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

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

logical?

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

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

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

pretation of characters?

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

teristic noises employed? Is the music suitable?

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

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

film is worth seeing?

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

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

giving opinion. See«Appendix.)

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

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

the Topical Vocabulary.

M o d e l : A: I've seen a feature film that was a hit with the public.

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

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

work ....

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

1.

the financing of film ptoduction; 2. repertoire (the social and ideological significance of the plots, the main aim of motion

pictures, horror and crime films, commercials); 3. acting profession (possibility of choice; guaranteed jobs; 4. photography and

sound effects; 5. attendance at cinemas; 6. prices of tickets; 7. videos.

9. In recent years cinema has become a challenge to the everlasting art and entertainment of theatre. What do you think are the reasons for

this? Consider the following and expand on the points which you think are especially significant:

1. cheap price of the entertainment; 2. films can be seen in places where there are no theatres; 3. minimum of effort is spent to get

entertainment; 4. casts of players are often much better than at some theatres; 5. varieties of films to suit all tastes; 6. cinema is

widely open to various experiments; 7. certain scenic effects (earthquakes, fires, horse races) can be created much better in films.

10. Read the following dialogue. The expressions in bold type show the ways English people express agreement and disagreement. Note them

down. Be ready to act out the dialogue in class.

The Reign of Disney

A: Now, I'd just like to say that Walt Disney has dominated the cartoon greatly. To many people in the thirties — and that was the

golden age of the cartoon — to many people then and since the cartoon has simply meant W.Disney's work.

B: Well, you have a point here, but I am not so sure about the golden age of the cartoon. I think many cartoons of later years

have much more interesting plots and technique.

A: Perhaps. But don't you think that Disney's shorts have carefully worked out plots, sometimes very neat? They are not simply

a string of violent gags, in the style of later American cartoons. Well, you see what I mean.

B: Yes, I agree entirely here. There is a reassuring, homely quality about his shorts founded on the resemblances between the

animal and the human world.

A: I couldn't agree more. His animal characters are actually human beings in disguise and they behave like recognizable

individuals.

B: That's exactly what I think. Mickey is the quiet little chap, who at the end of the race has outdistanced his more spectacular

rivals. He and Minnie both, are the innocents who triumph over the wicked world.

A: Yes, that's true. That's my way of looking at it too. Donald Duck always flies into spluttering indignant passion. Pluto and

Goofy are not too bright but both have hearts of gold and meet the world with a bewildered and bewildering enthusiasm. Disney in

fact has presented the world of the average American, preaching a moral, giving a message of optimism, of success.

B: You may be right, but I think it goes further than that, a lot further. His stories end happily, the characters are essentially

good fellows, the violence is not too extreme, cruelty and tragedy are excluded. Any satire is more than gentle. This imitation world is

presented with supreme technical competence and the various factors are blended to comfort and soothe the audience, to give it

something easy and undemanding.

A: I see what you mean, but there are potentially cruel and dangerous characters in Disney's longer films. There is a case of

"Snow White" having been given an "X" certificate. I myself have known children terrified by "Pinocchio". Perhaps what frightens

them are situations in which the child hero or heroine is in danger or being ill-treated.

B: What you say's perfectly true. But all the same W. Disney's films are readily accepted by mass audiences conditioned to the

Disney philosophy. All I know is that these films are very sentimental though they have been widely popular.

11. Answer the following questions:

1. Have you seen any of W.Disney's shorts? longer films? What is your impression of them? 2. Do you agree with all that is said

in the dialogue? With which statements dealing with his work do you disagree?

Use clichés expressing AGREEMENT and DISAGREEMENT given in the dialogue (Ex. 10). You may also use other phrases to express

disagreement:

A. You can disagree mildly: Well, I wouldn't go quite that far; I'm not so sure; That may be so ... but ... ; Yes, that's true, but take

my case; Oh, you wouldn't think so ... ; I wouldn't say that exactly; It might be right but... ; On the other hand ....

B. You may disagree strongly when you can allow yourself to be abrupt or even a bit rude: Rubbish!; That's totally • unfounded;

That's all right for you to talk but... ; You seem to think that things are different for me.

12. Work in pairs. Read the statements and agree or disagree with them. Agreement or disagreement should be followed by some appropriate

comment where possible:

1.

In the twentieth century people are much more fascinated by theatre than by cinema. 2. Cinema is an art of illusion. 3. It is

necessary for a film to leave certain shadows, unresolved fantasies. 4. Cinema can help a lot in the field of education. 5. In most films

music is seldom used to advantage as it is extremely difficult to achieve a harmonious collaboration between the plot and music. 6.

Violence should not be shown on the screen. 7. The success of a film mainly depends on the film director. 8. Cinema is not an ear nest