Study the Vocabulary Notes and translate the illustrative examples into Russian.

2. Translate the following sentences into Russian. Pay attention to the words and word combinations in bold type:

A. 1. They had no sooner sat down to table, that he went straight to the point. 2. Myra watched us both tensely, but I knew that how­ever hard she listened, she was bound to miss the point. 3. I have made a point of travelling with a large sack filled to the brim with books to suit every possible occasion and every mood. 4. "There is no point in carrying your troubles home with you. You're sup­posed to leave them in the office," said Tom. 5. What one would do theoretically is not always what one will do when it comes to the point. 6. I woke up to find the hands of my clock pointing to eight o'clock. 7. There are some dreams, known to most people, in which every action slows down, and each movement takes place as though the dreamer's feet were stuck in treacle. 8. The ship was to be built at last. The dream was to be realized. 9. Strickland lived in a dream and reality meant nothing to him. 10. Dressed in white, with her golden hair streaming over her shoulders she looked a perfect dream. 11. A dreamy look came into the mother's eyes. 12. Last night I dreamed I went to Manderley again. 13. I am not sure however that the news inspires me with feelings of unmixed de­light. 14. I realized with mixed feelings that an important part of her happiness consisted in looking after me. 15. He must have got mixed up in something in Chicago. 16. Through a mixture of good luck and good management I had done well in the Bar examina­tions. 17. Did you get appointments mixed or something? 18. She never seemed to mix with other children. 19. There was a smell of petrol from the Bayswater Road, mixed with the smell of spring. 20. The day he first drifted into their crowded busy rooms, they all suspected him of being a spy. 21. I am now pretty sure that my first suspicion is justified. 22. The door was unlocked from inside and the face of George appeared, peering out suspiciously. 23. I suspected at once that his unfortunate brother had been caus­ing trouble again. 24. In that remote village people were suspi­cious of strangers. 25. Dick in an unconscious gesture, ran his hand over his hair and ajusted the scarf. 26. Both she and Jane were rather conscious of their ages and conscious of having put their first youth behind them. 27. For the first time she was con­scious of a second self, whose existence she had not suspected. 28. She was never at a loss for something to say, never conscious of groping around for a topic. 29. There was no noise, no effort, no consciousness in anything he did; but in everything an indescrib­able lightness, which was so graceful.

B. 1. You ought to know me well enough by now to know that I would never let sentiment interfere with business. 2. Evidently his little adventure had not interfered with either his spirits or his ap­petite. 3. Old Thomas had never interfered to the smallest degree in the affairs of others. 4. Don't you realize that any interference at this stage can be extremely dangerous? 5. The constant chatter of the children prevented him from working. 6. His health was seri­ously affected and he suffered from constant sleeplessness. 7. The crops are high, they need constant care and the work is hard. 8. For centuries the atom resisted all attempts to discover the se­cret of its structure. 9. My heart still resisted what my head was telling me. 10. They caught him by the wrist and led him; he went without resistance. 11. It was years since any woman had spoken to him in that way; Mr. Honey was irresistibly reminded of his dead wife. 12. This is only a short story but the author's outlook is re­flected in it. 13. Alan's lamplit figure was reflected clearly in the window beside his desk. 14. Sea voyages promote reflection. 15. At this point in his reflections he arrived at Riskin Street. 16. He had gone to Switzerland to admire the landscape. 17. As he sat at tea with the family all his admiration for the charm and prettiness of the girl filled him afresh. 18. "Cecily lives at my place in the coun­try under the charge of her admirable governess," said Jack. 19. I admired tremendously the way he defended us. 20. His self-control aroused my helpless admiration. 21.1 think you've caught the tune admirably.

3. Paraphrase the following sentences using your active vocabulary:

A. 1. I don't quite understand what you mean. 2. I've made it a rule to get up early every day, and I'm none the worse for it. 3. There seems no reason for prolonging this interview. 4. He's just about to go, you'd better speak to him right now. 5. He called our attention to the statue on which lay patches of snow. 6. He couldn't live without his work, it would make life meaningless. 7. Don't waste time imagining impossible things. 8. She wouldn't even think of doing such a thing. 9. He is quite an impractical person and lives in a world of fantasy. 10. What ideas did you have during sleep last night? 11. Don't get involved in the affair. 12. We can sometimes combine business with pleasure. 13. He does not get on well with other people. 14. Of course, I've confused the two songs. 15. It was odd, what a variety of motives I had. 16. As for him I have no doubt of his innocence. 17. Every eye was turned upon Bosin- ney; all waited with a strange distrustful look for his answer. 18. Still a feeling of doubt and distrust was in the air, and there was much talk. 19. I know I've done wrong. 20. The blow caused him to faint. 21. He is too keenly aware of his drawback. 22. Emil was aware of a new emptiness in his life.

B. 1. Don't busy yourself with this, Frank, this is my affair entire­ly. 2. There's something hindering the telephone connection. 3. Maxim always tries to take an active but unwelcome part in my activity. 4. Her unceasing nagging irritated Robert. 5. He is my faithful friend. 6. I didn't yield to an impulse to move back. 7. The movement against occupying forces was getting stronger. 8. After thinking about it carefully, I found it necessary to warn her. 9. The pavements were damp and they threw back the yellow light. 10. He roused himself unwillingly from his thoughts upon the past experi­ences and rose to his feet. 11. Rudolf yielded to the temptation without feeling mean about it afterwards. 12. She is a woman long accustomed to respect and flattery. 13. "Doesn't she look glori­ous?" said a young man at the ball-room door, with deep wonder excited by the girl's beauty.

 

4. Explain or comment on the following sentences:

A. 1. That's hardly the point at the moment. 2. You're tired out or you'd see the point at once. 3. You've missed the whole point of the story. 4. His comments are always to the point. 5. Does he make a point of always pretending not to notice me? 6. Try and see it from her point of view. 7. But with all her education, learning was never Kate's strong point, she got on perfectly well without it. 8. There wasn't any point in arguing, so I gave in. 9. We saw that Robert had reached the breaking-point. 10. When it came to the point, he proved to be unreliable. 11. I'll point out a turn when one is required. 12. It's pointless to worry about it now. 13. Goring stared after him, tempted to catch him. 14. I myself might have painted the portrait. The forlorn dark eyes gazed steadily back at me, sharing, or at least understanding, as it seemed, my foolish boyish dreams. 15. It all happened dreamily as though it were hap­pening to someone else. 16. Even Paul, she thought, only existed now as someone she had dreamed about. 17. Space travel used to be just a dream. 18. Her feelings were a mixture of joy and anxiety. 19. At the unexpected question everything got mixed up in my head. 20. If anything happens, mind that he isn't mixed up in that. 21. I still had mixed feelings about seeing her. 22. He was a good mixer and soon made friends with everybody. 23. I have a strong suspicion that when I'm not with you, you don't give me much thought. 24. It was only then that I suspected him of teasing me. 25. As the door closed behind him, he looked round him with fierce, startled eyes, like one who suspects a trap at every turn. 26. She went on talking quite unconscious that she had said the wrong thing. 27. He's well aware of what is going on at the office. 28. She's aware of her shortcomings and that makes her self-con­scious.

B. 1.1 know Bella well enough to know that she wouldn't put up with any interference with her liberty of action. 2. If people inter­fere with you it's because you like it. 3. Our well-meant inter­ference was really rather a pity. 4. He was tired of his wife's con­stant complaints. 5. I am indignant with her for her constant ab­sence. 6. He was too tired to resist the pain. 7. As soon as Finn suggested this idea it seemed to all of us an irresistible one.

8. A good advertisement should not arouse resistance in the public.

9. She felt an irresistible urge to go and order a new dress. 10. On reflection she felt sure that you have done the right thing. 11. But then, I reflected, he may have been perfectly sincere. 12. The sun was setting red behind the pine trees, the evening sky reflected it­self in the pools. 13. I must reflect upon what answer to give.

14. A moment's reflection made him realize that she was right.

15. "That's fine," he mumbled in admiration. 16. And I dare say I'll make him an admirable wife as wives go. 17. I admire your ease in answering such a question.

5. Give English equivalents for the following phrases:

упустить самое главное; говорить по существу; быть склонным принять предложение; фантазер; страшный сон; видеть во сне; меч­тать стать художником; быть замешанным в каком-л. деле; общитель­ный человек; спутать адреса; смешать муку с сахаром; по подозре­нию; подозревать в воровстве; вне подозрения; подозрительный человек; прийти в сознание; вмешиваться в чужие дела; мешать ра­боте; постоянная работа; постоянный успех; постоянные головные боли; линия наименьшего сопротивления; не поддаться искушению; неотразимое очарование; отразить нападение; поразмыслив; восхи­тительная няня; восхищаться мудрым доктором; чувствовать восхи­щение перед актерами

6. Translate the following sentences into English:

A. 1. Извините меня, но я не могу уделить вам много времени. Пе­реходите, пожалуйста, сразу к сути дела. 2. Том вздохнул с облегче­нием. «Никак не думал, что мы придем к соглашению по всем пунк­там»,— сказал он. 3. Боюсь, что мало смысла чинить "эти старые туфли, они от этого лучше не станут. 4. Когда дошло до дела, Руфь и пальцем не пошевелила, чтобы помочь нам. 5. Мне бы хотелось ука­зать вам на некоторые слабые места в вашей статье. 6. Сон был таким необычным, что я проснулся. 7. Мне снилось, что я снова в деревне. 8. Я вчера опять видел вас во сне. 9. Мне бы никогда и в голову не пришло задавать такие вопросы при посторонних. 10. Она весь день ходила как во сне. 11. Я слушала его рассказ об экспедиции со сме­шанным чувством страха и восхищения. 12. Почему вы всегда путае­те их фамилии? Они же совсем непохожи. 13. Возьмите масло, яйца, муку и цукаты и хорошенько перемешайте все это. 14. Сначала нуж­но развести крахмал в холодной воде, а потом уже добавлять кипя­ток. 15. По-моему, преимущества школ совместного обучения маль­чиков и девочек совершенно очевидны. 16. У них хорошая квартира, но первое, что бросается в глаза, это смешение двух совершенно различных вкусов. 17. Разве у тебя есть какие-либо основания подо­зревать меня во лжи? 18. Когда Клайда арестовали по подозрению в убийстве, он все еще надеялся, что сумеет скрыть свое страшное преступление. 19. Вахтер уверял, что он не видел никаких подозри­тельных субъектов. 20. Грей знал, что пройдут месяцы, прежде чем возникнут какие-либо подозрения. 21. Может быть, он и хороший специалист, но, право же, его манера говорить с сознанием соб­ственного превосходства крайне неприятна. 22. Не чувствуя навис­шей над ними опасности, геологи продолжали свой трудный путь. 23. Мальчик немного заикается; из-за этого он очень застенчив и не решается произнести ни слова в присутствии посторонних. 24. Док­тор наклонился над лежащим без сознания больным. Через некото­рое время больной пришел в себя, открыл глаза и спросил: «Где я?» 25. Врач сказал, что у нее нет ничего серьезного, должно быть, она потеряла сознание из-за духоты.

В. 1. Мы не должны допускать, чтобы развлечения мешали работе. 2. У меня было сильное желание сказать ей, чтобы она не вмешива- лась в мои дела. 3. К сожалению, твоя старшая сестра всегда вмеши­вается в наши споры. 4. Я поеду в деревню завтра, если мне ничто не помешает. 5. Это нарушает мои планы. 6. Я полагаю, что ты покуша­ешься на мою независимость. 7. Непрерывная болтовня детей раз­дражала старушку. 8. Как я устала от твоих постоянных жалоб. 9. Че­ловеку очень важно, чтобы рядом был верный друг. 10. Отряд отразил атаку, но еще не добился превосходства над противником. 11. Враг уже не мог оказывать сопротивление. 12. Современные са­молеты легко преодолевают сопротивление воздуха. 13. Боль была такой сильной, что больной не мог удержаться, чтобы не закричать. 14. Я бы очень посоветовала вам сделать над собой усилие и не подда­ваться ее влиянию. 15. Эндрю почувствовал очень сильное желание расхохотаться. 16. Кто бы мог устоять против такого искушения! 17. Должна признаться, что в пении этой женщины есть какое-то неотразимое очарование. 18. Яркие огни реклам отражались в тем­ной воде реки. 19. Размышляя о приключении прошлой ночи, Фред­ди восхищался своим другом, который проявил такое присутствие духа. 20. Всем стало неловко, когда мальчик вмешался в разговор. 21. Он считает, что это помешает его карьере. 22. К сожалению, я не мог дать вам ее постоянный адрес. 23. Туристы стояли перед старин­ным собором, восхищаясь красотой его куполов. 24. Нельзя не вос­хищаться людьми, которые добиваются своей цели, несмотря на трудности. 25. Я не сомневаюсь, что из Марии выйдет превосходная жена и любящая мать.

7. Review the Essential Vocabulary and use it in answering the following questions:

[1] What do we say if soldiers can repel an attack? 2. What do we say of a person who can't keep himself from watching television from noon to night? 3. What should you do if you have blue and yellow paints but need a green one? 4. What do we call a person who has impractical or romantic ideas or plans? 5. How can we refer to a school attended by girls and boys? 6. How would you char­acterize a person's behaviour if he is always getting involved in things which are no concern of his? 7. What do we call a person who feels at ease in any company and associates with others in so­ciety? 8. What do people usually feel if the beauty of a picture made them gaze at it? 9. What would you say if a girl can't keep herself from eating chocolates? 10. What is another way of saying "to be involved in an unpleasant affair"? 11. What do we say if a person confuses two songs? 12. If everybody yields to a lady's charm what would you say about her? 13. What do you call a per­son who is prepared to worship you? 14. What should you do with the ingredients to prepare a salad? 15. What do we say of a person who regularly visits the library? 16. What do we expect of a person before he gives us his answer? 17. What would you say of a person if you believe in his possible guilt? 18. What is another way of say­ing "to call attention to"? 19. How would you characterize a person who is keenly aware of his own manners and appearance?

 

8. Respond to the following statements and questions using the Essential Vocabulary:

1. She is so fat. Why can't she stop eating so much? 2. What kind of friend would everyone like to have? 3. There were two ways out of the situation. Why has he chosen the simplest? 4. The paint is a bit thick. 5. I should never have thought that you would fall for her promises. 6. Which of the two twins is Bob? 7. What are you thinking about with those sleepy eyes of yours? 8. Why are you go­ing to bed so early? 9. Whatever did you go to the cinema for if you were really so pressed for time? 10. What's so funny about the sto­ry? 11. I wonder if I should be telling you all this? 12. I was sur­prised you didn't come on time yesterday.

9. Make up and practise short situations in which you would say the follow­ing: point.

[1] She mixed up the words "tale" and "tail". 2. I couldn't resist the temptation. 3. Yes, I know the man. He is our constant visitor. 4. I hope, I am not interfering? 5. On reflection he answered in the negative. 6. She has always been dreaming of this career. 7. The girl is an admirable nurse. 8. She had an irresistible desire to laugh. 9. Don't waste time dreaming. 10. And still I think there is some­thing suspicious about his behaviour. 11. Your answer is not to the point. 12. You and me do not see eye to eye on this point. 13. He spoke with conscious superiority. 14. She is too self-conscious to feel at ease among strangers.

 

10. Make up and act out dialogues using the following words and word com­binations:

1. to resist one's charm, to yield, to feel admiration for smb., on reflection, suspicious-looking person;

2. to make a point of doing smth., to interfere in smb.'s affairs, deep in reflection, to mix up, to dream of smth.;

3. constant friend, to be on the point of doing smth., to resist the temptation, to feel self-conscious, to suspect smb. of smth.

11. Find in Text Two and note down phrases in which the prepositions (or ad­verbs) since and before are used.

12. Fill in since or before:

1. He was a man with no future... him. 2. Nobody dared speak about it... him. 3. Like his father... him, he had an eye for a face. 4. He knelt... her. 5.1 was angry with him at the time but I have for­given him long.... 6. I'll give you a cup of tea... I explain to you what has happened. 7. He said he had never met the girl.... 8. He left in 1950 and has not been heard of.... 9. They came to London in 1937, and have been there ever.... 10.... we have no money, we cannot buy it. 11. She hasn't been home... her marriage.

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

1. Вскоре он увидел перед собой дорогу. 2. Он поднялся и встал пе­ред картиной. 3. У меня талон на 10.15, вы идете передо мной. 4. Он встал перед ней на колени. 5. Вы хотели унизить меня перед всеми. 6. С момента нашей встречи многое изменилось к лучшему. 7. Карти­на пострадала от пожара и с тех пор не реставрировалась. 8. Сколько же времени ты не стриг волосы? 9. Я хотела рассказать ей обо всем, но на другой день она уехала, и с тех пор я ее не видела. 10. Прошла неделя с тех пор как я наводила справки. Ответа пока нет.

14. a) Give the Russian equivalents of the following sayings and proverbs, b) Explain in English the meaning of each proverb and saying, c) Make up and practise a short situation to illustrate one of the proverbs or sayings:

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

CONVERSATION AND DISCUSSION MAN AND THE MOVIES

Topical Vocabulary

1. Cinema: cinema (house), open-air theatre, cinema with con­tinuous performance, drive-in-theatre, film, movie, (motion) pic­ture, to go to the cinema (a movie, movies, pictures), normal screen, wide (large, broad) screen, the first (second) showing, entrance (exit), showing (performance, programme) begins at... (ends at...), colour poster, the box office, to book tickets.

2. Films: documentary, educational, popular scientific (or sci­ence) film, feature film, science fiction film, animated cartoon, ad­venture film, musical, puppet film, thriller, comedy, horror film, crime film, Western, children's film, theatrical film, wide-screen, colour (black-and-white, mute, sound, dubbed, full-length, short- length) film, short, two (three) part film, wartime epic newsreel, serial, "X" film,^[1] star-studded film, the screen version (adaptation) of the novel.

3. Parts of films: scene, outdoor (indoor) scene, the opening scene, the final scene, crowd scene, an episode, still, shot, long shot, close-up, caption, subtitle, flash-back(s).

4. Cinema work: to shoot (produce, make) a film, to make a screen version (adaptation) of a novel, to screen a novel (play, story), to adapt a novel for the screen, to film a novel, to.play (act) on the screen, to release a picture, to come out (about a film), to go into production, to remake a film, to reissue a film, to be dubbed in Russian, to present a film in Russian, co-production (joint pro­duction), directed by..., scenery and costumes by..., the songs set to music by....

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

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

7. Actors and acting: the cast, comedian, an actor of great promise, leading actor, star, to play the main (leading, title, key) or small (supporting, minor) role, to co-star, to portray a character, to give a convincing (memorable, captivating, warm, brilliant, su­perb) portrayal of..., to give a magnificent performance as... (in), to take (gain) the best actress (actor) award (title), to create a true- to-life image, to make the most of the role, to bring to life on the screen, to come alive on the screen, a typical N role, to outshine everybody else, a new N film, to star in a role, to be miscast (ill-cho­sen), to be cast to advantage.

8. Effect. Impression: the film deals with (depicts, presents, tells of); the message of the film; to win universal acclaim; to praise un­reservedly; to leave a deep and lasting impression on; to appeal so much to the audience; to be (make) a hit with the public; a delight­ful, amusing comedy; entertaining (powerful, gripping, absorbing, vividly dramatic, technically brilliant, sad, depressing, slow-mov- ing, dragged-out) film; to mar a film; to leave smb. cold; empty of serious content; a flop; a good film, not without flaws; a run-of-the- mill film; not a film to everyone's taste; not an easy film to watch; obscure and complex ideas.

1. Read the text for obtaining its information:

No other art form has had quite the impact on our lives that the motion pictures have. Indeed, the movies are truly an art of our time — they were born and have come of age in the twentieth cen­tury, and they now demand the serious consideration given to the other arts. Everybody loves a story. Children mesmerized for hours before a television set watching cartoons they are seeing for the fifth or sixth time, or long lines of shivering movie-goers outside a theater^[2]on a winter night, convincingly demonstrate that truth. And today the love of story, as these examples suggest, is requited much more often than not with a narrative told in visual images.

There can be no question about the supremacy of the visual im­age in the realm of story. The fact chat images and movies have many uses besides story-telling simply adds gratuitous evidence in support of the observation that the life of the mind today receives its nourishment primarily from visual, rather than verbal sources.

Clearly, in terms of sheer quantity, visual narrative is the great­est aesthetic and educational force in the world today, and the movies, the visual narrative media — qualify unchallenged as the art of our time.

No one has ever seriously doubted that the movies are a power­ful force in contemporary life. Quite the contrary. Their potential for propaganda purposes was immediately recognized and in some cases exploited. What has been questioned is the capacity of the movies for doing good. Youthful and perhaps too much a work horse in the cultural market-place, they have been vulnerable to the charge that they are unable to awaken and refresh the mind, that they cannot tap the deepest reaches of man's spiritual life and so, incapable of articulating anything of consequence, are at best a rudimentary art.

Yet the movies are not now as disturbing for intellectuals as they once were. One reason, no doubt, is that they are no longer, at least in the United States, the popular art; television has stolen the limelight.

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

Much remains to be accomplished, however. Since we have to live with the movies, we would prefer not to be embarrassed by them; we want the chance to exercise our humanity in and through the movies, and so we persist in demanding that the movies make more room for man within their aesthetic boundaries.

We would not, by any means take the fun off movies in order to fit them into the traditional earnestness associated with education... but the aim is, and should be a higher hedonism which more pro­foundly entertains the heart and mind. With the existing film clas­sics and the fifteen to twenty a year from around the world capable of captivating attention — there are enough good and great mov­ies for us to grow by. The movies arouse the mind and eoul when given undivided attention.

2. Answer the following questions:

1. The extract is written by an American critic. Can you find evi­dence of this in the text? 2. Why do you think movies are regarded as "truly an art of our time"? 3. What facts given in the extract prove the idea that nowadays people prefer a narrative told in visu­al images? Do you agree with this opinion? Support whatever you say. 4. How can movies be helpful for people besides relating sto­ries? Which of the spheres do you consider most significant? Give your reasons. 5. Why do you think movies possess the greatest aes­thetic and educational force? 6. How can you account for the fact that the capacity of the movies for doing good has been ques­tioned? 7. Why in your opinion do some people regard movies as a rudimentary art? 8. Would you agree that cinema can be regard­ed as the popular art, that it belongs to mass culture? What do you know about this art? 9. What kind of entertainment is nowadays ri­valling cinema? Why? 10. What is the place of cinema, as the au­thor sees it, among the other arts? Do you agree with him? 11. Do you think movies should be all fun or rather a thought-provoking and earnest art? 12. What is the main aim of the movies as the au­thor sees it? The only word he uses to denote this art is movies. What synonymous expression would a British critic use? What other synonyms to this word do you know?

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

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

4. cinema and education; 5. cinema — an earnest, thought-provok- ing or rudimentary art; 6. the place of cinema among the other arts, its main aim.

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

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

4. Use the Topical Vocabulary in answering the questions:

1. What does a usual cinema showing consist of? 2. How often do you go to the pictures and where do you prefer to sit? 3. What types of films do you know? 4. What films appeal to you most?

5. Do you care for long films? 6. What is a film star? What does the success of a film depend on? 8. Which is more important — the story, the acting, the directing or ishe camera-work? 9. What do we mean when we say that a film has\a message to convey? 10. Why does a director trying to interpret a great work of literature on the screen take upon himself a most responsible task? 11. How is the cinema used as an aid in teaching? 12. What do you know about international film festivals? How often are Moscow Film Festivals held? What is their motto?

5. Give a review of a film you have recently seen and liked (disliked). Use the Topical Vocabulary. Remember: A review should guide and inform. A mere tell­ing of the story is not a review.

Outline for Motion Picture Review

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

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

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

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

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

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

7. Sound effects: Does speaking or acting predominate? Does the dialogue seem real? Do actors speak effectively? Are charac­teristic noises employed? Is the music suitable?

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

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

6. You are asked to tell a group of English students about the best children's film produced by Russian studios. Which film would you choose? (Describe the film in about fifty words. Use the Topical Vocabulary, Outline for Motion Picture Review of Ex. 5. and conversational formulas for giving opinion. See«Appendix.)

7. Work in pairs. Discuss the films you have recently seen. One of the stu­dents is supposed to speak about a film he liked, the other about a different film which he disliked. Try and interrupt each other with questions to get some more information about the film you have not seen. Use the Topical Vocabulary.

Model: A: I've seen a feature film that was a hit with the public.

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

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

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

1. the financing of film ptoduction; 2. repertoire (the social and ideological significance of the plots, the main aim of motion pic­tures, horror and crime films, commercials); 3. acting profession (possibility of choice; guaranteed jobs; 4. photography and sound effects; 5. attendance at cinemas; 6. prices of tickets; 7. videos.

9. In recent years cinema has become a challenge to the everlasting art and entertainment of theatre. What do you think are the reasons for this? Consider the following and expand on the points which you think are especially signifi­cant:

1. cheap price of the entertainment; 2. films can be seen in places where there are no theatres; 3. minimum of effort is spent to get entertainment; 4. casts of players are often much better than at some theatres; 5. varieties of films to suit all tastes; 6. cinema is widely open to various experiments; 7. certain scenic effects (earthquakes, fires, horse races) can be created much better in films.

Read the following dialogue. The expressions in bold type show the ways English people express agreement and disagreement. Note them down. Be ready to act out the dialogue in class.