5 Films

UNIT 4 CINEMA
The cinema, like the detective story, makes it possible to experience without danger all the excitement, passion and desirousness which must be repressed in a humanitarian ordering of life. Carl Jung Before you start doing the main activities of this unit, brush up on active vocabu ary to the topic! Exercise 1. Answer t:e following uestions: 1. Do you like watching films? Why? / Why not? How often do you a) go to the cinema !) rent D"Ds c) !uy D"Ds d) watch films on #"? $. What%s your fa&ourite film? Why do you like it? Who stars in it? Who directed it? How many times ha&e you seen it? Does it hold any s'ecial memories for you? Can you tell the 'lot in thirty seconds? What genre(s) of films do you a) lo&e !) hate? Why ). Ha&e you got a &ideo camera? What do you use it for? Why do 'eo'le make home mo&ies? Which is more s'ecial a home mo&ie or a 'hoto? Why? *. Would you like to work in the film industry? Why? / Why not? Which +o!(s) do you think are the most rewarding? Why? Do you 'refer to watch films made in your country or Hollywood mo&ies? Why? ,. Ha&e you e&er downloaded a film from the internet - either legally or illegally? How do you 'refer to watch films and why? Ha&e you e&er watched a film on a) a 'lasma #" !) a &ery large ./01 screen c) an i2od? Com'are these e3'eriences to watching films on a normal
#". 4. Do s'ecial effects e.g. C5. im'ro&e films or make them worse? Which films ha&e... a) good s'ecial effects !) 'oor s'ecial effects? Descri!e them. Exercise !. "atch the following film genres and their definitions. #ork in pairs and discuss specific features of the given film genres:
1. western 3. sword and

sorcery 4. sword and sandal 5. spaghetti western 6. slasher film 7. science fiction film 8. romantic comedy
A. B. C.
a screen'lay ada'ted from a no&el !iogra'hy or other source. a mo&ie !ased on an actual 'erson%s life6 a !iogra'hical mo&ie. a comedy in which the humor s'rings from such dark su!+ects as
death 'olitical incorrectness 're+udice etc D. any second7rate low7!udget mo&ie.
E.
a mo&ie sold only on "H8 ta'e or D"D and not 're&iously released
in theaters. F. a mo&ie !ased on a real e&ent. G. a heroic mo&ie with a story line that fre9uently
H.
:rench term meaning literally ;!lack <lm = used to descri!e some
0merican mo&ies made in the 1>*?s that were nota!le for their low7key or dark lighting effects. I. a western. J. slang referring to a mo&ie !ut not ready for distri!ution. K. a motion 'icture 'roduced and shot !y one studio and 'urchased !y another. L. a @uro'ean western usually made in .taly or 8'ain 'o'ular in the 1>4?s.
10. pickup 11. in the can 12. horse

opera
M. 14. film noir 15. epic
slang for !i!lically !ased mo&ie e'ic named after the costumes and
'ro's used. N. slang for a fantasy e'ic. O. a film that is intended to make you feel frightened for e3am'le one in which 'eo'le get attacked !y strange creatures or in which dead 'eo'le come to life P. a film a!out life in the future often with 'eo'le or creatures who li&e in other 'arts of the uni&erse Q. a film a!out cow!oys and life in the 1>th century in the 0merican West
16. docudram
a
17. direct to
video
19. black
R. S.
a film a!out 'eo'le fighting a war a film that has a lot of e3citing e&ents in it for e3am'le 'eo'le
comedy 20. biopic
fighting or chasing each other in cars T. a film a!out 'eo'le who are on a long +ourney in a car and the ad&entures they ha&e while they are tra&elling . a film that is intended to make you laugh a!out two 'eo'le who meet and ha&e a romantic relationshi' !. a film made using 'hotogra'hs of models or drawings which are 'ut together to look as if they are mo&ing ". a long film in which a lot of things ha''en for e3am'le one a!out a 'eriod in history or the whole of someoneAs life
21. $ picture 22. adaptatio

n
23. action
film "! "$! #! "4! $! "%!
4! "&!
%! "'!
&! "(!
'! ")!
(! #*!
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"*! ##!
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Exercise %. &ow read the following descriptions of the main film genres and see if your ideas about were correct. 'heck you understand the words and expressions in bold.
,enre Types
Main +i m ,enres ,enre -escriptions Action fi ms usually include high energy !ig7!udget 'hysical stunts and chases 'ossi!ly with rescues !attles fights esca'es destructi&e crises (floods e3'losions natural disasters fires etc.) non7sto' motion s'ectacular rhythm and 'acing and ad&enturous often two7dimensional Agood7guyA heroes (or recently heroines) !attling A!ad guysA 7 all designed for 'ure audience escapism. .ncludes the James Bond AfantasyA spy.espionage series martia arts fi ms and so7called /b a0p oitation/ fi ms. 0 ma+or su!7genre is the disaster film. 8ee also Greatest Disaster and Crowd Film Scenes and Greatest Classic Chase Scenes in Films. Adventure fi ms are usually e3citing stories with new e3'eriences or e3otic locales &ery similar to or often 'aired with the action film genre. #hey can include traditional s1ashbuc2 ers serialized films and historical s'ectacles (similar to the epics film genre) searches or e3'editions for lost continents C+ungleC and CdesertC e'ics treasure hunts disaster films or searches for the unknown. Comedies are light7hearted 'lots consistently and deli!erately designed to amuse and provo2e aughter (with one7liners +okes etc.) !y e3aggerating the situation the language action relationshi's and characters. #his section descri!es &arious forms of comedy through cinematic history including slapstick, screwball, spoofs and parodies, romantic comedies, black comedy (dark satirical comedy) and more. Crime 3gangster4 fi ms are de&elo'ed around the sinister actions of criminals or mo!sters 'articularly !ankro!!ers underworld figures or ruthless hoodlums who o'erate outside the law stealing and murdering their way through life. Criminal and gangster films are often categoriDed as film noir or detective(mystery fi ms 7 !ecause of underlying similarities !etween these cinematic forms. #his category includes a
descri'tion of &arious Aserial killerA films.
-ramas are serious 'lot7dri&en 'resentations 'ortraying realistic characters settings life situations and stories in&ol&ing intense character de&elo'ment and interaction. Esually they are not focused on s'ecial7effects comedy or action Dramatic films are 'ro!a!ly the largest film genre with many su!sets. 8ee also melodramas, epics )historical dramas*, or romantic genres. Dramatic biographical films )or +biopics+* are a ma+or su!7genre as are /adu t/ fi ms (with mature su!+ect content). Epics include costume dramas historica dramas war fi ms medieva romps or /period picturesA that often co&er a large e3'anse of time set against a &ast 'anoramic !ackdro'. @'ics often share elements of the ela!orate adventure films genre. @'ics take an historical or imagined e&ent mythic legendary or heroic figure and add an e3tra&agant setting and la&ish costumes accom'anied !y grandeur and s'ectacle dramatic sco'e high 'roduction &alues and a swee'ing musical score. @'ics are often a more s'ectacular la&ish &ersion of a biopic film. 8ome /s1ord and sanda / fi ms (Bi!lical e'ics or films occuring during anti9uity) 9ualify as a su!7 genre. 5orror fi ms are designed to frighten and to in&oke our hidden worst fears often in a terrifying shocking finale while ca'ti&ating and entertaining us at the same time in a cathartic e3'erience. Horror films feature a wide range of styles from the earliest silent Fosferatu classic to todayAs C5. monsters and deranged humans. #hey are often com!ined with science fiction when the menace or monster is related to a corru'tion of technology or when @arth is threatened !y aliens. #he fantasy and supernatural fi m genres are not usually synonymous with the horror genre. #here are many su!7genres of horrorG s asher, teen terror, seria 2i ers, satanic, -racu a, +ran2enstein, etc. Musica .dance fi ms are cinematic forms that em'hasiDe full7scale scores or song and dance routines in a significant way (usually with a musical or dance 'erformance integrated as 'art of the film narrati&e) or they are films that are centered on com!inations of music dance song or choreogra'hy. /a+or su!genres include the musical comedy or the concert fi m. 6ci7fi fi ms are often 9uasi7scientific &isionary and imaginati&e 7 com'lete with heroes aliens distant 'lanets im'ossi!le 9uests im'ro!a!le settings fantastic 'laces great dark and shadowy &illains futuristic technology unknown and unknowa!le forces and e3traordinary monsters (Athings or creatures from s'aceA) either created !y mad scientists or !y nuclear ha&oc. #hey are sometimes an offshoot of fantasy films or they share some similarities with action/adventure films. 8cience fiction often e3'resses the 'otential of technology to destroy humankind and easily o&erla's with horror films 'articularly when technology or alien life forms !ecome male&olent as in the C0tomic 0geC of sci7fi films in the 1>,?s. 8ar 3and anti71ar4 fi ms acknowledge the horror and heart!reak of war letting the actual com!at fighting (against nations or humankind) on land sea or in the air 'ro&ide the 'rimary 'lot or !ackground for the action of the film. War films are often 'aired with other genres such as action adventure drama romance comedy (!lack) suspense and e&en epics and westerns and they often take a denunciatory a''roach toward warfare. #hey may include 2HW tales stories of military o'erations and training.
8esterns are the ma+or defining genre of the 0merican film industry 7 a eulogy to the early days of the e3'ansi&e 0merican frontier. #hey are one of the oldest most enduring genres with &ery recogniDa!le 'lots elements and characters (si37guns horses dusty towns and trails cow!oys .ndians etc.). H&er time westerns ha&e !een re7defined re7in&ented and e3'anded dismissed re7disco&ered and s'oofed.
(ado'ted from http9..111!fi msite!org)

Exercise ,. #ork in pairs and discuss the following films defining their genresubgenre peculiarities. #hat is your favourite film genre.:
6her oc2 5o mes 3#**)4 Detecti&e 8herlock Holmes and his stalwart 'artner Watson engage in a !attle of wits and !rawn with a nemesis whose 'lot is a threat to all of @ngland. (1$I mins.) -irector9 5uy Jitchie 6tars9 Jo!ert Downey Jr. Jude Kaw Jachel /c0dams /ark 8trong -og 6o diers 3#**#4 0 routine military e3ercise turns into a nightmare in the 8cotland wilderness. (1?, mins.) -irectorG Feil /arshall 6tarsG 8ean 2ertwee Le&in /cLidd @mma Cleas!y Kiam Cunningham The Incredib e 5u 2 3#**(4 Dr. Bruce Banner thanks to a gamma ray e3'eriment gone wrong transforms into a giant green7skinned hulk whene&er his 'ulse rate gets too high. /eanwhile a soldier uses the same technology to !ecome an e&il &ersion of the original. (11$ mins.) -irector9 Kouis Keterrier 6tarsG @dward Forton Ki& #yler #im Joth William Hurt :7Men 3#***4 #wo mutants come to a 'ri&ate academy for their kind whose resident su'erhero team must o''ose a terrorist organiDation with similar 'owers. (1?* mins.) -irectorG Bryan 8inger 6tarsG 2atrick 8tewart Hugh Jackman .an /cLellen :amke Janssen Troy 3#**44 0n ada'tation of HomerAs great e'ic the film follows the assault on #roy !y the united 5reek forces and chronicles the fates of the men in&ol&ed. (14) mins.) -irectorG Wolfgang 2etersen 6tarsG Brad 2itt @ric Bana Hrlando Bloom Julian 5lo&er ;irates of the Caribbean9 The Curse of the B ac2 ;ear 3#**$4 Blacksmith Will #urner teams u' with eccentric 'irate CCa'tainC Jack 8'arrow to sa&e his lo&e the go&ernorAs daughter from JackAs former 'irate allies who are now undead. (1*) mins.) -irectorG 5ore "er!inski 6tars9 Johnny De'' 5eoffrey Jush Hrlando Bloom Leira Lnightley The Brothers ,rimm 3#**%) Will and Jake 5rimm are tra&elling con7artists who encounter a genuine fairy7tale curse which re9uires genuine courage instead of their usual !ogus e3orcisms. (11I mins.) -irector9 #erry 5illiam 6tars9 /att Damon Heath Kedger /onica Bellucci 2etr Jatimec
Avatar 3#**)4 0 'ara'legic marine dis'atched to the moon 2andora on a uni9ue mission !ecomes torn !etween following his orders and 'rotecting the world he feels is his home. (14$ mins.) -irectorG James Cameron 6tarsG 8am Worthington Moe 8aldana 8igourney Wea&er /ichelle JodrigueD The -a <inci Code 3#**&4 0 murder inside the Kou&re and clues in Da "inci 'aintings lead to the disco&ery of a religious mystery 'rotected !y a secret society for two thousand years 77 which could shake the foundations of Christianity. (1*> mins.) -irectorG Jon Howard 6tarsG #om Hanks 0udrey #autou Jean Jeno .an /cLellen The =ord of the >ings9 The T1o To1ers 3$??$) :rodo and 8am continue on to /ordor in their mission to destroy the Hne Jing. Whilst their former com'anions make new allies and launch an assault on .sengard. (1N> mins.) -irectorG 2eter Jackson 6tarsG @li+ah Wood .an /cLellen "iggo /ortensen Hrlando Bloom 5ladiator 3#***4 When a Joman general is !etrayed and his family murdered !y an em'erorAs corru't son he comes to Jome as a gladiator to seek re&enge. (1,, mins.) -irectorG Jidley 8cott 6tarsG Jussell Crowe Joa9uin 2hoeni3 Connie Fielsen Hli&er Jeed
war film road movie horror film sword and sorcery science fiction film romantic comedy slasher film film noir docudrama action film E0ercise %! Match the 1ords in the bo0 1ith the sentences "7"#9
biopic western
1# 2# 3# 4#
generation.
Dark7toned camera work and moody music gi&e this 1ar fi m a chilling
atmos'here until the final scenes of com!at7mo&ie cliches. ChildrenAs fantasy no&els sli' into a s'ace !etween the fairy tales of childhood and
the s1ord and sorcery e'ics that occu'y most of the !ookstore fantasy shelf. #he gore and high !ody count made this s asher fi m an instant classic. :or many 'eo'le this was their first glim'se at what s'ace tra&el might !e like.
#he science fiction fi m C $??1G 0 8'ace Hdyssey C ca'tured the hearts and minds of a
5#
8H0L@82@0J@ .F KH"@ .n this wholly original romantic comedy a
struggling young writer named Will 8hakes'eare in 14th century @ngland is ins'ired to greatness !y the woman of his dreams.
6#
.n cinema the earliest road mo&ies were a!out the disco&ery of a new land or
a!out the e3'ansion of frontiers as with westerns in Forth 0merica. :ilms like C #he 8earchers C John :ordAs master'iece set in the aftermath of the Ci&il War were a!out a national identity in construction. @s'ecially in later decades road mo&ies also tried to accom'lish a different taskG to show national identities in transformation. @dgar 5. ElmerAs 1>*, mo&ie C Detour C an early fi m noir a!out a Few Oork 'ianist who tra&els a dark road to Hollywood was an account of a country 'lagued !y indi&idualism and greed. #he film that defined road mo&ies for todayAs audiences Dennis Ho''erAs C @asy Jider C was a!out the end of innocence and the im'losion of the 0merican dream during the "ietnam years. 8uch films suggest that the most interesting road mo&ies are those in which the identity crisis of the 'rotagonist mirrors the identity crisis of the culture itself.
7# 8#
8chrei!er will soon film a remake of a classic horror fi m called C #he Hmen 444
C a!out a man who realiDes his young son might +ust !e the de&il. A :inally also in limited release is the re7release of C #he Battle of 0lgiers C a
1>4, docudrama a!out the :rench occu'ation of 0lgeria that was screened !y the 2entagon last summer as a 'rimer on terrorism.
9#
mo&ie.
#he a''roach argua!ly reached its Denith in Co''olaAs 0'ocaly'se Fow which
/ichael Herm scri't7doctored in ways that make it far more enticing as fi m noir than as a war
10# #he ins'irational mo&ie is Clint @astwoodAs .n&ictus a biopic that tells the story
of Felson /andelaAs early months as the first !lack 'resident of 8outh 0frica.
11# :or Ficolas Cage fresh off an Hscar for the dark low7!udget Kea&ing Kas "egas
the testosterone7charged action fi m a!out military terrorists who take o&er 0lcatraD is his !est shot yet at mainstream su'erstardom.
12# :ord acknowledges that the attraction of 1esterns comes from an C esca'e
com'le3 CG C We all want to lea&e the trou!les of our ci&iliDed world !ehind us. We en&y those who can li&e the most natural way of life with nature !ra&ely and sim'ly.
TE:T " ;>E7>EA-IN, ACTI<ITIE6 Exercise 1. /ou going to read an article about one of the film genres. $efore you read, discuss these uestions using active vocabulary to the topic:
1. 2. 3.
What was the most e3citing/ amusing/ mo&ing/ disa''ointing/ memora!le/
o&errated/ underrated film you%&e e&er seen? How did it make you feel? What film genres do you like? Why?
TE:T >EA-IN, Exercise ,. 0ead through the article uickly, ignoring the gaps for now. #hat is the article about. >?@A= >?MANCE IMM?>TA=I6E- IN 6C>EEN C5EE6E ;rince 8i iam/s 1edding provides fodder for a biAarre sub7section of the fi m industry Critics sneer at them and e3'erts ridicule their inaccuracies !ut for a week or two at least they 'i9ue the curiosity of audiences e&erywhere. Welcome to the world of the cut7'rice 9uickly made !io'ic. #his is a form of film7making as old as cinema itself where lurid or u'lifting to'ical tales are transformed into chea' mo&ies. #he ground rules are sim'leG kee' the !udget modest cast actors who look at least &aguely like the real7life 'rotagonists they are 'laying and shoot the mo&ies at !reakneck 'ace so they can !e released !efore the memories of the e&ents ha&e faded. .n !io'ics cele!rity murder trials or scandals ha&e almost as much allure as British royal weddings. During the HJ 8im'son trial of the mid71>>?s films were 9uickly set u' (and it is rumoured 9uietly a!andoned after HJ was cleared of murder). .n the 'ast year mo&ies ha&e !een announced a!out Bernie /adoff and the tra''ed Chilean miners. Bio'ics often e3ist in a netherworld !etween re'ortage and drama 'reying on audiencesA mor!idity and &oyeurism. When Be&erly Hills !rothers Kyle and @rik /enendeD were con&icted of murdering their 'arents ri&al #" mo&ies were hastily 'roduced.
0t the same time !io'ics are often a!out esca'ism and real7life soa' o'era. Fe3t week sees the EL release (on D"D) of William and Late - the Ko&e 8tory shot in Kos 0ngeles and telling the story of 2rince William and LateAs relationshi' from their 8t 0ndrews Eni&ersity days to the moment they walk down the aisle. #he film has already had stinking re&iews. C#he naffest royal mo&ie e&er madeC C5od7awfulC CcringeworthyC and CghastlyC are the some of the 'hrases that critics ha&e !een lo!!ing in its direction. But these are as much a recommendation as a 'ut7 down. .t is the mo&ie e9ui&alent of the commemorati&e mug or tea towel an e3ercise in merchandising and moment7seiDing as much as one in storytelling. 2art of the 'leasure in such !io'ics - at least for British audiences - lies in their innate cheesiness. .f the actors do not really look like the characters they are 'ortraying (Ben Cross of Chariots Hf :ire fame is certainly no dead ringer for 2rince Charles) the actresses sound like "alley girls and the inaccuracies and anachronisms a!ound that only adds to the en+oyment. #he films are not weighed down with the deadening attention to detail that makes so many British heritage 'ictures 'ainful to watch. C#he interest in William and Late is already huge and weAre looking forward to releasing a high79uality film that will undou!tedly satisfy the un'recedented a''etite for what is the !iggest e&ent in the EL in years. .t will a''eal to audiences of all ages C said 8te'hen 8taniland of the EL distri!utor Je&ol&er. 8uch hy'er!olic language is clearly a!surd !ut comes with the territory. 8till the real drama in the story of the courtshi' of the Berkshire7!orn girl ('layed !y Camilla Kuddington) and the clean7cut young royal ('layed !y Liwi actor Fico @&ers78windell) is 'retty minimal. 8'eaking yesterday /r 8taniland struck a more modest note. C#he film is not meant to !e taken seriously. .t is not a documentary a!out the life of William and Late C he said. C.tAs an inter'retation.C William and Late will also !e screened on Channel :i&e this month !ut e&en so Je&ol&er is o'timistic of !eing a!le to sell !etween ,? ??? and 1?? ??? co'ies of the D"D. 0 ri&al !io'ic William P LateG 0 Joyal Ko&e 8tory is to go into 'roduction in Jomania and re'orts say it will !e on Hallmark in the E8 in 0ugust Ca few weeks !efore the 1*7year anni&ersary of the death of WilliamAs mother 2rincess DianaC. Kow7!udget !io'ics #he Joyal Jomance Hf Charles and Diana (1>I$) Jeal royalty in the su''orting castG Hli&ia De Ha&illand as the Queen mum and Catherine H3en!erg as 2rincess Diana. Charles and DianaG Enha''ily @&er 0fter (1>>$) 0 decade on H3en!erg returned to 'lay the 2rincess again o''osite Joger Jees. #he HJ 8im'son 8tory (1>>,) #his #" mo&ie was started !efore HJ%s trial was o&er - !efore he was ac9uitted.
2olanski Enauthorised ($??>) #his film a!out the 2olish director was made !efore his arrest in $??>. /adoffG /ade Hff With 0merica ($?11) Few !udget drama a!out the swindler. #he trailer does not ins'ire confidence. /enendeDG 0 Lilling in Be&erly Hills (1>>*) Hne of two mor!id #" mo&ies made in dou!le79uick time a!out the !rothers. 3By ,eoffrey Macnab, #*"" Independent!co!u24 C?M;>E5EN6I?N C5ECB Exercise ,. 0ead the article again and fill in the gaps with suitable words from the list below. 1se a dictionary if necessary.
A. 'i9ue
curiosity audiences F. real7life soa' o'era
the B. the of 'rice
cut7 C. shoot 9uickly mo&ies
the D. ha&e at much allure as the
as E. a 'ut7down
made !io'ic G. stinking re&iews
!reakneck 'ace H. the deadening I. attention to detail or M. an inter'retation
J. a''eal
to
inaccuracies and audiences of all anachronisms ages N. go into O. are 'roduction 'ortraying
K. to !e taken L. lurid
seriously u'lifting to'ical tales
Exercise 2. Each of the sentences about the article below contains one mistake. 3ind the mistakes and correct them:
1. 2. 3. 4. 5. 6.
Bio'ic is a new from of film7making where lurid or u'lifting to'ical tales are
transformed into chea' mo&ies #he gound rules of a !io'ic are not sim'le. Cele!rity murder trials and scandals ha&e less allure than British royal weddings. Bio'ics ha&e the same status as re'ortage and drama. #his ty'e of mo&ie7making is characteriDed !y a strict 'recision to detils. #he film a!out the life of 2rince William and Late /iddelton is a serous
auto!iogra'hical saga a!out the Joyal family. <?CABU=A>@ ;>ACTICE
Exercise 4. #ork in pairs. 5iscuss what you think the following words and phrases from the article mean: a form of film-making to keep the budget modest to be vaguely like the real-life protagonists to be released to be !uickly set up a reportage a drama a high-!uality film a rival biopic. Exercise 6. 1se the words and phrases from Exercises , and 4 to tell about your favorite film. Exercise 7. 8ook at the words and phrases in bold in the given passage. "atch them with the synonyms in the box. Cust about fi ms and acting .A&e ne&er had any desire to go on the stage myself !ut .%d lo&e to 'roduce a film. . think historical dramas work 'articularly well on the big screen and .Ad lo&e to make a film a!out "ikings in Britain. #hereA d !e 'lenty of o''ortunities to use specia effects during !attle scenes . .Ad want the ma e ead to !e 'layed !y Hugh 5rant while Ficole Lidman could ha&e the female lead . 8ean 2enn could 'lay the role of a "iking warrior and .Ad like Judi Dench to take on a cameo ro e . .Am sure that as always she would gi&e an e3cellent 'erformance . /y dream is to make a film that would !e nominated for an ?scar. Hf course .Ad also like it to be an immediate bo07office hit 'laying to fu houses worldwide.
cinemas/theatres with no em'ty seats e3tremely successful with audiences main male 'art 'owerful &isual effects often created using technology 'ut on the official list of 'eo'le in the film world who may recei&e a s'ecial
'riDe (an Hscar) !ecome an actor small !ut s'ecial 'art the cinema
-I6CU66I?N ACTI<ITIE6 Exercise 6. #ork in pairs and discuss these uestions:
1. 2. 3. 4.
What do you think a!out !io'ics? Do you like them? Why/Why not? What is your fa&outite !io'ics? 8hould !io'ics 'resent the e&ents with the 'recision of a documentary? What is your attitude to the inaccuracies and anachronisms in !io'ics?
5.
.f a film was made of your life who would star as you? Who would direct it?
Would it !e a drama a comedy an action ad&enture or a horror film? What would !e the most im'ortant e&ents in the 'lot? Why
TE:T # ;>E7>EA-IN, ACTI<ITIE6 Exercise 1. /ou are going to read an article about modern screen versions of classical fairy tales. $efore you read, note down advantages- disadvantages of screen versions over books. TE:T >EA-IN, Exercise !. 0ead this article and then answer the uestions below. 1se a pencil
to underline the phrases in the text where you found the answers. 6N?8 85ITE AN- T5E NE<E>7EN-IN, +>ANC5I6E ?;TI?N6 ?nce upon a time, studios decided to reboot c assic fairy ta es! 6arah 5ughes 1onders if the resu ts 1i fare happi y ever after
$1# WeA&e had s'arkly &am'ires half7naked werewol&es and increasingly weary teen
wiDards. Fow film and tele&ision e3ecuti&es are ho'ing that they can spin bo0 office go d from the good, o d7fashioned fairy story. With three &ersions of 8now White in 're7'roduction teen re7imaginings of Beauty and the Beast and Kittle Jed Jiding Hood due in cinemas soon and all7 action s'ins on Jack and the Beanstalk 2inocchio and Hansel and 5retel coming ne3t year Hollywood is clearly !etting that a revita ised D?nce Upon a TimeD format will turn !eans into !ig !ucks.
$2# 0nd theyAre not the only ones. #his yearAs tele&ision 'ilots also ha&e a fairy7tale
theme with shows such as FBCA8 5rimm descri!ed as a dark co' drama in which Ccharacters ins'ired !y 5rimmAs :airy #ales e3istC and 0BCAs Hnce E'on a #ime !illed as a modern day ta2e on the fairy7ta e genre.
$3# 8o why all the sudden interest in e&il 9ueens and wicked witches? .n 'art itAs
!ecause these stories are in the 'u!lic domain and thus the rights are free. 0s Catherine Hardwicke the director of Jed Jiding Hood told @ntertainment WeeklyG C#hey Rfairy talesS are known all o&er the world. 8tudios are enamoured with making something that already has bui t7 in name recognition or a fan base!C
$4# Fot howe&er that these are the sort of fi ms that you might ta2e your chi dren
to see. WeAre not talking a!out DisneyAs animated 'rincesses or a 6hre27sty e re1or2ing of o d
stories for a young audience !ut rather a!out dark and distinctly gothic tales told with an older audience in mind.
$5# #ake Jed Jiding Hood which o'ens in the EL on 1, 0'ril. :eaturing 0manda
8eyfried in wide7eyed ingTnue mode and a 'air of +ust7the7right7side7of7hammy turns from 5ary Hldman and Julie Christie HardwickeAs atmos'heric film nods more to Feil JordanAs #he Com'any of Wol&es a darkly en+oya!le ada'tation of short stories !y 0ngela Carter than it does to the original source material.
$6# 6pun off from an idea !y Keonardo DiCa'rio who suggested that the Kittle Jed
Jiding Hood story could work as a romantic thriller and written !y Da&id Keslie Johnson who also wrote the su'er!ly cree'y Hr'han this Jed Jiding Hood is as concerned with the !east within as it is with the dangers of straying off the right 'ath.
$7# #hese stories were told for adults and they were !awdy C Johnson told the Few
Oork 2ost. C.n some original &ersions Jed is not a ha'less &ictim... not a fairy7tale heroine waiting for 2rince Charming to swoo' in. #his was a young woman who went into the woods got into trou!le and figured it out for herself.C
$8# #he !elief that the traditiona fairyta e is ripe for a return to its ,rimm roots
and ready to kick some ass also informs the three mooted 8now White 'roductions which are s ated for ate7#*"#, ear y7#*"$ re ease dates. #hereAs DisneyAs 8now and the 8e&en which relocates the fairy7tale to 1>th7century China and recasts the dwar&es as 8haolin monks6 Eni&ersal 2icturesA 8now White and the Huntsman where the young 'rincess no longer a damsel in distress learns a!out wea'ons and how to wield them from the man sent to kill her6 and thereAs the Brett Jatner7'roduced #he Brothers 5rimmG 8now White which returns to the source material for what Jatner has called an CedgierC take on the tale.
$9# 0ll three 'ro+ects ha&e attracted heavy1eight cast rumours with $?11As Best
0ctress Hscar7winner Fatalie 2ortman a''arently wanted !y the makers of !oth 8now and the 8e&en and #he Brothers 5rimmG 8now White. #he makers of 8now White and the Huntsman ha&e a''roached that other i&ory7skinned dark7haired actress #wilightAs Lristen 8tewart to !e their 'rincess. 3"*4 They/ve a so been in ta 2s 1ith "iggo /ortensen to 'lay the Huntsman (though they are re'orted to ha&e fallen through) while CharliDe #heron has signed on as the @&il Queen a role to !e 'layed !y Julia Jo!erts in the Jatner film which #arsem 8ingh will direct. #he original 'orcelain 'rincess also features hea&ily in 0BCAs much7antici'ated fairy7tale 'ilot from KostAs e3ecuti&e 'roducers @dward Litsis and 0dam HorowitD this time in the guise of Big Ko&eAs 5innifer 5oodwin.
3""4 0s if the 'roliferation of 8now Whites wasnAt o&erwhelming enough there are also two 2inocchio mo&ies 'otentially facing offG a sto'7motion animation from 5uillermo del #oro as well as a li&e7action &ersion scri'ted !y Bryan :uller creator of 2ushing Daisies and 'roduced !y Dan Jinks who claims to #im BurtonAs 0lice in Wonderland ins'ired him to come u' with a Cfresh a''roachC. 3"#4 #he director Bryan 8inger is also ho'ing to give a ne1 t1ist to an o d ta e with his big7budget re1or2ing of Jack and the Beanstalk Jack the 5iant Liller which has a strong cast including Ficholas Hoult @wan /c5regor Bill Fighy and 8tanley #ucci and 'erha's more im'ortantly an ine&ita!ly com'le3 scri't from Christo'her /cQuarrie who wrote 8ingerAs brea2through hit #he Esual 8us'ects. 3"$4 Oet while !oth Jack and the 8now White remakes are concerned with the darkness at the heart of 5rimmAs tales not e&ery fairy7tale remake is 9uite so serious. #ake Hansel and 5retelG Witch Hunters (yes really). The high7concept action7comedy7thri er which is slated for release ne3t /arch is set 1, years after the whole 5inger!read House incident with our hero and heroine now working as !ounty hunters and tackling mystical creatures somewhat in the manner of the #" series 8u'ernatural. .t sounds utterly ridiculous although the fact that the !rother/sister duo are to !e 'layed !y HollywoodAs psycho du Eour Jeremy Jenner and the e&er7 luscious 5emma 0rterton with :amke Janssen co7starring as their nemesis at least means that there will !e 'lenty of sco'e for some craAy, over7the7top acting. 3"44 .f the mo&ie fairy7tales are all a!out big7name casts and high concepts the tele&ision reworkings are more concerned with getting the feel +ust right, unsur'risingly so when you look at the teams in&ol&ed. Damon Kindelof KostAs co7creator has taken a consulting role in Litsis and HorowitDAs Hnce E'on a #ime while 5rimm is the work of Da&id 5reenwalt the co7 e3ecuti&e 'roducer of Buffy the "am'ire 8layer and co7creator of its s'in7off 0ngel. Conse9uently !oth shows look likely to !e hea&y on mythology and detailed world7!uilding with Hnce E'on a #ime in 'articular e0pected to combine a 3perhaps over y4 comp icated mi0 of fantasy, mystery and science fiction! 3"%4 But the 'ossi!ility of o&er7egging the 'udding is not the only 'itfall 'resent in fairy7 tale ada'tations where the 'otential for unintentional hilarity is high. .ndeed the teams !ehind all these new ada'tations need only look at Beastly the reworking of Beauty and the Beast for a teen market that o'ened in the E8 last week and is slated for a summer release in the EL to see what can go wrong. 3"&4 Intended as a high7schoo updating in the style of the slew of late7Fineties early7 Foughties 8hakes'eare reimaginings such as 5et H&er .t and 1? #hings . Hate a!out Oou Beastly stars High 8chool /usicalAs "anessa Hudgens and the British ho'eful 0le3 2ettyfer. But
it manages to miss e&ery target it aims for from its risi!le dialogue (sam'leG COou come near me . #aser your assC) to its dreadful 'erformances (most nota!ly from /ary7Late Hlsen who stars as a goth7styled teen witch out7acted !y her own facial tattoo). 3"'4 2roof that sometimes it doesnAt matter how strong or dark or emotionally resonant the original source story is without the right cast or strong dialogue you still end u' with a kitschy unwatcha!le mess. AJed Jiding HoodA o'ens in the EL on 1, 0'ril6 ABeastlyA o'ens on $$ 0'ril 36arah 5ughes, The Independent ,#*""4
C?M;>E5EN6I?N C5ECB
1# 2# 3# 4# 5# 6# 7# 8# 9#
What words in 2aragra'h 1 em'hasiDe Hollywood%s desire to make great 'rofit
from re7imagining of classical fairy tales? @3'lain in your own words a 'hrase ; a modern day take on the fairy-tale genre =
from 2aragra'h $? 0ccording to the article why are fairy stories so 'o'ular with film 'roduction and
tele&ision com'anies (2aragra'h ))? What is suggested a!out modern screen &ersions of fairy7tales !y the 'hrase ;dark
and distinctly gothic tales told with an older audience in mind= (2aragra'hs *7N)? 0ccording to the te3t is it true that ; traditional fairytale is ripe for a return to its
Grimm roots= (2aragra'h I)? What remakes of 'o'ular fairy tales are mentioned in the article? What does the writer suggest !y com'aring film remakes of fairy tales to
tele&ision reworkings of the stories (2aragra'h 1*)? @3'lain in your own words ;the possibility of over-egging the pudding is not the
only pitfall present in fairy-tale adaptations= (2aragra'h 1,). By using the words ;it doesn"t matter how strong or dark or emotionally resonant
the original source story is without the right cast or strong dialogue you still end up with a kitschy unwatchable mess= what does the author suggest a!out the screen ada'tations of classical stories?
10# 8ummariDe in a 'aragra'h of ,?71?? words the main idea if the gi&en article
according to the writer%s argument. (8ee 8#EDO BH1 - 8ummary Writing on 2age 1111). <?CABU=A>@ ;>ACTICE
Exercise !. "atch the words with their definitions:
1#
stop(motion A.
to shoot a new &ersion of a classical story to make changes in something such as music or a 'iece of to issue for sale or circulation to gi&e new life to to !e ready for a change to ha''en es'ecially when it
animation 2# an adaptation
B.
writing
3# 4# 5#
live (action C. to be ripe for D. bill something as E.
something 6# pre(production
should ha&e ha''ened sooner F. to !e 'lanned to ha''en in the future es'ecially at a
7#
somebody9s
'articular time take G. to !e a&aila!le for anyone to ha&e or use a H. to ad&ertise or descri!e something in a 'articular way the ste's necessary to 're'are a film for 'roduction as
)on something* 8# to reboot
classical story 9# to be in public I. domain 10# rework 11# pilot 12# remake
casting choosing locations and desingning sets and costumes J. someoneAs o'inion a!out a situation or idea K. o'en for discussion or de!ate L. 0nimated as distinguished from a single drawing or sketch a tele&ision 'rogramme that is made in order to test
13# to be slated for M.

something 14# mooted
whether 'eo'le like it and would watch it N. a techni9ue used in animation and 'hotogra'hy in which a su!+ect is filmed then ad+usted a frame at a time O. a record or film that has the same music or story as one that was made !efore P. a film or tele&ision 'rogramme that is !ased on a !ook or 'lay
15# revitalise 16# to release
Exericse %. #ork in pairs. 5educe from the context of the article the meaning of the following phrases and suggest their 1krainian e uivalents: to s'in !o3 office gold from the good old7fashioned fairy story UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU a re&italised CHnce E'on a #imeC format UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU a modern day take on the fairy7tale genre UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU
something that already has !uilt7in name recognition or a fan !ase UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU the sort of films that you might take your children to see UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU to !e s'un off from an idea UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU to !e ri'e for a return UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU to !e slated for release UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU to attract hea&yweight cast rumours UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU to !e in talks with UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU to gi&e a new twist to an old tale UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU to ha&e a strong cast UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU a !reakthrough hit UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU the high7conce't action7comedy7thriller UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU craDy o&er7the7to' acting UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU !ig7name casts and high conce'ts UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU
TE:T $ ;>E7>EA-IN, ACTI<ITIE6! Exercise 1. 0ead the uotation and answer the following uestions: 3ilm as dream, film as music. &o art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls. .ngmar Bergman
1. 2. 3.
Do you agree or disagree with the idea e3'ressed? Why? Why not? What film touched the dee'est strings of your soul? Has this fim influenced your
'erce'tion of the world? 0re all film genres e9ually emotional?
Exercise !. 0ead the article and highlight what you consider to be the most interesting points. Then work in pairs. 5iscuss your ideas. 85@ 8E/>E 6TI== 6E-UCE- B@ T5E >?MC?M
$1#
#he on7screen chemistry of romantic comedies has ke't cinema audiences
swooning since the golden age of Hollywood and the release this week of CraDy 8tu'id Ko&e 'ro&es that they do still make Aem like that al!eit with male nudity that might ha&e made the old matinee idols !lush. Here we analyse the enduring a''eal of the romcom.
#oignant$ %ulianne &oore and Steve Carell in Crazy Stupid 'ove. #hotograph$ 'mk
$2#
0 tonic for the downhearted !rooding under the grey skies of this !lustery autumn
comes this week in the romcom Crazy Stupid 'ove. 8tarring among others Julianne /oore Jyan 5osling and the delecta!le @mma 8tone and ticking e&ery !o3 for esca'ist romantic fantasy the mo&ie still manages to raise laughs and e9ually im'ortantly ho'e for the lo&elorn. Jyan 5osling is clearly man of the moment with a winning 'erformance in the 5eorge Clooney7
directed (he )des of &arch and a li!ido7raising turn as a serial seducer in this mo&ie where he gleefully offers u' his 'erfect 'ecs and finely honed seduction techni9ues.
$3#
.n a welcome sign of the times the gratuitous nudity is also left u' to this
irre'ressi!le new star. Kacing the ine&ita!le saccharine moments with a lesson in contem'orary date eti9uette and a 'oignant 'ortrait of a lost !ut lo&ing marriage from 8te&e Carell and the luminous /oore Crazy Stupid 'ove is a thoroughly modern lo&e story. 0s the *ew +ork (imes 'ut itG CCrazy Stupid 'ove is on !alance remarka!ly sane and reasona!ly smart 'acked with a''ealing stars it is a smooth !lend of modern comic genres with a sur'rising undercurrent of dark difficult emotion.C .tAs also the latest in a long line of contem'orary romantic comedies 'ro&ing that no matter how 'rogressi&e we imagine we ha&e !ecome our dating as'irations remain rooted in centuries7old tradition.
$4#
Jomantic comedies seem to take o&er where the fairytales of childhood left off
feeding our dreams of a soulmate6 though sadly the Hollywood endings 'ro&e 9uite elusi&e in the real world. :or many of my generation Woody 0llenAs ,nnie -all was our introduction to onscreen dating and came as a great relief after the celluloid !lood!ath 'rom'ted !y "ietnam. Kines like C#hat se3 was the most fun .A&e e&er had without laughingC 'ro&ided 'erfect tittering material for 1,7year7old schoolgirls in .reland - though we couldnAt understand why a cool woman like 0nnie would waste time on a geek like Woody 0llen. 0fter all Kes /cLeown of the Bay City Jollers and Da&id Cassidy were yet to !e sna''ed u'V 0 decade or so later the Fora @'hron7scri'ted .hen -arry &et Sally ca'tured another Deitgeist moment when the romantic rogues so attracti&e in our teens !egan to lose their allure and finding /r Jight instead of /r Hne Fight !ecame an am!ition. 0 few cataclysmic years later Four .eddings and a Funeral summed u' our emotional !ios'here again cowering in the shadow of the 0ids e'idemic and misera!ly attending the seemingly endless nu'tials of the lucky few while des'erately trying to kee' the 'arty going. 0nd so it went on with 'oor old /eg Jyan !reathing life into more @'hron scri'ts as we witnessed her !um'y dating e3'eriences in real life.
$5#
:or most of us when our CdreamsC - . use the word with reser&ations - came true
and marriage and motherhood !ecame a reality the romcoms like horosco'es swiftly lost their allure. Hne friend &aliantly tried to kee' the tradition ali&e sitting through three consecuti&e screenings of /ne Fine Day while so!!ing for the demise of her own marriage. 0lready in her late )?s she was one of a &ery few of us still 'aying the ticket 'rice to see un!elie&a!le things ha''en on screen that weAd gi&en u' e3'ecting from life.
$6#
Fow hot on the heels of )t"s Complicated Crazy Stupid 'ove offers further 'roof
that the romcom rather than desert we middle7lifers has decided to mature with us. .n the E8 4*W of the o'ening weekend audience was female and N1W were o&er $,. Fot that our
as'irations ha&e changed much +udging !y this scri't. We still want our hero and heroine to con&ince us that a stroll into the sunset and !eyond is the most likely outcome of initial ad&ersity. Who didnAt want warring di&orcees /eryl 8tree' and 0lec Baldwin to reunite in )t"s Complicated?
$7#
0nd it is still heroes and heroines weAre talking a!out6 des'ite homose3uality long
ago entering the cultural mainstream a single7se3 relationshi' has yet to !e the full focus of a mainstream romance unless you count 0rokeback &ountain where . !elie&e the comedy was unintentional6 or /el 5i!son and Danny De"ito. CWhen Harry /et HenryC and CWhen 8ally /et 8arahC are long o&erdue and this only confirms how con&entional the rules of engagement are when it comes to the romantic comedy genre. #odayAs cinema audience may !e more cynical (and se3ually acti&e) than that of our 'arents !ut they still demand that &er!al fore'lay lead to 'hysical consummation and misunderstandings to lo&e with a ca'ital K. .n the world of the romantic comedy life hasnAt changed much since the 1>,?s.
$8#
0llowed only one word to descri!e the defining chemistry of the genre it would
surely !e ad&ersarial. .ronically for a mo&ie category not renowned for its originality or in&enti&eness itAs the one arena where women ha&e !een allowed to !e feisty way !efore feminism made it de rigueur. .n many ways e9uality has continued to re'resent a turn7on with the winning and wooing of reluctant inde'endent and unim'ressed women a sta'le of many of the storylines from )t -appened /ne *ight to &averick. Disgraceful or at least 9uestiona!le !eha&iour also seems to contri!ute to our affection for 'rotagonists 'articularly if theyAre female. Latharine He'!urn shocked fans !y wearing trousers /eg Jyan caused consternation with her 'u!lic orgasm and then there was working girl Julia Jo!erts who we were asked to !elie&e was charging Jichard 5ere for se3 - the most unlikely as'ect of #retty .oman since most female &iewers would ha&e sold their souls to !e in similar 'ro3imity. Oet all of them ended u' falling for their man in the most con&entional of ways conforming to standards set in the last century and adhered to in this one. Changing social mores ha&e failed almost entirely to alter the dynamics.
$9#
8ince so many romantic comedies &ary little in their storyline the success or
failure of such mo&ies de'ends largely on whether we !elie&e in the relationshi' of the 'rotagonists. Hne of the most successful 'airings of all time was Latharine He'!urn and Cary 5rant. 0rgua!ly their 'layful antics and on7screen smoulder e3ceeded that on offer from He'!urnAs fa&oured co7star and real7life lo&er 8'encer #racy.
$10# 8uch real7world romances donAt often set the screen alight. #hink of Jussell
Crowe and /eg Jyan in #roof of 'ife starring together in the midst of a 'assionate real7life affair !ut failing entirely to ca'ture e&en a frisson of se3ual chemistry on the !ig screen while
#om Cruise and Ficole Lidman 'ro&ided am'le e&idence in 1yes .ide Shut of why their marriage was a!out to end. Oet watching 5eorge Clooney and Jennifer Ko'eD in /ut of Sight . remem!er thinking that the o''osite was the case and that all the real action must surely ha&e occurred after 8te&en 8oder!ergh called CcutC. .t was with incredulity that . later learnt from one half of the 'artnershi' that the fireworks !etween them were of an altogether less romantic nature and re&ol&ed around more mercurial issues like trailer length and star !illing. . guess thatAs acting for you. Fe&ertheless thereAs only one thing more seducti&e to &iewers than on7 screen chemistry and thatAs the kind that weAre led to !elie&e kee's siDDling off screen. When su'erno&as hook u' whether Bogart and Bacall Burton and #aylor or Brad and 0ngelina itAs !o3 office gold. .f . were Jennifer 0niston . would ha&e started marriage guidance the moment . saw &r and &rs Smith6 the gleams in the eyes of 2itt and Jolie were clearly not down to the 'edestrian scri't and you didnAt need an oracle to know it s'elled doom for the Jen and Brad union.
$11# 0nd who can forget Jichard Burton and @liDa!eth #aylor whether in Cleopatra or
.ho"s ,fraid of 2irginia .oolf3 Clearly this was a duo that knew how to lo&e and how to hate emotions that are admittedly close cousins at the !est of times.
$12# 8ome film stars seem to !e a!le to con+ure u' chemistry with any #om Dick or
Fancy and when it comes to romantic idols .Ad argue itAs an essential 9ualification. .tAs a talent that has less to do with thes'ian range and more to do with your a!ility to twinkle and deli&er 9uestiona!le lines with utter con&iction - 5eorge Clooney JenTe Mellweger @mma #hom'son Julia Jo!erts Jichard 5ere Jack Ficholson 0n+elica Huston and Hugh 5rant are some of my fa&ourite li&ing e3'onents of the art !oasting the same effortless chemistry with their co7stars as the old matinee idols of yore. 0nd in Crazy Stupid 'ove Jyan 5osling with his shirt off creates a chemistry all of his own e&en !efore he starts shooting the !reeDe with his co7star.
$13# But what a!out we grown7u's who des'ite all the e&idence to the contrary
continue to em!race these fairytale stories for innocents dressed u' in contem'orary clothes? During the screening of Crazy Stupid 'ove . was com'elled to te3t my hus!and realising as . watched Julianne /oore and 8te&e Carell try to work out their differences that although . was !orn into (he .ar of the 4oses it wasnAt where . wanted to s'end my own adulthood. Could romantic comedies once a shameful addiction actually !e good for our emotional health? C?M;>E5EN6I?N C5ECB
Exercise !. #ork in pairs. 3ind in which paragraphs )1(1%* are the following uestions are answered. :can the text to find the answers and then write the number of the paragraph beside the uestion:
1# 2# 3# 4# 5# 6# 7# 8# 9#
Does the romcom Crazy Stupid 'ove differ from other films in the genre? UUUUUUUU What are the re&iews of the romantic comedy Crazy Stupid 'ove? Who stars in the romcom Crazy Stupid 'ove? How has audience the acce'ted the comedy? What other famous romantic comedies are mentioned !y the author? UUUUUUUU UUUUUUUUU UUUUUUUUU UUUUUUUUU
How do the 'o'ular romantic comedies enlisted in the article reflect the s'irit of the UUUUUUUU
e'och they re'resent?
What are the con&entions of a romantic comedy? Ha&e they changed through years?
UUUUUUU 0ccording to the writer what are the 'ositi&e and negati&e moments of the romantic UUUUUUU UUUUUUUU UUUUUUUU
comedies discussed? What does success/failure of a romantic comedy de'end on?
10# What is the author%s attitude to the romcom genre?

<?CABU=A>@
Exercise %. 3ind in the text the English e uivalents for the following phrases. The phrases are in text order: XYZ[\XZ \]^ZX_Yà ] bcdYZX_[b_[] eX\b` (1) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU XYZf\g\ dYZf\hgZfèXi Y_[\bXZjb_k l_[c^`k ($) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU fZlgZl\XZ e[`m X\ d_^\f\XZ b\^à hcnb\^òb_ n\l_m\bZ[ ($) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU p`gl_[ e]j\eb\ èX_Y`q dY_ l_m\bbq ()) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU fXY\j\XZ dYZf\hgZfèXi (*) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU gah_f n fcgZl_k g`XcYZ r (N) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU sm`[`qt u\bY] (I)
UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU ^_^\f\XZ ^_ b\v_k eZ[d\X`k ^_ w_g_fb_w_ wcY_q (I) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU [\g_ f`^Y`nbqXZeq f eaucX` (>) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU dYcêX\fbZlZ [ZeXcpXf\ (l`b_) (1$) UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU Exercise ,. 8ook at paragraphs 1(1! and find the word or words which mean the same as: a man who has recently done something im'ortant ($) the film directed !y 5eorge Clooney ($) containing a lot of actors ()) the film scri'ted !y Fora @'hron (*) &ery soon after something (4) considered to !e necessary if you want to !e acce'ted fashiona!le etc (I) an actor (1$) an actor who is &ery 'o'ular with women (1$) -I6CU66I?N ACTI<ITIE6
#ork in pairs. 3ind out your partner;s opinion on the uestion presented at the end of the article <'ould romantic comedies, once a shameful addiction, actually be good for our emotional health.=. >resent the results of your discussion to the rest of your group(mates. 8isten to the other opinions and ask uestions.
TE:T 4 ;>E7>EA-IN, ACTI<ITIE6 Exercise 1. 0ead the uotation and answer the uestions: ?t is the failing of youth not to be able to restrain its own violence. 6eneca
1# 2# 3# 4#
Do agree/disagree with the idea e3'ressed? Why? Why not? What was the most &iolent film you%&e e&er seen? Do you a&oid seeing &iolence on the screen? 8hould &iolent and frightening films !e !anned?
TE:T >EA-IN, Exercise 1. 0ead the opening paragraph of a research article and decide:
why the author wrote the article. what the rest of the article will !e a!out.
0 new 'a'er in the 'eer7re&iewed +ournal #ediatrics documents the alarming num!ers of young adolescents age 1?71* who are e3'osed to gra'hic &iolence in mo&ies rated J for &iolence.
Exercise !. 0ead the rest of the article and see if your ideas were correct. #hey found that these e3tremely &iolent mo&ies were seen !y an a&erage of 1$., 'ercent of an estimated $$ million children age 1?71*. Hne J7rated mo&ie 8cary /o&ie was seen !y an estimated 1? million children or a!out *I 'ercent of 1?71* year olds. ;Hur data re&eal a distur!ingly high rate of e3'osure among 1?71* year olds nationally to e3tremely &iolent mo&ies = says Leilah Worth the lead author on the study and a 'ost7doctoral
fellow at Dartmouth /edical 8chool and at Dartmouth7Hitchcock /edical Center%s Forris Cotton Cancer Center. ;.n Britain no adolescent would !e admitted to these mo&ies unless they were 1I. #he J rating in this country is clearly not 're&enting our young 'eo'le from seeing them.= /any scientific studies ha&e esta!lished the connection !etween e3'osure to media &iolence and aggression and &iolence in children. :or e3am'le 'laying &ideo games can lead to changes in attitudes and !eha&ior as well as desensitiDation to actual &iolence. ;We know so much a!out the harmful effects of e3'osure to &iolent media content !ut how much e3'osure children actually get has !een largely ignored. Fow we%re learning more a!out the large num!ers of kids seeing this material and who they are = says Worth. :or this assessment of e3'osure to &iolence in mo&ies the researchers used data from national tele'hone sur&eys of more than 4 ,?? adolescents age 1?71* in $??). Hut of ,)$ recent releases the researchers chose to look at e3'osure to *? of the most &iolent mo&ies. #he study also re&ealed some inde'endent risk factors for e3'osureG !oys minorities those with lower socioeconomic status and those with lower academic 'erformance were all more likely to see e3tremely &iolent mo&ies. Black male adolescents were at 'articularly high risk of seeing these mo&ies. :or e3am'le Blade #raining Day and 8cary /o&ie were seen !y )N 'ercent $N 'ercent and *I 'ercent res'ecti&ely of all the adolescents sur&eyed com'ared to I$ 'ercent I1 'ercent and I1 'ercent of !lack males. ;Fo e3'ert in child de&elo'ment would ad&ocate for su!+ecting children as young as 1? to this le&el of &iolence yet the study shows that such e3'osure is common'lace in this country = says James 8argent the senior scientist on this study and a 'rofessor of 'ediatrics at Dartmouth /edical 8chool. ;We should re7think the current mo&ie rating system which has !een in 'lace for *? years and was designed when kids could only see mo&ies in theaters. Jatings need to !e more 'rominent on all mo&ies whether they are seen in theaters or 'urchased in the store and we need clearer messages to 'arents. 2ediatricians and child ad&ocates should instruct 'arents to strictly a!ide !y the mo&ie7age guidelines and to closely monitor mo&ie &iewing.= (By J.CL F0E@J# 2HD http9..psychcentra !com) C?M;>E5EN6I?N C5ECB Exercise %. 'hoose the best heading for the article and explain your choice:
1# 2# 3#
+I=M6 AN- <I?=ENCE 6C>EEN <I?=ENCE AN- >EA= <I?=ENCE M?<IE <I?=ENCE CAN ?<E>85E=M C5I=->EN
4#
6?CIET@F
-?E6 <I?=ENCE ?N T5E 6C>EEN C>EATE <I?=ENCE IN
Exercise ,. 5ecide if these sentences about the article are true or false.
1#
olds.
Hne J7rated mo&ie 8cary /o&ie was seen !y a!out 4? 'ercent of 1?71* year
2# 3# 4# 5# 6#
#he data of the research conducted !y Leilah Worth show that teenagers do not
watch &iolent mo&ies. #he J rating does not 're&ent young 'eo'le in 0merica from seeing these films. #here is a correlation !etween media &iolence and &iolence in children. #he scientists used data from national tele'hone sur&eys to find out what films are
'referred !y 1?71* year olds. Black male adolescents are not accustomed of seeing &iolent films.
7#
Jating is the only way out to 're&ent adolescents from screen &iolence.
-I6CU66I?N ACTI<ITIE6 #ork in pairs. 0ole(play a conversation between the parents of a teenager, who is exposed to seeing violent films. Try to find a solution how to prevent your child from watching frightening and violent films.
TE:T %
;>E7>EA-IN, ACTI<ITIE6 Exercise 1. 0ead the following uotation and answer the uestions that follow: Actors are to be larger than life. /ou come across uite enough ordinary, nondescript people in daily life and ? don;t see why you should be sub@ected to them on the stage too. 5onald :inden
1# Do you agree or disagree with the idea e3'ressed? 2# 8hould an actor !e original? 3# What%s the difference !etween an actor and a mo&ie star? 4# Who is your fa&ourite actress/actor? Why? 5# What genre does he/she mostly work in? 6# What films has this actor/actress !een in&ol&ed with? 7# 0re his/her films 'o'ular with the audience?
TE:T >EA-IN, Exercise !. /ou are going to read an article about a prominent 1kraininan ?van "ykolaichuk. 0ender the article into English and discuss ?van "ykolaichuk;s creative activies and cinematographic achievements. .f\b xZl_g\oj]l y sh`gZo dX\mt ]lY\kbeil_w_ l`b_ zl h]^c[_ f`^nb\j\XZ af`gco eg\fcXb_w_ [ZXpq?
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xZl_g\oj]l\ ^\ [_ugZfèXi bc gZvc nw\^\XZ ]lY\kbeil` l`bc[\X_wY\`jb` n^_h]XlZ wg_h\gib_w_ Y`fbq \ o fv\b]f\XZ w`^b_ o_w_ d\[%qXi. \f\oXc efqX_ hcYcwXZ d\[%qXi dY_ pi_w_ hgZel]j_w_ e\[_Y_^l\. \[%qXi y X_ bc gZvc ^ZbZo Y\o n ql_w_ b\e bc[_ugZf_ fZwb\XZ. \[%qXi y pc eZg\. s~\f^qlZ èX_YZjbò d\[%qX` y n\lgZl\f xZm\og_ Y]vcfeilZo y ga^Zb\ eX\ _e_hZeXèXa b\Y_^ y b\pà lY\kb\ y ^cYu\f_atV 3[\]^ MLOLKJLM, _àbcb`d e]fghgehi_cj a`k_, The -ay, #*"*4
<?CABU=A>@ ;>ACTICE E0ercise $! ,ive proper Eng ish eluiva ents to the fo o1ing phrases9 [_Y\gibZo \fX_YZXcX ` bcn\h]Xbò eZ[f_g ^gq p`g_w_ d_l_g`bbq ]lY\kbp`f UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU Xf_YjZo fbce_l ] Y_nfZX_l l`b_ n[`pbcbbq b\p`_b\gib_k ^]m_b_eX` mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm qelY\f\ \lX_Yeil\ _e_hZeXèXi mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm _Yw\b`jbZo wY\pòbZo \lX_Y mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm n\uZXZ ef`X_f_k eg\fZ mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm fX`gaf\XZ f e_h` bcnh\wbcbb] fcgZj ^]m] d_X]ub] eZg] Y_n][] o Y`^lèb_w_ X\g\bX] mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm ]fòXZ ^_ n_g_X_k l_gclp`k ]lY\kbeil_w_ l`b_ mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm fZY\nbZl e]X` ^]v` X\ ^][_l fei_w_ ]lY\kbeil_w_ b\Y_^] mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm n\o[\XZ d_jcebc [èpc f w\gcYck f`XjZnbqb_k l]giX]Yb_k ed\^ZbZ mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
-I6CU66I?N ACTI<ITIE6! Aoice your opinion on the main problems of present(day 1krainian cinema.
TE:T & ;>E7TE:T ACTI<ITIE6 Exercise 1. /ou are ging to read about three popular films. $efore you start reading, answer the following uestions:
1# What film ha&e you recently seen? 2# Would you gi&e it fa&oura!le or an unfa&oura!le re&iew? Why 3# Which ad+ecti&es !est descri!e it?
interesting o&er7long !reathtaking tedious stunning gri''ing s'ectacular ground7!reaking
4# What are the main as'ects that could !e descri!ed?

s'ecial effects theme 'lot directing characters acting cast setting
Exerices !. 0ead the passages and answer the uestions from Exercise 1 about the films: "4 Bone #ith the #ind @ear9 1>)> Color -irector9 "ictor :leming >unning Time9 $$$ minutes 6tudio9 /5/ The luintessentia American epic Gone .ith the .ind swee's across the Hld 8outh the Ci&il War and Jeconstruction. #he tale of a selfish headstrong 8outhern !elle who draws her strength from the land it%s a sumptuous costume drama and a rich y entertaining movie. By today%s standards Gone .ith the .ind occasionally la'ses into outright me odrama and its often7stereoty'ical 1>)> 'ortrayal of !lack 'eo'le rankles modern &iewers. Des'ite the flaws of its time this star7studded, big7budget spectacu ar is an icon of 0merican filmmaking and not to !e missed. The >lot #he film is 9uite faithful to /argaret /itchell%s !lock!uster !est7seller and follows the ad&entures of 8carlett H%Hara ("i&ien Keigh in her de!ut role). 8tunningly !eautiful and utterly self7a!sor!ed 8carlett is the daughter of 'lantation owner 5erald H%Hara and secretly in lo&e
with neigh!oring 'lantation owner 0shley Wilkes (Keslie Howard). 0shley meanwhile is 'ledged to his sweet7tem'ered and lo&ely cousin /elanie (Hli&ia De Ha&illand). #he mo&ie o'ens with a flowery descri'tion of the Hld 8outh as the 'lace where ;gallantry took its last !ow = and ;a dream remem!ered a ci&iliDation gone with the wind.= Hn the e&e of the Ci&il War the wealthy families gather for a 'arty at the Wilkes% 'lantation 8e&en Haks where 8carlett first catches sight of Jhett Butler (Clark 5a!le). #his rakish and slightly disre'uta!le gentleman is clearly interested in the 'am'ered southern !elle - and the only man there who understands the Forth will o&er'ower the 8outh in the conflict to come. 0nd that &ery night war is declared. Je+ected !y 0shley 8carlett im'ulsi&ely marries /elanie%s !rother Charles tying the two families together !efore Charles goes off to war (where he 'rom'tly dies of 'neumonia). We follow the indomita!le 8carlett through the ra&ages of war her reluctant 'rotection of /elanie the fall of 0tlanta the ruin of #ara and near7star&ation. #hen it%s another marriage and her 'lucky and scandalous !eha&ior during Jeconstruction. 8he relies on Jhett throughout - !ut continues to re+ect him and cling stu!!ornly to her !elief that she lo&es 0shley. The 'ast of 9Bone #ith the #ind9 Keigh didn%t and the ro e until after filming had !egun - in fact she signed on the day the famous !urning of 0tlanta was filmed using an actual conflagration of old sets on the studio%s !ack lots. (0 stunt woman 'layed 8carlett in the fire scenes.) #he young @nglish actress was an e3cellent choice for the selfish scheming 8carlett a delicate !eauty with a will of iron. 8he%s hard to like !ut she must !e admired. 5a!le is irresisti!le as the rake with a heart of gold and his own admira!le code of honor. His confidence and easy masculinity so far o&ershadow the 'ale attractions of 0shley Wilkes that 8carlett%s continued de&otion strains credulity. De Ha&illand is strong as the almost too7saintly /elanie and Howard is +ust the right sort of weak tea as 0shley. Hattie /cDaniel almost walks away with the mo&ie as /ammy the family ser&ant who sees through 8carlett%s schemes and has more life and Dest in her little finger than half the genteel household. 8he was the first 0frican 0merican nominated for an Hscar and the first to win one as Best 8u''orting 0ctress. By contrast Butterfly /cQueen%s s9ueaky7 &oiced turn as the sim'le7minded 2rissy has become the stuff of parody es'ecially her ;. don%t know nuthin% !out !irthin% no !a!ies= line. With more than ,? s'eaking roles kee'ing all the characters straight is a daunting task !ut the huge cast adds to the scope of the story. #he lush score !y /a3 8teiner detai ed sets and sumptuous costumes superb art direction and gorgeous Technico or cinematography !y @rnest Haller round out the s1eep of this epic fi m.
The $ackstory Oears in the making at * million it was one of the most e3'ensi&e films e&er made and it held the record as highest7grossing mo&ie for many years. 0lthough that record has since !een ecli'sed Gone .ith the .ind is still the !o3 office cham' for most theater tickets sold. .t won the Best 2icture Hscar in one of the most creati&ely com'etiti&e years e&er seen in Hollywood. Hther mo&ies released in 1>)> included *inotchka Stagecoach .uthering -eights and Goodbye &r. Chips. .ncredi!ly the former stunt man who directed Gone with the .ind "ictor :leming is also credited with the other immortal classic released in 1>)>G (he .izard of /z. 9Bone #ith the #ind9 ( the bottom line .t%s a little o&er!lown with attitudes that are more than a little dated yet Gone with the .ind is +ustly famous. /ostly for the !etter and sometimes for worse this e'ic mo&ie is a uni9uely 0merican story. #4 Courtroom 8cene from A#o L.ll a /ocking!irdA To Bi a Moc2ingbird Har'er KeeAs Classic Coming7of70ge /aster'iece on :ilm @ear9 1>4$ Black and White -irector9 Jo!ert /ulligan >unning Time9 1$> minutes 5)t"s a sin to kill a mockingbird.6 7 0tticus :inch .t%s a rare that a mo&ie captures the magic of a great boo2 and yet holds its own as a master'iece of cinema. (o 7ill a &ockingbird does +ust that. 8et in a small 0la!ama town during the 5reat De'ression it raises great 9uestions of racism 'o&erty ignorance and in+ustice with enormous grace and emotional 'ower. /oral and dee'ly humane the mo&ie is a classic coming7of7age story of childhood innocence lost in the segregated 0merican south. The >lot .n hot dusty /aycom! County lawyer 0tticus :inch (5regory 2eck) takes on the case of an innocent !lack man accused of assaulting a white girl. He%s u' against the entrenched racial 'ower structure of the Hld 8outh fierce ta!oos against interracial se3 and the 'ride of the girl%s im'o&erished and &iolent family. 6tudio9 Eni&ersal
#he story is to d from the perspective of :inch%s daughter 8cout (/ary Badham whose character narrates the film in flash!ack) her !rother Jem and their friend Dill (modeled on author Har'er Kee%s childhood friend writer #ruman Ca'ote.) #he children are fascinated !y the decaying old Jadley 'lace where Boo Jadley (Jo!ert Du&all in his film de!ut) is a recluse. 0 grown man who has not left the house for years Boo is a !ogeyman to the children 777until he !egins to lea&e them small gifts at the risk of dis'leasing his a!usi&e father. Hounded at school !ecause their father is defending a !lack man the children watch the trial from the !lacks7only !alcony of the courtroom and !egin to see 0tticus in a new light. Both they and their father are 'ut in real danger as the trial 'rogresses and the two story lines come together as the tension rises. The 'ast of 9To Cill a "ockingbird9 2eck 'lays a hero who%s such a 'erfect human !eing he%d !e a little hard to !elie&e if not for 2eck%s forthright understated 'erformance. He%s intelligent and modest a softs'oken man of un9uestiona!le integrity de&oted to the cause of +ustice. He%s also a de&oted single father and the !est shot in the county. .t%s a good thing the studio%s original 'ick for the role - Jock Hudson didn%t work out. 2eck won a well7deser&ed long7o&erdue Hscar. Badham delightful as the willful tom!oy 8cout was nominated for her amaDingly natural and engaging 'erformance !ut lost the Best 8u''orting 0ctress Hscar to 2atty Duke as Helen Leller in (he &iracle .orker. Brock 2eters is wonderful as the falsely accused #om Jo!inson terrified !ut clinging to his own 'ride and the truth. 0 terrific ensem!le cast !rings the entire town to life with a great sense of 'lace. 0nd although Du&all has only a few moments of screen time as the damaged Boo Jadley he%s unforgetta!le. 9To Cill a "ockingbird9 ( the $ottom 8ine Beautifully shot in b ac2 and 1hite #o Lill a /ocking!ird is a masterpiece that everybody shou d see and no serious mo&ie collector should !e without. The fi m ce ebrates the 'ower of innocence to turn !ack e&il !ut ac2no1 edges that true +ustice is often im'ossi!le to reach. #he great achie&ement of (o 7ill a &ockingbird is its unsentimental a''eal to what Kincoln called ;the !etter angels of our nature.= .t shows us who we want to !e and who we deser&e to !e e&en when we fail. $4
Alien , the Movie @ear9 1>N> Color -irector9 Jidley 8cott >unning Time9 11N minutes 6tudio9 $?th Century :o3 .t%s 'ro!a!ly !est to watch ,lien without thinking too much a!out the rest of the franchise. #he film%s main character @llen Ji'ley ('layed !y 8igourney Wea&er) went on to a''ear in three more films in the series and the alien itself was the center'iece of yet two more (including the stu tifying y dumb mar2eting stunt ,lien vs. #redator$ 4e!uiem.) But don%t +udge the original !y what came after 77 0lien isn%t +ust the scariest s'ace mo&ie e&er made it%s a meticu ous y constructed master c ass in fi m suspense. The >lot Don%t ad+ust your set 7 the first few moments of the film are almost silent. #he s'aceshi' Fostromo (named after Jose'h Conrad%s no&el of e3istential dread) is slowly drifting !ack to @arth carrying twenty million tons of minerals ore. #he crew is held in sus'ended animation for the long tri' home and we watch them wake u' and stum!le towards !reakfast. #hey ha&en%t made it home yet. .nstead the shi'As com'uter (;/other=) has woken them to offer assistance to a dee' s'ace distress signal. But they don%t find anyone in need of hel'. #ouching down on a !arren 'lanet the crew disco&ers the remains of a huge s'aceshi' with an alien 'ilot long dead and a horde of leathery eggs. 8oon they%&e !rought a!oard a su'remely lethal new life form and it%s not long !efore theyAre hunted down one !y one. The p ot is neither comp icated nor innovative !ut that%s not the 'oint. Ender Jidley 8cott%s direction the film uns'ools deli!erately and without mercy. Whether or not you%&e seen it !efore !e ad&isedG #his is not a mo&ie to watch aloneV The 'ast of 9Alien9 Jidley 8cott managed to 'rocure 9uite a team for his ragtag grou' of !lue7collar workaday hacks 7 the coal miners of the s'ace age. 8igourney Wea&er in one of her earliest roles 'lays the hard7nosed 'rotagonist @llen Ji'ley6 #om 8keritt is Ca'tain Dallas6 and .an Holm (well !efore he !ecame a Lnight of the British @m'ire) 'lays the two7faced science officer 0sh. 'eave )t to 0eaver alumn "eronica Cartwright the always e3cellent John Hurt Harry Dean 8tanton and Oa'het Lotto of 4oots round out the cast. #urns out these mar&elous 'layers turn out to !e merely su''orting characters (and lunch) for the real star of the show.
The Alien #o design the alien 8cott !rought on 8wiss 'ainter and scul'tor H.J. 5iger. 5iger com!ined organic and mechanical elements 'hallic imagery and feminine sleekness to create a thoroughly nightmarish creature. (0 thick layer of mucus doesn%t hurt in the cree'y de'artment.) But don%t e3'ect to see too much right away. #he genius of ,lien genius lies how little we actually see of the monster. Confined to shadows and held +ust outside the camera as it stalks the crew what the audience imagines in far more frightening than anything 8cott could e&er show. The $ackstory @&en a casual &iewer will 'ro!a!ly see su'erficial traces of Star .ars (with its weathered !attered technology) and 899:$ , Space /dyssey (with its all7controlling com'uter 'seudo7character.) But a more 'ersuasi&e ins'iration is Howard Hawks%s claustro'ho!ic (he (hing From ,nother .orld (itself a landmark of science7fiction horror.) Kater mo&ies in the franchise !ecame e3ercises for different directors to make e3tremely different films. ,lien remains the !est of the series and Joger @!ert called it Cthe most influential of modern action 'ictures.C (1>>N%s ,lien 4esurrection directed !y Jean72ierre Jeunet is my 'ick for second. .magine a se9uel to ,lien !y the same 'erson who directed the lo&ely ,melieV) .n $??$ the mo&ie was included in the Enited 8tates Fational :ilm Jegistry. 9Alien9 ( The $ottom 8ine Fo 9uestion watch this one when you want to !e scared silly. 5o ahead. Watch it with the lights off. . dare you. <?CABU=A>@ ;>ACTICE Exercise %. 8ook at the words and phrases in bold in the passages. 3rom the context in which they appear, try to come up with a synonym or definition for them. Then use the phrases in your own sentences. Exercise ,. 'omplete the sentences with the words in the box.
When a new film comes out news'a'ers will "4 it. #he 'eo'le who A. re&iew re&iew the film are called #4 and they write $4 . .f they donAt B. highly like a film they gi&e it a !ad re&iew . We can say that a film 44 a recommended true story. We say that a film %4 or that a film &4 . We talk deals with a to'ic a!out the o'ening/closing scenes of a film.We talk a!out the !eginning and C. end of a film ( F H # start and finish) . .f e&erything work s out well for '4 D. the central we say that the film has (4 . Oou may recommend a film that you characters en+oyed to a friend. .f a lot of 'eo'le ha&e en+oyed it it is )4 . E. film critics F. a ha''y ending G. film re&iews H. is !ased on I. ca'tures an atmos'here
+INA= -I6CU66I?N Aoice your opinion on the following uotations about cinema.
1# 0ll you need for a mo&ie is a gun and a girl (%ean-'uc Godard). 2# Does art reflect life? .n mo&ies yes. Because more than any other art form films
ha&e !een a mirror held u' to societyAs 'orous face (&ar;orie 4osen).
3# :or me the cinema is not a slice of life !ut a 'iece of cake (,lfred -itchcock). 4# .f you canAt !elie&e a little in what you see on the screen itAs not worth wasting your
time on cinema (Serge Dane).
5# .n good films there is always a directness that entirely frees us from the itch to
inter'ret (Susan Sontag).
6# /y !elief is that no mo&ie nothing in life lea&es 'eo'le neutral. Oou either lea&e
them u' or you lea&e them down (David #uttnam).
7# /y mo&ie is !orn first in my head dies on 'a'er6 is resuscitated !y the li&ing 'ersons
and real o!+ects . use which are killed on film !ut 'laced in a certain order and 'ro+ected on to a screen come to life again like flowers in water (4obert 0resson).
8# 2eo'le sometimes say that the way things ha''en in the mo&ies is unreal !ut actually
itAs the way things ha''en to you in life thatAs unreal. #he mo&ies make emotions look so strong and real whereas when things really do ha''en to you itAs like watching tele&ision 77 you donAt feel anything (,ndy .arhol).
9# #he cinema is not an art which films lifeG the cinema is something !etween art and
life. Enlike 'ainting and literature the cinema !oth gi&es to life and takes from it and . try to render this conce't in my films. Kiterature and 'ainting !oth e3ist as art from the &ery start6 the cinema doesnAt (Jean7Kuc 5odard).
8>ITIN, ;>ACTICE
1# ?magine you9re writing in a student magaDine or a local English(language

newspaper. #rite a review of a film, explaining why you recommend - don9t recommend it to the readers )about !2E words* . :how your completed review to another student and ask for comments.
2) 8rite an essay on one of the topics suggested!
3#
%
?scar Is Born #he first 0cademy 0wards were announced on :e!ruary 1I 1>$> !ut the dinner to hand out the statuettes was not held until three months later on /ay 1> at the Blossom Joom of the Hollywood Joose&elt Hotel. .t took only fi&e minutes to distri!ute the first Hscars. #hough there was no sus'ense the 'attern of star !eha&ior for the awards was !eginning to show. Fone of the three nominated actors !othered to show u'. @mil Jannings who won the first two years sent a telegram from his nati&e 5ermany which was read aloud !y Douglas :air!anks 8r. first 'resident of the 0cademyG CHand me now already the statuette award C it went 'erha's too carefully translated from the 5erman. Charlie Cha'lin who was nominated for #he Circus (1>$I) stayed away Cdue to cold feet C as William C. De /ille was to remark. 0l Jolson commenting on the fact that #he JaDD 8inger (1>$N) recei&ed a s'ecial Hscar for 'ioneering sound got the laugh of the e&ening !y 'ointing to the statuetteG C:or the life of me . canAt sec what Jack Warner would do with one of them. .t canAt say yes.C 8creenwriter :rances /arion (who remem!ers the first award night as held at the 0le3andria Hotel) descri!ed Hscar Cas a 'erfect sym!ol of the 'icture !usinessG a 'owerful athletic !ody clutching a gleaming sword with half of his head that 'art which held his !rains com'letely sliced off.C (from /o&ie 0necdotes !y 2eter Hay) &1"E0?'A8 31& 3A'T: A$F1T TGE F:'A0: TGAT /F1 "A/ &FT C&F#.
#hree films are tied for winning "" a1ards the most e&erG The 8ord of the
0ings: The 0eturn of the Cing ($??)) Titanic (1>>N) $en Gur (1>,>). $** imousines are reser&ed for each year%s show. 8inger /ichael Jackson 'aid U6n"!%4 mi ion in 1>>> to 8othe!y%s for -avid
6e Anic2%s Best 2icture Hscar for the 1>)> classic Gone .ith the .ind. 8a t -isney holds the record for more 0cademy 0ward nominations than any
other indi&idual (he won $4). ;eter ?oToo e holds the record for !eing nominated for Best 0ctory ( timesy
and ne&er winning. 0t #$4 minutes Bone #ith the #ind is the longest film e&er to win Best 2icture. #he largest E.8. audience was in 1>>N when %#!# mi ion 'eo'le watched (itanic
win Best 2icture. #he youngest7e&er Hscar winner was Tatum ?oNea "* for #aper &oon in (0y 4ob 7iener from 4eader"s Digest ,ustralia 89:9<
1>N)6 the oldest was Cessica Tandy (* for her role in Driving &iss Daisy in 1>I>.
( MEM?>AB=E ?6CA> M?MENT6 #he Hscars ha&e !een around for o&er I? years and ha&e had many memora!le moments in its history. Here are I amaDing highlights.
May "&, ")#) #he first 0cademy 0wards are held at the Hollywood Joose&elt
Hotel6 $,? 'eo'le attend. #ickets cost E8, and the e&ent lasts ten minutes. Best 2icture goes to silent mo&ie #ings.
")$4 0fter winning the Best 0ctor award for ?t Gappened Fne &ight C ar2
,ab e makes the shortest7e&er acce'tance s'eech saying sim'ly ;#hank you.= ")$) 5attie Mc-anie !ecomes the first !lack 'erson to !e nominated for an
0cademy 0ward (or to attend an 0cademy !an9uet) and !ursts into tears when she wins her Hscar for !est su''orting actress as the maid /ammy in Gone .ith the .ind.
")&) "idnight 'owboy was (and is) the only 17rated film to win Best 2icture. ")'$ :or the only time in her career Batharine 5epburn attends the ceremony.
0fter a few minutes on stage to 'resent an honorary award she dashes into a waiting limousine. 0s she once noted ;2riDes are nothing. /y 'riDe is my work.= 8he holds the record for most acting Hscars (four).
"))" 0fter winning an Hscar for Best 8u''orting 0ctor Cac2 ;a ance N) dro's
to the floor and does one7armed 'ush7u's to 'ro&e he can still com'ete with younger actors. "))' Titanic is nominated for 1* Hscars and wins 11. 0fter winning the Best
Director Hscar Cames Cameron announces ;.%m the king of the worldV= "))( .talian actor >oberto Benigni thrills the Hscar audience !y clim!ing o&er (0y 4ob 7iener from 4eader"s Digest ,ustralia 89:9<
seats and !ounding to the stage to recei&e his award as Best 0ctor in 8ife is $eautiful.

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UNIT 4 CINEMA

1. western 3. sword and

death 'olitical incorrectness 're+udice etc D. any second7rate low7!udget mo&ie.

:rench term meaning literally ;!lack <lm = used to descri!e some

10. pickup 11. in the can 12. horse

M. 14. film noir 15. epic

comedy 20. biopic

21. $ picture 22. adaptatio

descri'tion of &arious Aserial killerA films.

(ado'ted from http9..111!fi msite!org)

8H0L@82@0J@ .F KH"@ .n this wholly original romantic comedy a

What was the most e3citing/ amusing/ mo&ing/ disa''ointing/ memora!le/

the B. the of 'rice

cut7 C. shoot 9uickly mo&ies

the D. ha&e at much allure as the

made !io'ic G. stinking re&iews

!reakneck 'ace H. the deadening I. attention to detail or M. an inter'retation

auto!iogra'hical saga a!out the Joyal family. <?CABU=A>@ ;>ACTICE

-I6CU66I?N ACTI<ITIE6 Exercise 6. #ork in pairs and discuss these uestions:

What words in 2aragra'h 1 em'hasiDe Hollywood%s desire to make great 'rofit

Exercise !. "atch the words with their definitions:

live (action C. to be ripe for D. bill something as E.

should ha&e ha''ened sooner F. to !e 'lanned to ha''en in the future es'ecially at a

)on something* 8# to reboot

13# to be slated for M.

15# revitalise 16# to release

'erce'tion of the world? 0re all film genres e9ually emotional?

#he on7screen chemistry of romantic comedies has ke't cinema audiences

e'och they re'resent?

comedies discussed? What does success/failure of a romantic comedy de'end on?

10# What is the author%s attitude to the romcom genre?

-?E6 <I?=ENCE ?N T5E 6C>EEN C>EATE <I?=ENCE IN

{|}| ~ . }x GHIJ KLMNOIPQRM R

SGOTKG UVWNVIOI XWIKNYIZ

4# What are the main as'ects that could !e descri!ed?

1# ?magine you9re writing in a student magaDine or a local English(language

2) 8rite an essay on one of the topics suggested!

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