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4. He knelt... her. 5 . 1 was angry with him at the time but I have forgiven him long.... 6. I'll give you a cup of tea... I explain to you

what has happened. 7. He said he had never met the g i r l . . . . 8. He left in 1950 and has not been heard o f . . . . 9. They came to

London in 1937, and have been there ever ... . 10. ... we have no money, we cannot buy it. 11. She hasn't been home ... her marriage.

13. Translate the following sentences into English. Pay attention to the prepositions and adverbs:

1. Вскоре он увидел перед собой дорогу. 2. Он поднялся и встал перед картиной. 3. У меня талон на 10.15, вы идете

передо мной. 4. Он встал перед ней на колени. 5. Вы хотели унизить меня перед всеми. 6. С момента нашей встречи многое

изменилось к лучшему. 7. Картина пострадала от пожара и с тех пор не реставрировалась. 8. Сколько же времени ты не стриг

волосы? 9. Я хотела рассказать ей обо всем, но на другой день она уехала, и с тех пор я ее не видела. 10. Прошла неделя с тех

пор как я наводила справки. Ответа пока нет.

14. a) Give the Russian equivalents of the following sayings and proverbs, b) Explain in English the meaning of each proverb and saying, c)

Make up and practise a short situation to illustrate one of the proverbs or sayings:

Oil and water will never mix. 2. Suspicion always haunts the guilty mind. 3. Familiarity breeds contempt. 4. It's not the gay coat

that makes the gentleman.

CONVERSATION AND DISCUSSION MAN AND THE MOVIES

Topical Vocabulary

1. Cinema: cinema (house), open-air theatre, cinema with continuous performance, drive-in-theatre, film, movie, (motion) pic-

ture, to go to the cinema (a movie, movies, pictures), normal screen, wide (large, broad) screen, the first (second) showing, entrance

(exit), showing (performance, programme) begins at ... (ends at...), colour poster, the box office, to book tickets.

2. Films: documentary, educational, popular scientific (or science) film, feature film, science fiction film, animated cartoon, ad-

venture film, musical, puppet film, thriller, comedy, horror film, crime film, Western, children's film, theatrical film, wide-screen,

colour (black-and-white, mute, sound, dubbed, full-length, short– length) film, short, two (three) part film, wartime epic newsreel,

serial, "X" film,1 star-studded film, the screen version (adaptation) of the novel.

3. Parts of films: scene, outdoor (indoor) scene, the opening scene, the final scene, crowd scene, an episode, still, shot, long shot,

close-up, caption, subtitle, flash-back(s).

4. Cinema work: to shoot (produce, make) a film, to make a screen version (adaptation) of a novel, to screen a novel (play,

story), to adapt a novel for the screen, to film a novel, to.play (act) on the screen, to release a picture, to come out (about a film), to go

into production, to remake a film, to reissue a film, to be dubbed in Russian, to present a film in Russian, co-production (joint pro-

duction), directed b y. . . , scenery and costumes by ... , the songs set to music by ... .

5. Cinema workers: producer, film director, art director, cam– era-man, script-writer, animator, costume designer.

6. Cinema-goers: film goers, audience, film fans, to watch the film (screen), to watch smb. acting on the screen, to see a film.

7. Actors and acting: the cast, comedian, an actor of great promise, leading actor, star, to play the main (leading, title, key) or

small (supporting, minor) role, to co-star, to portray a character, to give a convincing (memorable, captivating, warm, brilliant, su -

perb) portrayal of ... , to give a magnificent performance as ... (in), to take (gain) the best actress (actor) award (title), to create a true-

to-life image, to make the most of the role, to bring to life on the screen, to come alive on the screen, a typical N role, to outshine

everybody else, a new N film, to star in a role, to be miscast (ill-chosen), to be cast to advantage.

8. Effect. Impression: the film deals with (depicts, presents, tells of); the message of the film; to win universal acclaim; to praise

unreservedly; to leave a deep and lasting impression on; to appeal so much to the audience; to be (make) a hit with the public; a

delightful, amusing comedy; entertaining (powerful, gripping, absorbing, vividly dramatic, technically brilliant, sad, depressing,

slow-mov– ing, dragged-out) film; to mar a film; to leave smb. cold; empty of serious content; a flop; a good film, not without flaws;

a run-of-the– mill film; not a film to everyone's taste; not an easy film to watch; obscure and complex ideas.

1. Read the text for obtaining its information:

No other art form has had quite the impact on our lives that the motion pictures have. Indeed, the movies are truly an art of our

time – they were born and have come of age in the twentieth century, and they now demand the serious consideration given to the

other arts. Everybody loves a story. Children mesmerized for hours before a television set watching cartoons they are seeing for the

fifth or sixth time, or long lines of shivering movie-goers outside a theater2on a winter night, convincingly demonstrate that truth.

And today the love of story, as these examples suggest, is requited much more often than not with a narrative told in visual images.

There can be no question about the supremacy of the visual image in the realm of story. The fact chat images and movies have

many uses besides story-telling simply adds gratuitous evidence in support of the observation that the life of the mind today receives

its nourishment primarily from visual, rather than verbal sources.

Clearly, in terms of sheer quantity, visual narrative is the greatest aesthetic and educational force in the world today, and the

movies, the visual narrative media – qualify unchallenged as the art of our time.

No one has ever seriously doubted that the movies are a powerful force in contemporary life. Quite the contrary. Their potential

for propaganda purposes was immediately recognized and in some cases exploited. What has been questioned is the capacity of the

movies for doing good. Youthful and perhaps too much a work horse in the cultural market-place, they have been vulnerable to the

charge that they are unable to awaken and refresh the mind, that they cannot tap the deepest reaches of man's spiritual life and so,

incapable of articulating anything of consequence, are at best a rudimentary art.

Yet the movies are not now as disturbing for intellectuals as they once were. One reason, no doubt, is that they are no longer, at

least in the United States, the popular art; television has stolen the limelight.

""At present suspended somewhere between the hell of mass culture and the heaven of high art, the movies are undergoing aesthetic

purification.

Much remains to be accomplished, however. Since we have to live with the movies, we would prefer not to be embarrassed by

them; we want the chance to exercise our humanity in and through the movies, and so we persist in demanding that the movies make

more room for man within their aesthetic boundaries.

We would not, by any means take the fun off movies in order to fit them into the traditional earnestness associated with

education ... but the aim is, and should be a higher hedonism which more profoundly entertains the heart and mind. With the existing

film classics and the fifteen to twenty a year from around the world capable of captivating attention – there are enough good and

great movies for us to grow by. The movies arouse the mind and eoul when given undivided attention.

2. Answer the following questions:

1. The extract is written by an American critic. Can you find evidence of this in the text? 2. Why do you think movies are regarded

as "truly an art of our time"? 3. What facts given in the extract prove the idea that nowadays people prefer a narrative told in visu al

images? Do you agree with this opinion? Support whatever you say. 4. How can movies be helpful for people besides relating stories?

Which of the spheres do you consider most significant? Give your reasons. 5. Why do you think movies possess the greatest aesthetic

and educational force? 6. How can you account for the fact that the capacity of the movies for doing good has been ques tioned? 7.

Why in your opinion do some people regard movies as a rudimentary art? 8. Would you agree that cinema can be regarded as the

popular art, that it belongs to mass culture? What do you know about this art? 9. What kind of entertainment is nowadays rivalling

cinema? Why? 10. What is the place of cinema, as the author sees it, among the other arts? Do you agree with him? 11. Do you think

1 Oil and water will never mix. 2. Suspicion always haunts the guilty mind. 3. Familiarity breeds contempt. 4. It's not the gay coat

that makes the gentleman.

2 The spelling theater is common in the American variant of the English language.

movies should be all f u n or rather a thought-provoking and earnest art? 12. What is the main aim of the movies as the au thor sees it?

The only word he uses to denote this art is movies. What synonymous expression would a British critic use? What other synonyms to

this word do you know?

3. a) Find in the text the arguments the author gives to illustrate the following:

1. cinema– a wide-spread art and entertainment of the 20th century; 2. its impact on people's lives; 3. cinema and story-telling;

4. cinema and education; 5. cinema – an earnest, thought-provok– ing or rudimentary art; 6. the place of cinema among the other

arts, its main aim.

Try and preserve the wording of the original. Add your arguments as well.

b) Summarize the text in four paragraphs specifying the role of the cinema in our lives.

4. Use the Topical Vocabulary in answering the questions:

1. What does a usual cinema showing consist o f ? 2. How often do you go to the pictures and where do you prefer to sit? 3. What

types of films do you know? 4. What films appeal to you most?

5. Do you care for long films? 6. What is a film star? What does the success of a film depend on? 8. Which is more important – the

story, the acting, the directing or ishe camera-work? 9. What do we mean when we say that a film hasa message to convey? 10. Why

does a director trying to interpret a great work of literature on the screen take upon himself a most responsible task? 11. How is the

cinema used as an aid in teaching? 12. What do you know about international film festivals? How often are Moscow Film Festivals

held? What is their motto?

5. Give a review of a film you have recently seen and liked (disliked). Use the Topical Vocabulary. Remember: A review should guide and inform. A

mere telling of the story is not a review.

Outline for Motion Picture Review

1.

Type of film: feature film, comedy, black-and-white, short, etc.

2. Production: What studio released the film? Was it co-production? Was the film dubbed?

3. Story (plot): Is it by a well-known author? Is the story original? True to life? What is the climax of the story? Is the ending

logical?

4. Direction: Who directed the film? Was the introduction of characters and scenes skilful? Are useless scenes included?

5. Photography: Is it artistically done? Are there good shots? Are close-ups used effectively?

6. Acting: Name the leading characters. Are there any stars? Any outstanding performances of minor roles? True-to-life inter-

pretation of characters?

7. Sound effects: Does speaking or acting predominate? Does the dialogue seem real? Do actors speak effectively? Are charac -

teristic noises employed? Is the music suitable?

8. Critics: What do critics say about the picture? Are their opinions sound? Do you share their points of view?

9. General impression and conclusion: The impression the film made on you. How was the effect achieved? Do you think this

film is worth seeing?

6. You are asked to tell a group of English students about the best children's film produced by Russian studios. Which film would you choose?

(Describe the film in about fifty words. Use the Topical Vocabulary, Outline for Motion Picture Review of Ex. 5. and conversational formulas for

giving opinion. See«Appendix.)

7. Work in pairs. Discuss the films you have recently seen. One of the stu dents is supposed to speak about a film he liked, the other about a

different film which he disliked. Try and interrupt each other with questions to get some more information about the film you have not seen. Use

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 so sure 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 think that 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 at it 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, but there 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 is that 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.

0

1

16. Role-Playing.

2

The Best Film of the Year

S i t u a t i o n : The annual spectators' conference is held at the end of the year with the aim of selecting the best film of the year.

Two films have won universal acclaim – an amusing comedy and an earnest, thought-provoking feature film. Which of them should

be awarded the first prize?

C h a r a c t e r s :

1 . Sergey Tropov, aged 28, a young and promising scientist. Scientific exploration is his life. Rather tired. Likes cinema very

much but understands it as entertainment versus art. He goes to the pictures to relax and to enjoy himself. Believes that all people go

to the cinema to have a good laugh and to forget their worries. Thinks that the comedy under discussion is the best film of the year:

the actors are in top form, the music in the picture creates a kind of frame-work for the story. The comedy he saw and liked has be-

come a source of inspiration for his further investigation.

2. Oleg Kaladze, 20 year-old youth, a great cinema fan. His favourite actress is playing the leading role in the comedy, which

Oleg likes very much. He is struck by the artistic quality of certain scenes. Is not impressed by the feature film. Thinks that it is

ahead of its time and in fact acting is most important for the success of the film, while the plot is insignificant. Oleg is for the

comedy.

3. Alia Larina, aged 25, a teacher of Russian Literature. Doesn't think it is possible to discuss these two films as they belong to

different genres. Each is fine in its own way. The feature reflects a human creature, his ideas. It represents an individual

consciousness. Its excellence lies in its power over other people's minds. The comedy gives you a short and pleasant rest, a kind of

relaxation. Both films are superb, both are the best.

4. Boris Runin, aged 47, a well-known film director who has made quite a number of features and popular science films. Always

works in this genre. Thinks that a comedy is a simple entertainment and the comedy under discussion is no exception. It contains

pleasant images but teaches you nothing. You like it because it is unreal, offers an escape. But it doesn't affect the spectator. He

leaves the theatre in the same darkness with which he entered it. Naturally Boris is for the feature film.

5. Rita Strogova, aged 60, a pensioner, prefers the feature film which made her think a lot and raised many problems. Despises

people who produce and like comedies and other films «for mere entertainment. Thinks that people who go to these films don't want

to be bothered, they don't want responsibility, they want to remain asleep. Rita's idea is that "no matter how spectacular, the film will

be a failure if it has no real message". Rita is for the feature film.

6. Helen Grabova, aged 45, a famous actress, starred in many films. Sees a lot of advantages in both films, but she never gives

judgements about her colleagues. Thinks that an artist can no more judge another artist than one child can judge other children. Each

artist has his particular vision. You can't wear someone else's glasses; they would fit badly, and you wouldn't see. The artist's glasses

only work when they are put on non-artists, whom they move, touch, surprise. Thinks as both films have had long and suc cessful

runs they both should be equally rewarded.

Note: Divide your group into two teams, each of which should perform the same role play. While discussing the films show their merits and imperfections. Speak about the impression both films have produced on your character. Disagree with some of the participants of the conference, share the

others' points of view if you feel like it, defend your own point of view. At the end of the conference you should select the best film of the year (perhaps with

a vote). Comments from the class on each team's performance and the value of the different arguments are invited.

17. Group Discussion.

Give your own views on the problems below and speak against your opponent.

Topic 1. The role of cinema in our life

T a l k i n g p o i n t s :

1. Different genres of films, their impact on the spectators.

2. Development of people's cultural level, taste.

3. Films for entertainment and education.

4. Cinema in the classroom (Geography, History, Literature, Foreign Language).

5. Films to instruct: a) in an industry to teach people how to acquire skills, to learn their profession; b) in medicine to show the

action of heart and pulse and other organs, to watch delicate operations being performed by noted surgeons, etc.; c) in science to see

the world of small things, etc.; d) in sport to give objective judgement during the competition, etc.

Topic 2. Is the ability to perform an inborn gift or is it an acquired skill?

T a l k i n g p o i n t s :

1. The artistic potential of a person, his timing.

2. Skilful directors, modern techniques, the possibilities of the camera to accentuate.

3. The value of experience, necessity to acquire technique.

Topic 3. Should the actor «live» the part or should he just perform?

Note: The first would mean that the actor tries to sympathize with his character, to fully understand and share his feelings – despairing with him, loving

and hating with him, shedding real tears. The second implies just going through the motions of the role with cool head. The first school (e. g.

K.S.Stanislavsky's method) relies on both feeling and technique, the second, entirely on technique.

T a l k i n g p o i n t s :

3. 1. Necessity to look at the character from a distance, to sympathize and criticize, to understand him.

4. 2. Practice in reproduction of the character before the audience

5. 3.Effect achieved: the less actors feel, the firmer their hold upon their facial and bodily expression.

6. 4. A possibility of reaching such a state of mechanical perfection that one's body is absolutely the slave of one's mind.

7. 5. Necessity for actors to work with their own tools. (Each actor should choose the method he feels is best for him.)

Unit Three

SPEECH PATTERNS

1. It was up to me to find some way through to them.

It was up to their daughters to provide smart clothing for themselves.

It was up to the elder boy to find some way out. It's up to the nurse to soothe the patient.

2. I felt angry and frustrated when they rudely interrupted that which was being done purely for their own benefit.

I felt sick and dirtied. The pastry smells good. How sweet the music sounds! The grapes taste

sour.

3.

The act was intended to display their utter disrespect for me.

The valet began to feel admiration for his new master. Scarlet looked at him with the affectionate contempt that mothers feel for

small swaggering sons.

She didn't know anything about her nephew's love for the girl.

But His love of learning can be respected

4.I looked at her for some moments before daring to open my mouth.

They didn't dare to attack us, did they?

He dared to escape.

He dared to meet his enemy face to face. .But:3 How dare you do such a thing?

He daren't say it matters.