Владимир Аракин - Практический курс английского языка 3 курс [calibre 2.43.0]

the Topical Vocabulary.

M o d e l : A: I've seen a feature film that was a hit with the public.

I, myself, can praise it unreservedly. For one thing the camera-work was wonderful ....

B: I was less fortunate. The comedy I saw was a complete flop. The leading actor was miscast. As for the camera-

work ....

8. Speak about the major problems of the cinema at the end of the 20th century. Consider the following:

1.

the financing of film ptoduction; 2. repertoire (the social and ideological significance of the plots, the main aim of motion

pictures, horror and crime films, commercials); 3. acting profession (possibility of choice; guaranteed jobs; 4. photography and

sound effects; 5. attendance at cinemas; 6. prices of tickets; 7. videos.

9. In recent years cinema has become a challenge to the everlasting art and entertainment of theatre. What do you think are the reasons for

this? Consider the following and expand on the points which you think are especially significant:

1. cheap price of the entertainment; 2. films can be seen in places where there are no theatres; 3. minimum of effort is spent to get

entertainment; 4. casts of players are often much better than at some theatres; 5. varieties of films to suit all tastes; 6. cinema is

widely open to various experiments; 7. certain scenic effects (earthquakes, fires, horse races) can be created much better in films.

10. Read the following dialogue. The expressions in bold type show the ways English people express agreement and disagreement. Note them

down. Be ready to act out the dialogue in class.

The Reign of Disney

A: Now, I'd just like to say that Walt Disney has dominated the cartoon greatly. To many people in the thirties — and that was the

golden age of the cartoon — to many people then and since the cartoon has simply meant W.Disney's work.

B: Well, you have a point here,but I am not sosure about the golden age of the cartoon. I think many cartoons of later years

have much more interesting plots and technique.

A: Perhaps. But don't you thinkthat Disney's shorts have carefully worked out plots, sometimes very neat? They are not simply

a string of violent gags, in the style of later American cartoons. Well, you see what I mean.

B: Yes, I agree entirely here.There is a reassuring, homely quality about his shorts founded on the resemblances between the

animal and the human world.

A: I couldn't agree more.His animal characters are actually human beings in disguise and they behave like recognizable

individuals.

B: That's exactly what I think.Mickey is the quiet little chap, who at the end of the race has outdistanced his more spectacular

rivals. He and Minnie both, are the innocents who triumph over the wicked world.

A: Yes, that's true. That's my way of looking atit too. Donald Duck always flies into spluttering indignant passion. Pluto and

Goofy are not too bright but both have hearts of gold and meet the world with a bewildered and bewildering enthusiasm. Disney in

fact has presented the world of the average American, preaching a moral, giving a message of optimism, of success.

B: You may be right, but I think it goes further than that, a lot further.His stories end happily, the characters are essentially

good fellows, the violence is not too extreme, cruelty and tragedy are excluded. Any satire is more than gentle. This imitation world is

presented with supreme technical competence and the various factors are blended to comfort and soothe the audience, to give it

something easy and undemanding.

A: I see what you mean, butthere are potentially cruel and dangerous characters in Disney's longer films. There is a case of

"Snow White" having been given an "X" certificate. I myself have known children terrified by "Pinocchio". Perhaps what frightens

them are situations in which the child hero or heroine is in danger or being ill-treated.

B: What you say's perfectly true.But all the same W. Disney's films are readily accepted by mass audiences conditioned to the

Disney philosophy. All I know isthat these films are very sentimental though they have been widely popular.

11. Answer the following questions:

1. Have you seen any of W.Disney's shorts? longer films? What is your impression of them? 2. Do you agree with all that is said

in the dialogue? With which statements dealing with his work do you disagree?

Use clichés expressing AGREEMENT and DISAGREEMENT given in the dialogue (Ex. 10). You may also use other phrases to express

disagreement:

A.You can disagree mildly: Well, I wouldn't go quite that far; I'm not so sure; That may be so ... but ... ; Yes, that's true, but take

my case; Oh, you wouldn't think so ... ; I wouldn't say that exactly; It might be right but... ; On the other hand ....

B.You may disagree strongly when you can allow yourself to be abrupt or even a bit rude: Rubbish!; That's totally • unfounded;

That's all right for you to talk but... ; You seem to think that things are different for me.

12. Work in pairs. Read the statements and agree or disagree with them. Agreement or disagreement should be followed by some appropriate

comment where possible:

1.

In the twentieth century people are much more fascinated by theatre than by cinema. 2. Cinema is an art of illusion. 3. It is

necessary for a film to leave certain shadows, unresolved fantasies. 4. Cinema can help a lot in the field of education. 5. In most films

music is seldom used to advantage as it is extremely difficult to achieve a harmonious collaboration between the plot and music. 6.

Violence should not be shown on the screen. 7. The success of a film mainly depends on the film director. 8. Cinema is not an ear nest

art. It is just entertainment. 9. Literary works should not be adapted for the screen as people simply stop reading fiction: seeing a film

is "easier" than reading a book.

13.Read the following text. Look for arguments and counterarguments for remaking films. Copy them out in two columns (I — "for", II — "against").

Make it Again

In the motion picture industry, remakes are^a fact of life. They have been with us almost from the birth of the art form and as

long as good fresh story material is ^carcejthey will remain.

A remade movie doesn't have to be a bad movie. Produced with a talented cast, a capable director, an intelligent screen-play, an

ample budget, and, most important, good judgement, these pictures can be thoroughly entertaining and, in some cases, surpass the

quality of the original.

Film-makers are not absolutely opposed to the practice, although there are a couple of schools of thought on the subject.

Henry Blanke, who has produced many "second editions" in his time declares: "Never remake a picture that was previously suc -

cessful. Remake one that was miscast, miswritten, or misdirected. In other words, a flop."

Producer H.B.Wallis takes the opposite viewpoint: "If you have a good piece of material that has not been filmed for a number of

years, there is probably a brand new audience for it. So, I wouldn't hesitate to re-do a script with a new set of characters."

14. Discuss the text in pairs. One of the pair will take the optimistic view and insist that remakes should be done, the other

will defend the opposite point of view. Be sure to provide sound arguments for whatever you say. Consider the following:

6. The public at large seems to enjoy comparing

the performances of current stars to the legendary

ones.

A g a i n s t :

1. Most subsequent renderings of the great cinema classics

have been complete failures.

2.The director doing a remake might decide to "improve" the

original story, to insert certain things, characters or eliminate

others.

3.It is dangerous to use the original script almost word for

word. Some stories require an updating of the dialogue.

For:

4.In many cases, the moral values of the situations in a once

1. There is always a shortage of new, fresh story material.

exciting story have become so antiquated that the plot is not

workable for contemporary audiences.

2. The public wouldn't notice or wouldn't care that they were

paying to see the same story.

5.There is always the audience's memory of the earlier

successful production, which can prevent spectators from

receiving the film properly.

3. There is always a valid reason 3. for doing it (the theme is

timely, a new cast is available, the economic situation is

favourable).

4.The coming of new screen techniques (sound, colour,

wide screen) inspired the studios to film their

more popular pictures again.

5. A remake of the same director gives the artist

theopportunity to correct any mistakes he may

have made in the first version.

15. The extracts given below present rather controversial subjects. Team up with another student, work out arguments "for" and "against" and

discuss the extracts in pairs. Use the conversational formulas of agreement and disagreement.

A.Does the audience influence the process of film-making? It is obvious that the audience of today, influenced by television and

space research is very different from the audience of years ago. Most films produced decades ago have little current impact. A more

detailed analysis of human reaction is necessary, and will be much more so in the future. Similarly a new kind of artist and film-

maker will be needed.

B.Should the printed word or films be used in the classroom?

Film is particularly useful for describing processes which cannot be easily demonstrated in the classroom. So far, however, its

potentialities have only just begun to be exploited. Conservative teachers still resist breaking away from the printed word.

C.Should actors speak different languages in films?

Usually a director, aiming his film at an audience of compatriots, has everything spoken in the native language. In some films of

Federico Fellini each character speaks his native language, which isn't usual in films. The director says he often mixes languages to

express the truth of a given situation. But there is a language barrier.

D.Can critics give an objective judgement of a film?

The critic merely by saying, "I am a critic," inflates himself and causes himself to see not what exists but what he thinks ought to

exist. But things are only what they are. Therefore, the critic is usually mistaken. Sometimes he doesn't refer to himself as such but

rather to his experiences of what other artists have done in a similar situation. But when a critic tells how the work should be accord-

ing to his taste, which has been formed by a certain culture and certain artists, he is still judging by what is congenial to him.

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16. Role-Playing.

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