the plaintiffs and the government of another state was the defendant
　　TEXT D Steven Spielberg has taken Hollywoods depiction of war to a new level. He does it right at the start of Saving Private Ryan, in a 25 minute sequence depicting the landing of American forces on Omaha Beach in 1944. This is not the triumphant version of D-Day were used to seeing, but an inferno of severed arms, spilling intestines, flying corpses and blood-red tides. To those of us who have never fought in a war, this reenactment —— newsreel-like in its verisimilitude, hallucinatory in its impact —— leaves you convinced that Spielberg has taken you closer to the chaotic, terrifying sights and sounds of combat than any filmmaker before him. This prelude is so strong, so unnerving, that I feared it would overwhelm the rest of the film. When the narrative proper begins, theres an initial feeling of diminishment: its just a movie, after all, with the usual banal music cues and actors going through their paces. Fortunately, the feeling passes. "Saving Private Ryan" reasserts its grip on you and, for most of its 2 hour and 40 minute running time, holds you in thrall. Our heroes are a squad of eight soldiers lucky enough to survived Omaha Beach. Now they are sent, under the command of Captain Miller (Tom Hanks), to find and safely return from combat a Private Ryan (Matt Damon), whose three brothers have already died in action. Why should they risk their lives to save one man? The question haunts them, and the movie. The squad is a familiar melting-pot assortment of World War Two grunts —— the cynical New Yorker (Edward Burns) who doesnt want to risk his neck; the Jew (Adam Goldberg); the Italian (Vin Diesel); the Bible-quoting sniper from Tennessee (Barry Pepper); the medic (Giovanni Ribisi). The most terrified is an inexperienced corporal (Jeremy Davies) brought along as a translator. Davies seems to express every possible variety of fear on his eloquently scrawny face. Tom Sizemore is also impressive as Millers loyal second in command. As written by Robert Rodat, they could be any squad in any war movie. But Spielberg and his actors make us care deeply about their fate. Part of the movies power comes form Hanks quietly mysterious performance as their decent, reticent leader (the men have a pool going speculating about what he did in civilian life). Theres an unhistrionic fatalism in Captain Miller; he just wants to get the job done and get home alive, but his eyes tell you he doesnt like the odds. The level of work in "Private Ryan" —— from the acting to Janusz Kaminskis brilliantly bleached-out color cinematography to the extraordinary sound design by Gary Rydstorm —— is state of the art. For most of "Saving Private Ryan", Spielberg is working at the top of his form, with the movie culminating in a spectacularly staged climactic battle in a French village. The good stuff is so shattering that it overwhelms the lapses, but you cant help noticing a few Hollywood moments. Sometimes Spielberg doesnt seem to trust how powerful the material is, and crosses the line into sentimentality. Theres a prelude and a coda, set in a military cemetery, that is written and directed with a too-heavy hand. But the truth is, this movie so wiped me out I have little taste for quibbling. When you emerges from Spielbergs cauldron, the world doesnt look quite the same.
　　47. The movie "Saving Private Ryan" is up to a new level because _______.
　　A) it depicts the landing of American forces on Omaha Beach in 1944
　　B) the landing is not successful
　　C) it reproduces the terrible pictures of severed arms, spilling intestines etc.
　　D) it is a 25-minute sequence
　　48. Which of the following is correct?
　　A) The prelude is more unnerving than the rest of the film.
　　B) The prelude is as unnerving as the rest of film.
　　C) The prelude is less unnerving than the rest of the film.
　　D) The prelude is as unnerving as most of the remaining part of the film.
　　49. The squad is a familiar melting-pot assortment of World War Two grunts because the squad consist of _______.
　　A) 8 common soldiers from different ethnic groups in the US
　　B) 8 soldiers who often complain the war
　　C) 8 soldiers who don't want to risk their necks
　　D) 8 soldiers who are lucky to have survived the war
　　50. According to the last 2 sentences of the passage, the movie made the author of the passage _______.
　　A) disappointed
　　B) carried away
　　C) find faults with the movie
　　D) quibbling the movie