Give the gist of Text Three.

20. Compose dialogues in the course of which:

a) Rosa and Andrew discuss the film. Rosa's impression of the film is not favour­
able, therefore she sounds categoric, irritated and impatient; to convey her attitudes
use the intonation pattern "High Head + Lpw Fall". Andrew tries to soothe her, some­
times he is puzzled; make use of the intonation pattern "High Head + Low Rise".

b) Rosa describes her evening at the cinema to a friend of hers in a cool, reserved
and dispassionate way; use the intonation pattern "(Low Head +) Low Fall" and
"High Head + Low Fall"; her friend, on the contrary, is genuinely interested and
encourages further conversation: the intonation pattern "High Fall" with preced­
ing "Low Head" or "High Head" or "High Head + Low Rise" could be used.

c) Andrew shares his impressions with a friend of his. The former is deeply im­
pressed by the film, therefore he sounds enthusiastic and lively; make use of the
intonation patterns "Low Head + High Fall" or "High Head + High Fall". The lat­
ter is genuinely interested in Andrew's narration, and encourages further conver­
sation; to convey his attitudes the intonation pattern "(Low Head +) Low Rise" and
"High Head + Low Rise" should be used.

21. Reread Text Three to discuss the following points of its style.

a) Into what distinct parts does the text fall? Give an appropriate and effective
heading to each part. Comment on the variety of stylistic treatments used for each
part.

b) Is the author's attitude charged with humour or irony? Prove and illustrate
your point.

c) What method of characterization does the author use? Give examples.

d) What is your opinion about the extract? Give it in a few well-motivated sen­
tences.

PROFESSION-ORIENTED QUESTIONS AND ACTIVITIES

I. Listen to your fellow-student's reading of Ex. 2, correct his mistakes.

II. Ask your fellow-student to read the compound words given in Ex. 3; ask him
to beat the time if he makes mistakes in stresses.

III. Listen to your fellow-student's reading of Ex. 4: analyse his mistakes and
ask him to correct them.

IV. a) Make up a list of essential vocabulary and phrases to talk films, b) Pre­
pare a "micro-lesson" to practise the vocabulary in dialogues and monologues. Use
the following expressions of classroom English:

1. Don't be hasty! Think it over! 2. This is probably a good place to stop. 3. You don't seem to know anything except your Fes and No. 4. It sounds ambiguous. 5. Did you spot the difference in pronuncia­tion? 6. That's it! 7. Yes, that sounds like English. 8. You shouldn't monologue on the subject. 9. You have done a good job of work-10.1 see you can't phrase it. 11. You speak too haltingly.

V. a) Define the value of good feature films in bringing up children, b) Make
up a list of recent feature films of educational value that you would like to use for
class discussions in senior forms, c) Suggest a few questions you might use to stim­
ulate the discussion on some of them.

VI. Take up problem-solving situations 1-5 (See the Appendix). Discuss them
in class.

CONVERSATION AND DISCUSSION

CINEMA: ITS PAST, PRESENT AND FUTURE

Topical Vocabulary

accelerated a (- motion)

actor n (leading/character/supporting -)

adventure film

animated cartoon

Audience n

Camera n

Cameraman л

cast v (~ a film; - an actor for the part; to type/ - an actor)

close-up n

comedy n (satirical/lyrical -)

Credits л

crime film

Crowd scene

Dialogue л

direct v (to - a film/an actor)

director л (film -)

Documentary л

dub v (dubbed film)

educational film

feature film (features coll.)

film л (syn. movies, pictures, flickers coll.)

film v (to - a book)

film-goer л (syn. movie-goer)

Flashback л

make v (to - a film; syn. to release a film; film -ing; film -er)

Message л

Montage л

newsreel л (- footage)

part л (- of the film; two— film; syn. role; to play the - of)

performance л (give a wonderful -; get a good ~ from the actors)

photograph v

Producer л

Role л

science fiction film

screen version (syn. screen adaptation)

Screen test

script n (~ writer)

serial n

Slow-motion л

slow-moving a (ant. fast-moving)

sound n (- track)

special effects (fire/sound/light effects)

star n (~dom n); star v

A) Read the following text about the first silent films.

Silent Movies

Talk to people who saw films for the first time when they were silent, and they will tell you the experience was magic. The silent film, with music, had extraordinary powers to draw an audience into the story, and an equally potent capacity to make their imagination work. They had to supply the voices and the sound effects, and be­cause their minds were engaged, they appreciated the experience all the more. The audience was the final creative contributor to the pro­cess of making a film.

The films have gained a charm and other worldliness with age but, inevitably, they have also lost something. The impression they made when there was no rival to the moving picture was more profound, more intense; compared to the easily accessible pictures of today, it was the blow of a two-handed axe, against the blunt scraping of a tableknife.

The silent period may be known as "The Age of Innocence" but it included years unrivalled for their dedicated viciousness. In Eu-

rope, between 1914 and 1918 more men were killed to less рифове than at any other time in history.

In publications of the time, one reads horrified reactions against films showing "life as it is". You did not leave the problems at home merely to encounter them again at the movies. You paid your mon­ey initially, for forgetfulness.

Gradually movie-going altered from relaxation to ritual. In the big cities, you went to massive picture palaces, floating through incense-laden air to the strains of organ music, to worship at the Cathedral of Light. You paid homage to your favourite star; you dutifully com­muned with the fan magazines. You wore the clothes they wore in the movies; you bought the furniture you saw on the screen. You joined a congregation composed of every strata of society. And you shared your adulation with Shanghai, Sydney and Santiago. For your favou­rite pastime had become the most powerful cultural influence in the world — exceeding even that of the Press. The silent film was not only a vigorous popular art; it was a universal language — Esperanto for the eyes.

(From: "Hollywood, The Pioneers" by Kevin Brownlow. Abridged.)

b) Answer the following questions:

1. Why did the audiences of silent movies appreciate them so much? 2. What makes the author think that the first movies provided the audi­ences with a sort of escape from reality? Do you agree with this point of view? 3. Why does the author call the first cinema-houses "Cathedrals of Light"? Do you think that this comparison can be applied to modern cinema-houses? 4. Are there many people nowadays for whom cinema is a favourite pastime? Can we claim that cinema is still the most pow­erful cultural influence exceeding even the press? 5. Do you think that the advent of sound killed the silent movies?

c) Explain what the author means by the following:

1. The films have gained a charm and other worldliness with age
but, inevitably, they have also lost something.

What have the films gained? Are their achievements mainly as­sociated with the progress of science and technology? What have they lost?

2. The impression they made when there was no rival to the mov­
ing picture was more profound, more intense compared to the easi­
ly accessible pictures of today.

D) There are three main functions of the first silent movies singled out by the author in this extract. Pick them out and enlarge on them. Do you think that these functions are performed by modern films as well?

2. In the text below the author illustrates a very important statement: the in­terdependence between the development of the society and cinema.

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