Методическое пособие по практике основного иностранного языка (английский) для направления 050100 Педагогическое образование
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Reading 5. What do you know about the film genres? Match the titles of the popular films from the left column (1-10) with the proper genres from the right column (a-j).
6. Divide into 3 groups and read one film review by Roger Ebert, a famous film critic and a winner of the Pulitzer Prize (1975), choosing from Text 3, Text 4 or Text 5:
TEXT 3. SPIRITED AWAY Viewing Hayao Miyazaki’s2Spirited Away, I was struck by a quality between generosity and love. On earlier viewings I was caught up by the boundless imagination of the story. This time I began to focus on the elements in the picture that didn’t need to be there. Animation is a painstaking process, and there is a tendency to simplify its visual elements. Miyazaki, in contrast, offers complexity. His backgrounds are rich in detail, his canvas embraces space liberally, and it is all drawn with meticulous attention. We may not pay much conscious attention to the corners of the frame, but we know they are there, and they reinforce the remarkable precision of his fantasy worlds.  Spirited Away is surely one of the finest of all animated films, and it has its foundation in the traditional bedrock of animation, which is frame-by-frame drawing. Miyazaki began his career in that style, but he is a realist and has permitted the use of computers for some of the busywork. But he personally draws thousands of frames by hand. “We take handmade cell animation and digitize it in order to enrich the visual look,” he told me in 2002, “but everything starts with the human hand drawing.” That’s what I mean by generosity and love. Miyazaki and his colleagues care enough to lavish as much energy on the less significant parts of the frame. The story of Spirited Away has been populated with limitless creativity. Has any film ever contained more different kinds of beings that we have never seen anywhere before? Miyazaki’s imagination never rests. His story involves a 10-year-old girl named Chihiro3, who isn’t one of those cheerful little automatons that populate many animated films. She is described by many critics as “sullen”. Yes, and impatient and impetuous, as she’s stuck in the back seat during a long drive to a house her parents want to examine. Her father loses the way in a dark forest, and the road seems to end at the entrance to a tunnel. Investigating it, they find it leads to an abandoned amusement park.This is the beginning of an extraordinary adventure. Miyazaki says he made the film specifically for 10-year-old girls. That is why it plays so powerfully for adult viewers. Movies made for “everybody” are actually made for nobody in particular. Movies about specific characters in a detailed world are spellbinding because they make no attempt to cater to us; they are defiantly, triumphantly, themselves. As I watched the film again, I was spellbound as much as by any film I consider great. That helps explain why Spirited Awaygrossed more than “Titanic” in Japan. I was so fortunate to meet Miyazaki at the 2002 Toronto film festival. I told him I love the “gratuitous motion” in his films; instead of every movement being dictated by the story. “We have a word for that in Japanese,” he said. “It’s called ‘ma’4. Emptiness. It’s there intentionally.” He clapped his hands three or four times. “The time in between my clapping is ‘ma’. If you just have non-stop action with no breathing space at all, it’s just busyness.” I think that helps explain why Miyazaki’s films are more absorbing than the frantic action in a lot of American animation. “The people who make the movies are scared of silence” he said. “What really matters is the underlying emotions.” (http://www.rogerebert.com/reviews/great-movie-spirited-away-2002) 7. Match the phrases from Text 3 (1-7) with their definitions (a-g); use them in your summary. Try to translate the phrases into Russian.
8. Find the equivalents of the following expressions in Text 3, give the Russian translations. Use them in your summary.
9. Translate Paragraph 2 of Text 3 from English into Russian beginning with “Spirited Away is surely one of the finest…” up to “…on the less significant parts of the frame”. TEXT 4. INGLOURIOUS BASTERDS5 Quentin Tarantino’s InglouriousBasterds is a big, bold, audacious war movie that will annoy some, startle others and demonstrate once again that he’s the real thing, a director of quixotic delights. For starters, he provides World War II with a much-needed alternative ending.  From the title, ripped off from a 1978 B-movie, to the Western sound of the EnnioMorricone opening music, the film embeds Tarantino’s love of the movies. The deep, rich colors of 35mm film provide tactile pleasure. A character at the beginning and end, not seen in between, brings the story full circle. The “basterds” themselves, savage fighters dropped behind Nazi lines, are an unmistakable nod to The Dirty Dozen (1967). And above all, there are three iconic characters, drawn broadly and with love: the Hero, the Nazi and the Girl. These three, played by Brad Pitt, Christoph Waltz and Melanie Laurent, are seen with that Tarantino’s knack of taking a character and making it The Character, definitive, larger than life, approaching satire in its intensity. Let’s say they feel bigger than most of the people we meet in movies. The story begins in Nazi-occupied France, early in the war, when the Nazi arrives at an isolated dairy farm where he believes the farmer is hiding Jews. He’s right, and a young woman named Shosanna – the Girl – flees into the woods. It is for this scene, and his performance throughout the movie, that Christoph Waltz deserves an Oscar nomination. He creates a character unlike any Nazi — indeed, anyone at all — I’ve seen in a movie: evil, sardonic, ironic, mannered, absurd. The Hero is Brad Pitt, starring as Lt. Aldo Raine. He is played by Pitt as a broad caricature of a hard-talking Southern boy who wants each of his men to bring him 100 Nazi scalps. For years, his band improbably survives in France and massacres Nazis. Pitt’s version of Italian is worthy of a Marx brother6. A Tarantino film resists categorization. InglouriousBasterds is no more about war than Pulp Fiction is about — what the hell is it about? Of course nothing in the movie is possible, except that it’s so bloody entertaining. After I saw InglouriousBasterds at Cannes, although I was writing a daily blog, I resisted giving an immediate opinion about it. I knew Tarantino had made a considerable film, but I wanted it to settle, and to see it again. I’m glad I did. Like a lot of real movies, you relish it more the next time. Immediately after Pulp Fiction played at Cannes, Quentin asked me what I thought. “It’s either the best film of the year or the worst film,” I said. I hardly knew what the hell had happened to me. The answer was: the best film. Tarantino films have a way of growing on you. It’s not enough to see them once. (http://www.rogerebert.com/reviews/inglourious-basterds-2009) 10. Match the phrases from Text 4 (1-7) with their definitions (a-g); use them in your summary. Try to translate the phrases into Russian.
11. Find the equivalents of the following expressions in Text 4, give the Russian translations. Use them in your summary.
12. Translate Paragraph 7 of Text 4 from English into Russian beginning with “After I saw InglouriousBasterds at Cannes…” up to “…not enough to see them once”. TEXT 5. STAR WARS George Lucas’ space epic has colonized our imaginations, and it is hard to stand back and see it simply as a motion picture, because it has so completely become part of our memories. It’s as goofy as a children’s tale, as shallow as an old Saturday afternoon serial, as corny as Kansas in August…and a masterpiece. Those who analyze its philosophy do so, I imagine, with a smile in their minds. May the Force be with them.  Star Wars was a technical watershed that influenced many of the movies that came after. These films came along at a crucial moment in cinema history, when new methods were ripe for synthesis. They developed editing, married special effects, advanced sound, a new photographic style and a freedom from linear storytelling. Star Wars effectively focused the industry on big-budget special-effects blockbusters, blasting off a trend we are still living through. But you can’t blame it for what it did, you can only observe how well it did it. It’s possible, however, that as we grow older we retain within the tastes of our earlier selves. How else to explain how much fun Star Wars is, even for those who think they don’t care for science fiction? It’s a good-hearted film in every single frame. By now the ritual of classic film revival is well established: an older classic is brought out from the studio vaults, restored frame by frame, re-released in the best theaters, and then re-launched on home video. With this “special edition” of the Star Wars trilogy, Lucas has gone one step beyond. His special effects were so advanced in 1977 that they spun off an industry, including his own Industrial Light & Magic Co. (ILM), the computer wizards who do many of today’s best special effects. Now Lucas has put ILM to work touching up the effects, including some that his limited 1977 budget left him unsatisfied with. Most of the changes are subtle; you’d need a side-by-side comparison to see that a new shot is a little better. The improvements are well done, but they point up how well the effects were done to begin with: If the changes are not obvious, that’s because Star Wars got the look of the film so right in the first place. This was the first film to pan the camera across a star field: “Space scenes had always been done with a fixed camera, and for a very good reason. It was more economical not to create a background of stars large enough to pan through.” Lucas fills his screen with loving touches. There are little alien rats hopping around the desert, and a chess game played with living creatures. And consider the details creating the presence, look and sound of Darth Vader, whose fanged face mask, black cape and hollow breathing are the setting for James Earl Jones’ cold voice of doom. Seeing the film the first time, I was swept away, and have remained swept ever since. The film philosophies that will live forever are the simplest-seeming ones. They may have profound depths, but their surfaces are as clear to an audience as a beloved old story. The way I know this is because the stories that seem immortal – The Odyssey, Don Quixote, Huckleberry Finn – are all the same: a brave but flawed hero, a quest, colorful people and places, sidekicks, the discovery of life’s underlying truths. (http://www.rogerebert.com/reviews/great-movie-star-wars-episode-iv-a-new-hope-1977) 13. Match the phrases from Text 5 (1-7) with their definitions (a-g); use them in your summary. Try to translate the phrases into Russian.
14. Find the equivalents of the following expressions in Text 5, give the Russian translations. Try to use them in your summary.
15. Translate Paragraph 2 of Text 5 from English into Russian beginning with “Star Wars was a technical watershed that…” up to “…you can only observe how well it did it”. 16. Translate the following sentences from Russian into English. 1) Снять приключенческий фильм оказалось не так уж легко! Мало просто написать хороший и захватывающий сценарий, нужно еще очень удачно выбрать актеров на главную роль, и подобрать место съемки. 2) Анимация – это трудоемкий процесс, который в настоящее время стремится к упрощению визуальных элементов. Но многие художник до сих пор не могут отказаться от покадровой прорисовки. 3) После прочтения романа я решил посмотреть снятый по нему фильм. Какое разочарование! Они превратили тяжелую драму в триллер, да еще и с кучей ненужных спецэффектов. Конечно, на выходе они получили отличные сборы, но какой ценой. 4) Этот режиссер известен за свою способность взять персонажа и сделать его Персонажем, с большой буквы этого слова. Некоторые даже зовут его «режиссер идеалистических удовольствий». 5) Я терпеть не могу мюзиклы. Все это пение, мне кажется, требовать от актеров помимо актерского мастерства еще и отличных вокальных данных – просто слишком. Хотя если бы фильм в таком жанре снял бы мой любимый режиссер я бы сходил на него в кино. 6) Во многом трилогия «Звездные войны» – уникальная вещь. Это один из первых фильмов, где камера движется по всему звездному небу. 7) Снять хорошую комедию – дело не из легких. Ведь сценарий должен предусматривать развитие персонажей и сюжета, но и не забывать о большом количестве смешных шуток, а для создания качественного продукта в таком жанре сценаристу придется долго работать над ним. Самое печальное, даже если в итоге получится хит, и его будут переводить на другие языки, озвучка убьет весь юмор и все шутки, так талантливо придуманные сценаристом. Video VIDEO 2 (‘What If Movies Were Real’, by ‘Smosh’) 17. Watch a video review by famous video-bloggers ‘Smosh’. Discuss the following questions with your group-mates:
VIDEO 3 (‘The Dark Knight Rises’, by the Telegraph) 18. You are going to hear a review of the film ‘The Dark Knight Rises’ produced by the Telegraph. The guests of the show are Guardian film-editor Catherine Shoard and Guardian film critic Peter Bradshaw.Choose whether the following statements are true or false, explain your choice:
Writing 19. Using the plan for describing a film and some writing tips (see Appendix 2) and the examples from Text 3, Text 4,Text 5, Video 2 or Video 3 choose either a movie you’ve recently seen or your favourite movie and prepare your own written review. LESSON 4. ANIMATION: BRIGHT FUTURE OR SINKING INTO OBLIVION? Brainstorming Discuss the following questions in your group:
Vocabulary
1. Paraphrase the first sentences using the words given (do not change them). You can use between 4 and 8 words, including the word given.
Made The animator ________________________ the general public.
Aback Everyone ________________________ the absence of lip synch.
Disposal My boss ________________________, so long as I am careful.
Bound He ________________________ this afternoon.
Like How ________________________ the in-betweens?
Prevented People without certain knowledge, skill and education ________________________ an animator.
Baffled Everybody ________________________ animation.
Butterflies The young actor ________________________ before the audition. 2. Fill in the gaps using only one word (a verb, preposition, noun, etc).
3. Make up 5 sentences in Russian and 5 sentences in English using the active vocabulary from Lesson 3 and Lesson 4 for your group-mates to translate. 4. Fill in the gaps with the given words in the suitable forms.
5. In the extract below find 14 mistakes, they might concern the grammar, spelling, article determination, etc. ‘Keyframes’ and ‘tweening’ are concepts shared by almost every process that creates animated sequences, including 3D applications, and video editors. As such, its very important to understand the basics of animation.  It terms of the classical animation process it was almost impossible for one person to create a animated feature by themselves in reasonable amount of time. Insted, the primary drawings of an animation sequence – the keyframes – were drawn by a lead animator. In a cartoon character’s leap, those frame might be the crouch, the moment of upwards drive, the top of the leap, and the landing. These keyframes would be passed off to leagues of junior animators, who would draw, or fill in, the frames in-betwen these moments, using the keyframesas a references (thus creating the term “tweening”). Modern digital media artists are today’s lead animators, with the computer taking work of tweening. What’s important is that they create the better keyframes possible, so that the computer can understand what they are trying to achieve. When they create the animation, they have the ability to control haw many frames appear between each keyframe, or (alternatively) how much time elapse between each keyframe. As a general rule, the more time/frames between keyframes, the smother and slower the resulting animation will appear; fewer frames tent to result in choppy animation. Playback smoothness will also depend on playback rate: a higher framerate (i.e. more frames per second) will result in a smoother movement, all other things being equal. (http://demosthenes.info/blog/478/Essential-Animation-Concepts-Explained-Keyframes-Tweening-and-Framerate) 6. Fill in the blanks with the words from the list below.
List of words: final cut, credits, trailer, director, Production Manager, a close-up, independent film, screen version (of the novel), science fiction film, lip synch, storyboard, sketches, tablet, voice actor. Reading 7. Read 4 parts (A-D) of Text 6 carefully. Single out the most important sentences in each paragraph. 8. Look through Text 6 once again. Find at least 3 metaphors. 9. Find the following words and word combinations in Text 6. Give the English definitions and translate them into Russian. Hand-drawn animation; a chief creative officer; to ditch; an exodus; a tax break; incentives; to compete on a level playing field; revenue stream; to be in a bid to; conducive; renowned; a trend-setter; to toil; to churn out; to allocate. TEXT 6. CURRENT STATE OF ANIMATION INDUSTRIES AROUND THE WORLD A. THE USA Disney, the Hollywood titan which brought the world classics such as Bambi and Snow White and the Seven Dwarfs, has admitted it has no current plans to make hand-drawn animated films. “To my knowledge we’re not developing a 2D or hand-drawn feature animated film right now,” said chief executive Bob Iger. “There is a fair amount of activity going on in hand-drawn animation but it’s largely for television at this point. We’re not necessarily ruling out the possibility of a feature but there isn’t any in development at the company at the moment.” The news upset fans of traditional hand-drawn animation, who had been cheered by the revival of the form under John Lasseter, the Pixar boss who also became Disney Animation’s chief creative officer (CCO) in 2006. Lasseter told a London audience for a 2009 screening of Bolt (a CGI animation) that he had re-hired many of the animators who were ditched by the previous regime because of the emergence of computer-generated technology in the 1990s. “Unfortunately, 2D became the excuse for poor storytelling,” said Lasseter. “The general consensus was that audiences did not want to watch hand-drawn animated films, which is of course completely ridiculous.” (http://www.theguardian.com/film/2013/mar/07/disney-hand-drawn-animation) B.THE UK Leading UK animators are warning against an exodus of talent if the industry does not get tax breaks like those enjoyed by animators in other European countries like Ireland and France. “It’s genuinely impossible for us to compete against the rest of the world with all the incentives they’ve got,” said Oli Hyatt from Animation UK, an industry lobby group. While the UK film industry enjoys state support, there is no such money available for producers of animated TV series. Many other European countries support their animation industry, providing at least 20 percent of production costs. Hyatt says that makes it impossible for UK animators to match their output. “All we’re looking for is for the government to give us the tools for us to compete on a level playing field with the rest of the world.” He said. Animation production in the UK has fallen by more than 50 percent in the past seven years according to Animation UK, and it is already becoming harder for new animators to find jobs. Last year Aardman Animations, the giant behind Shaun the Sheep and Wallace and Gromit, announced they were considering moving abroad due to the UK’s relatively high production costs. “We have in the past been a source of export – The Teletubbies exported all over the world,” said Anne Wood. With each major show moving abroad, the country loses another revenue stream, she argued. (http://www.dw.de/uk-animation-industry-in-crisis/a-15807779-1) C. RUSSIA Russian theater chain operator Luxor and film company Argus Entertainment are joining forces to create a new animation studio, LA Studio, in a bid to make films that can compete with US and European fare. “Hollywood and European projects are dominating the Russian market, and only a handful of well-known Russian companies are able to compete with them,” the two companies said in a statement. “But competition is conducive for the market’s development, pushing up the quality of films that are produced. So LA Studio comes as the market’s natural development.” LA Studio is to focus on the production of 2D and 3D animated films for theatrical release and television, and it also plans to launch a film school for animation. Although LA Studio plans to center on computer technology, some of the company’s projects are to be based on drawing animation, a tradition in Russia from Souyuzmultfilm (Nu, pogodi!, Winnie-the-Pooh, The Musicians of Bremen, etc). Special attention is to be paid to films based on Russian folklore and fairy tales. The first major project by LA Studio is to be a feature-length animated film based on Ruslan and Ludmila, a poem by renowned Russian 19th century poet Alexander Pushkin. (http://www.hollywoodreporter.com/news/russian-film-company-exhibitor-launch-628924) D. JAPAN Japan’s stylized animation that has become hugely popular around the world, helped reshape the country’s image as a cultural trend-setter. But behind the scenes, things aren’t so rosy. Japan’s animation industry is struggling. Anime workers are unhappy, toiling long hours at low pay. Sales have been declining. On top of that, there is fast-growing competition from across Asia. Studios in China and South Korea now churn out high-quality anime-style programs, helped by cheaper labor and, in some cases, government subsidies. Even the president of Telecom Animation expresses some dismay about the state of the anime world. “The industry has become decadent and fatigued,” says Koji Takeuchi, president of Telecom Animation. The Japanese government says it is trying to support the industry, with plans to increase spending on education and training young animators and allocating more funds toward film marketing. But nurturing home-grown talent has become more difficult as Japanese companies increasingly outsource anime drawing to studios in China, South Korea and Vietnam, where labor costs are lower. Osamu Yamazaki, a 47-year-old director of anime films, worries that moving the production process overseas will diminish Japan’s ability to cultivate creative talent. “People have tremendous power by just being young,” he says. “Without young blood, we’ll lose our ability to think flexibly and creatively.” (http://online.wsj.com/news/articles/SB10001424052748703819904574551834260925714) 10. Read the following sentences. Which part (A-D) of Text 6 gives these pieces of information?
11. Complete these sentences with the information from Text 6. Try not to look into the text!
12. Make up 5 questions based on the information given in Text 6 for your group-mates to answer. 13. Prepare a summary of 4 parts (A-D) of Text 6 (see Appendix 1):
The rest of the group will evaluate your summary and choose the best speaker according to this table:
The maximum score is 25, thus, the maximum for each column – 5 points. 14. Translate the sentences below from Russian into English: 1) Само собой разумеется, что на сегодняшний день Америка – законодатель мод в области анимации. Вместо того чтобы массово выпускать мультфильмы, другие страны лучше бы ввели какие-либо средства поощрения для талантливых и творческих молодых людей. 2) С появлением компьютерной анимации анимационная индустрия серьезно поменялась. Технология покадровой прорисовки мультфильма была заменена созданием графики при помощи компьютерных программ. 3) В довершение ко всему этот печально известный главный креативный директор объявил, что производство анимации в данной стране снизилось на 50 процентов в последние семь лет, в тоже время молодым аниматорам все сложнее найти работу. 4) При создании раскадровки определяются основные движения персонажа, план с которых впоследствии будет снята та или иная сцена. Раскадровку можно делать как вручную на листке бумаги, так и набросок, или при помощи графического планшета на компьютере. 5) Кроме всего прочего, в сфере анимации быстро растет конкуренция. Студии других стран предлагают лучшие условия работы: государственные поощрения, субсидии и короткий рабочий день. 6) Промежуточные кадры в анимации также важны, как и ключевые кадры, именно за счет них создается движение, а анимация становится плавной. 7) Все аспекты анимации – создание персонажа, его анимация, добавление аудио дорожки, содержащей голос актера, озвучивающего нарисованного персонажа – должны быть выполнены до процесса «рендеринг». Video VIDEO 4 (‘Paperman’, by Walt Disney Animation Studios) 15. Watch a 2012 award-winning black-and-white 3D hand-drawn computer animated romantic comedy short film produced by Walt Disney Animation Studios. Discuss the following questions with your group-mates.
VIDEO 5 (‘Paperclips’, by Walt Disney Animation Studios) 16. Now you are going to hear an interview with the director of ‘Paperman’ John Kahrs, where he explains some of the ideas he had when creating the short. Read the following information before watching Video 5:
17. Decide whether the following statements are true or false, explain your choice:
Writing 18. Make a written report about your favourite cartoon character. Describe his/her personality, appearance, his/her voice actor, etc. Don’t mention his/her name or the title of the cartoon – the rest of the group should guess who he/she is. Use the active vocabulary! LESSON 5. «THE WIZARD OF OZ» – AN AMERICAN NATIONAL TREASURE |