Autonomous Learning for 3d Year Students. Лабораторные работы для студентов-бакалавров к «Практическому курсу английского языка. Часть 3». Учебное пос-1
.pdfперед другими претендентами на роль: он уже снялся в нескольких фильмах, получивших признание зрителей, и затмил даже некоторых звёзд в этих фильмах.
9.Наш загородный дом расположен в сказочном месте и обладает неотразимым очарованием! Я бы никогда не подумала, что дом, построенный из кирпича и цемента, может быть таким теплым и привлекательным.
10.У меня упало настроение из-за этих неприятностей. Господин Ридли — человек вспыльчивый, но подозревать его в оказании сопротивления полицейским это уж слишком.
11.Если бы Джон не выбрал музыку как профессию, он бы сейчас ходил в офис каждый день и имел бы постоянный доход. Бедняга Джон с трудом зарабатывает себе на жизнь, время от времени выступая в клубах.
12.— Ты не знаешь постоянный адрес Майкла? — Нет, я вечно забываю спросить его об этом.
13.— Не могли бы Вы перейти к сути проблемы?— Конечно. Дело в том, что новый фильм молодого режиссёра оставил глубокое
инезабываемое впечатление у публики. Жаль, что вы его не видели.
14.Боб поднял на меня свой задумчивый взгляд и сказал, что только что упустил восхитительную возможность познакомиться с замечательной девушкой. Он прекрасно сходится с людьми и если бы не вмешательство его приятеля, он бы сейчас танцевал с ней на вечеринке и никто не заподозрил бы его в неискренности.
15.Я жду, что вы поделитесь с нами своими размышлениями о фильме-призере. Я слышал, что вы во многом расходитесь с режиссером и нам интересно, как вы отреагировали на тот факт, что фильму дали первую премию.
16.Ребенок так робок и застенчив, что не может объяснить свою мысль. Общаясь со сверстниками, он испытывает огромную трудность в том, чтобы найти с ними общий язык. Кроме того, он страдает от недостатка слов. Мне нравится этот маленький мечтатель и я бы хотел помочь ему.
17.Джон постоянно твердил себе, что Маргарет не может быть замешана в этом неблаговидном деле, что она вне подозрений.
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Но в какой-то момент он понял, что не может удержаться от разговора с ней. Он хотел знать все, будь что будет.
18. Если бы меня спросили, что я думаю о современном кинематографе, я бы сказал, что большинство фильмов оставляют меня равнодушным. Меня не трогают ни современные триллеры, ни детективы, ни, тем более, фильмы ужасов. Пожалуй, исключением являются научно-фантастические фильмы, которые я очень люблю. Каждый год в разных странах выпускаются, по крайней мере, два-три стоящих научно-фантастических фильма. Среди них лучшими обычно становятся фильмы, поставленные по произведениям известных писателей-фантастов. Никакой другой жанр не позволяет так широко и удачно использовать спецэффекты, так смело экспериментировать с подбором актёров, музыкой, сочетанием кадров дальнего и ближнего плана, костюмами. Не буду спорить, некоторые из научно-фантастических фильмов весьмапосредственны,нозатолучшиеизнихоставляютглубокое и неизгладимое впечатление. Чтобы стать хитом, фильм должен быть захватывающим, остро драматическим и блестящим в техническом отношении. В последнее время мне везло, и я не видел ни одного провального фильма моего любимого жанра.
6. Translate the text from Russian into English.
Братья Коэны (Coen)
Братья проводят вместе едва ли не 24 часа в сутки. Коэны пишут сценарии, работают на съёмочной площадке, сами продюсируют свои проекты. Братья удачно снимают кино на протяжении вот уже 27 лет, а вернее, с самого детства, прошедшего в штате Миннесота. В 2008 году их картина «Старикам тут не место» (“No Country for Old Men”)получила множество «Оскаров». Братья впервые в истории стали обладателями престижной награды сразу в трёх номинациях: за лучший фильм, лучшую режиссуру и лучший сценарий.
Их новый фильм «Железная хватка» (“True Grit”) выдвинут на «Оскар». Что же думают сами Коэны по поводу своих успехов
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на карьерном поприще? «Мы снова внутри системы! Так сказать, голливудские инсайдеры. Немного странно» — отвечает Итэн, очевидно более открытый и эмоциональный. Когда они только явились на студию со своей идеей снять ремейк по классическому фильму Голливуда 60-х «Железная хватка» с легендарным Джоном Уэйном, их встретили отнюдь не с распростёртыми объятиями. Да и жанр вестерна в наше время далеко не востребован. Но в представлении братьев Коэн снимать костюмное, историческое кино вовсе не значит зацикливаться на прошлом.
Коэны обычно сначала проводят кастинг, а потом уже пишут сценарии под выбранных ими актёров. Труднее всего оказалось подобрать подходящую девочку на роль бесстрашной Мэтти Росс (Mattie Ross), сумевшей убедить местного шерифа отправиться на поиски злодея-убийцы. Известно, что к Коэнам с радостью пойдет сниматься любой из уважающих себя актёров.
READING SECTION
TEXT 1
1. Read the title of the article. Try to guess what film schools are like. Read the article to see if your guess is right.
Top Film Schools
Are You Ready To Be Successful?
19 September 2010
If you have a special interest in films and also would like to become a Michael Bay or a Steven Spielberg, then you should start considering film school.Actually, there are a lot of options out there.You just need to figure out which one will pave the way for anAcademyAward?
But, to choose the school that you would like to enroll in can be a bit complicated.You should gather as much information as you can about film schools for you to easily choose and come up with a smart decision. Don’t you just wish there was a website or a book that could tell
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you the right school for you? It is too bad that there is not really one source to do that for you.Asolution to this would be checking out the school rankings since these can provide you with useful information.
There is a quantitative analysis of various indicators of excellence involved in school rankings. Faculty resources, graduation rate and retention are also included. In reality, film school rankings appear to be reliant on qualitative measures such as the industry’s reputation or the student’s experience. The result is that film school rankings all boils down to those schools that have created a good name in showbiz or those that have made big-name and promising directors in the industry.
Top film schools can provide degrees and top certification for film production and cinematography, which paves the way for a career as a director, producer, cinematographer, scriptwriter or even a film critic. These top film schools that offer programs in film production and cinematography will help you to obtain a professional certificate or a degree as an associate, baccalaureate, or masters in film editing, media history, digital film creation, camera use, ethics and other subjects related to motion pictures and film media.
Courses in this field are also offered in vocational schools, community colleges and universities with top film schools as they try to mix vision and technical knowhow. Undergraduate students attend classesthatincludefilmhistory,directing,editing,scriptwriting,production, animation, audio production and film criticism. Production programs are also included in graduate school opportunities and may lead you to having a Master of Fine Arts (MFA). Such degrees as Master of Fine Arts in Film Production or a dual MFA or Master of Business Administration (MBA) in Production may be achieved by any graduate student. These programs force MFA students to make at least 5 movies and at the same time work as camera operators and crew members.
There are top film schools of prestige in New York University and the University of Southern California. They offer undergraduate and graduate programs for students who are adamant in entering the show business as producers, filmmakers, scriptwriters and film critics.
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2.Find in the article the English equivalents for the following.
1.существует много вариантов; 2. позволит получить премию Оскар; 3. придумать умное решение; 4. повтор года также существует;5.создалиизвестныхимногообещающихрежиссеров в этой индустрии; 6. могут присуждать степени и выдавать самые важные документы в киноиндустрии; 7. приводит к получению степенимагистраизобразительныхискусств;8.студенты,которые твердо намерены заниматься шоу бизнесом.
3.Answer the following questions.
1.How can you develop your interest in filming?
2.What is necessary to figure out to find yourself in filming?
3.What can help you to come up with a smart decision?
4.What is involved in school rankings?
5.Which schools are usually in the center of clients’interest?
6.What do top film schools provide for?
7.What programs do they offer? How can it help you?
8.Where else can you find the same kind of courses?
9.What classes are meant for undergraduates?
10.What degrees may be achieved after graduation?
4.Translate from English into Russian the passage from “There is a quantitative analysis…” to “… motion pictures and film media”.
5.Be ready to explain what is usually meant by the following.
a) filmediting,mediahistory,digitalfilmcreation,camerause,ethics; b) directing, scriptwriting, production, animation, audio production
and film criticism.
6.Answer these questions.
a) What do you know about Michael Bay and Steven Spielberg?
Why are these names taken as a symbol of cinematography?
b)Do you think it is necessary to get education to be in film industry? Isn’t it a matter of pure inspiration and talent?
c)What film genres are the most required in today’s showbiz?
d)What role does filming take in showbiz? Do the rules of show-
biz change the whole industry of cinematography?
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TEXT 2
1. Read the title of the article. Have you seen the film? Do you know anything about political, economic and cultural life of Great Britain in the 30s of the 20th century and King George VI in particular?
The King’s Speech — Review
Tom Hooper’s drama transcends its historical setting to present a compelling portrait of quiet heroism
(Based on Philip French’s (The Observer, Sunday 9 January 2011) and Peter Bradshaw’s (guardian.co.uk, Thursday 6 January 2011) reviews)
“The King’s Speech” is a richly enjoyable, instantly absorbing truelife drama about the introverted stammerer King George VI and his exuberantAustralianspeechtherapistLionelLogue:anaffairbrokered by George’s shrewd wife in her pre-Queen-Mum incarnations as the Duchess of York, and then Queen Elizabeth. These characters are performed with pure theatrical gusto by Colin Firth as the miserably afflicted monarch, Geoffrey Rush as the twinkly eyed speech coach and Helena Bonham Carter as the Queen who has to learn to like Logue by overcoming her own snobbery – which she incidentally never troubles to disguise as shyness.
“The King’s Speech” takes a rather different view of Britain and the 1930s. It is the work of a highly talented group of artists who might be regarded as British realists – Tom Hooper directed the soccer epic The Damned United; Eve Stewart was production designer on Mike Leigh’s Topsy-Turvy and Vera Drake; Jenny Beavan was responsible for the costumes worn in Gosford Park and The Remains of the Day; the cinematographer Danny Cohen lit Shane Meadows’s This is England and Dead Man’s Shoes; TariqAnwar’s editing credits range from The Madness of King George toAmerican Beauty; and the screenplay is by the British writer David Seidler, who co-wrote Coppola’s Tucker: The Man and His Dream.
1.The King’s Speech
2.Production year: 2010
3.Countries: Rest of the world, UK
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4.Cert (UK): 15
5.Runtime: 118 mins
6.Directors: Tom Hooper
7.Cast: Colin Firth, Eve Best, Geoffrey Rush, Guy Pearce, Helena
Bonham Carter, Michael Gambon, Timothy Spall
Thefilmistheprivatestoryofafamouspublicman,KingGeorgeVI (known in his family circle as Bertie), the woman who loved him and became his queen, and the innovativeAustralian speech therapist Lionel Logue, who helped him control and come to terms with the stammer that had tortured him since childhood.
The social and political background, acutely observed and carefully woven into the film’s fabric, is the Depression at home, the rise of fascism abroad, and the arrival of the mass media as a major force in our lives. Central to the dramatic action are four crucial incidents: the death in 1936 of George V, the first monarch to address his subjects via the radio; the accession to the throne of his eldest son as Edward VIII and his almost immediate abdication in order to marry American double divorcee Wallis Simpson; the crowning of his successor, George VI; and finally, in 1939, the outbreak of a war for which the king and queen became figureheads of immeasurable national significance alongside their prime minister, Winston Churchill.
Although the film involves a man overcoming a serious disability, it is neither triumphalist nor sentimental. Its themes are courage (where it comes from, how it is used), responsibility, and the necessity to place duty above personal pleasure or contentment — the subjects, in fact, of such enduringly popular movies as Casablanca and High Noon. In this sense, “The King’s Speech” is an altogether more significant and ambitious work than Stephen Frears’s admirable “The Queen” of 2006 and far transcends any political arguments about royalty and republicanism.
The film begins with a brief prologue in which both Bertie as Duke of York (Colin Firth) and his contemporary audience endure agonies of embarrassment as he attempts to deliver a speech at Wembley Stadium during the 1924 Empire exhibition. Firth’s face is a picture of misery in the opening scene, under his top hat, as if attending his own funeral. Itis
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his first public appearance, required to speak through a microphone to vast crowds at the empire exhibition at Wembley Stadium, and via live radiotothenation.Hisstammermeanshecanhardlygetawordout,and the nation cringes with embarrassment. His formidable father, played by Michael Gambon with England’s gruffest beard, makes clear to him that this is a new media age. It’s not just amatter of looking frightfully regal on a horse; the monarch has to be able to master the radio microphone. Spectacle must not be replaced by dead air. This is where Lionel Logue (Geoffrey Rush) comes in — a bullish Australian with bohemian manners and shabby premises on Harley Street.
The rest takes place between 1934 when his wife (Helena Bonham Carter) arranges for him to see Logue, the unorthodox therapist, and shortly after the beginning of the war when he makes a crucial live broadcast to the world from Buckingham Palace, with Logue almost conducting the speech from the other side of the microphone.
Helena Bonham Carter is a warm, charming, puckish presence as Elizabeth, very much aware of her royal status when first approaching Logue using a pseudonym. Michael Gambon is entirely convincing as George V, a peremptory man irritated by the increasing demands of democracy; having been neglected by his own father, he’s incapable of expressing love for his sons. Guy Pearce is equally good as the selfish, wilful future King Edward, the movie’s one truly despicable character, whose mocking of his brother’s stammer places him beyond the pale. Derek Jacobi does a neat turn as Cosmo Lang, the Archbishop of Canterbury, pillar of the establishment, at once dictatorial and obsequious.
The movie, however, ultimately turns upon the skilfully written and impeccably played scenes between Firth’s Bertie, initially almost choking on his stammer but trained to insist on court protocol, and Rush’s Logue, the informal, blunt-speaking Australian, whose manners are as relaxed as his consulting room in Harley Street is modest. The interplay between them resembles a version of “Pygmalion” or “My Fair Lady” in which Eliza is a princess and Henry Higgins is a lower-middle-class teacher from Sydney, and they’re just as funny, moving and class-conscious as in Shaw’s play. There are also, one
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might think, benign echoes of Prince Hal and Falstaff from “Henry IV. Across a great social gulf they become friends, the king gaining in confidence and humanity, deeply affected by the first commoner he’s befriended. Slowly, Bertie opens up to his new friend about his unhappy childhood, and doesn’t notice how his speech is improving. But to the end there remains the need to preserve a certain distance. The crisis comes when Logue gets too close to his patient, and Rush
shows how “red carpet fever” is getting the better of him.
As well as the three leads, there are two tremendous supporting turns: Guy Pearce is a terrific Edward, the smooth, obnoxious bully who mocks Bertie’s stammer. Gambon has two great scenes as George V: first as the robust patriarch, barking orders at his quailing son, and then — the sudden decline is a modest coup du cinéma — incapable and on the verge of dementia, mumbling and maundering as his privy councillors make him sign away his executive responsibility.
The film is not without its odd faults, the truly annoying one being the representation ofWinston Churchill (Timothy Spall) as a supporter of George during the abdication. In fact, his intrigues in EdwardVIII’s cause nearly ruined his career. In his biography of Churchill, Roy Jenkins remarks that “had Churchill succeeded in keeping Edward VIII on the throne he might well have found it necessary in 1940 to depose and/or lock up his sovereign as the dangerously potential head of a Vichy-style state”.
The movie cleverly casts a new light on the Royal Family, and cheekily suggests there was a time when a British monarch experimented with psychoanalysis, disguised as speech therapy.
Not everyone’s going to like this film: some may find it excessively royalist. But The King’s Speech proves there’s fizzing life in old-school British period dramas — it’s acted and directed with such sweep, verve, darting lightness. George VI’s talking cure is gripping.
Overall, the film is a major achievement, with Firth presenting us with a great profile in courage, a portrait of that recurrent figure, the stammerer as hero. He finds as many different aspects of stammering as the number of ways of photographing sand explored by Freddie Young in “Lawrence of Arabia” or John Seale in “The English Patient”.And as they did, he deserves an Oscar.
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2.Find the Russian equivalents for the following words and word combinations. Be ready to define the meanings of some of them in English and remember the context they are used in.
1.to transcend; 2. compelling; 3. a stammerer; 4. exuberant; 5. to broker an affair; 6. to perform with gusto; 7. afflicted; 8. twinkly eyed; 9. to come to terms; 10. accutely; 11. accession; 12. abdication; 13. contentment; 14. to cringe; 15. formidable; 16. regal;
17.puckish; 18. peremptory; 19. despicable; 20. beyond the pale;
21.to turn upon sth.; 22. obsequious; 23. impeccably; 24. to open up to smb. 25. benign; 26. robust; 27. to maunder; 28. sweep; 29. verve;
30.darting.
3.Answer the following questions.
1.What makes “The King’s Speech” a richly enjoyable, instantly absorbing true-life drama?
2.What are the four crucial incidents shown in the film?
3.What are the themes of “The King’s Speech”?
4.When and where do the opening scenes of the film take place?
5.What period of time does the rest of the film cover?
6.What is the place of the interplay between Firth’s Bertie and Rush’s Logue in the film?
7.What is one of the obvious flaws in the picture?
8.Why do you think “The King’s Speech” appeals to the public?
4.Translate from English into Russian the passage from “The film begins with …” to “…at once dictatorial and obsequious.”
5.Be ready to speak about:
1)the social and political background acutely shown in the film;
2)some other ‘royal’movies and compare them with “The King’s Speech”;
3)the leads and the supporting actors of the film;
4)the message of the film;
5)why in your view the film was not a great success in Russia.
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