Методическое пособие по практике основного иностранного языка (английский) для направления 050100 Педагогическое образование

• Название: Методическое пособие по практике основного иностранного языка (английский) для направления 050100 Педагогическое образование
• Анкор: CInema and Theatre.docx
• Дата: 29.01.2017
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• Имя файла: CInema and Theatre.docx
• Тип: Методическое пособие; #965
• страница: 6 из 17

PART I

Brainstorming
Discuss the following questions in your group:

1. 
   Were you told a lot of fairy-tales in your childhood? What are your favourite fairy-tales and why?
   
2. 
   What do you know about Lyman Frank Baum and his “The Wonderful Wizard of Oz», one of the world’s favourite fairy-tales?
   
3. 
   Look at the information given below. Have you ever come across the screen version of the fairy-tale? Would you prefer watching the film in its original version or in 3D? Why?
   

Studio: MetroGoldwynMayer Director: Victor Fleming Producer: Mervin LeRoy Screenplay: L. Frank Baum Noel Langley John Lee Mahin Florence Ryerson Edgar Allan Woolf Cinematography: Harold Rosson Music: Harold Arlen Film Editing: Blanche Sewell Running time: 101 minutes Classified G.	The Wizard of Oz (1939) CAST & CREDITS First release: 1939 On DVD: 1999 IMAX 3D: 2013	Dorothy Gale: Judy Garland Marvel/Wizard: Frank Morgan Hunk/Scarecrow: Ray Bolger Zeke/Cowardly Lion:Bert Lahr Hickory Twicker/ Tin Woodman: Jack Haley Miss Gulch/ Witch of West: Margaret Hamilton Glinda, Good Witch: Billie Burke Nikko: Pat Walshe Uncle Henry: Charley Grapewin Aunt Em: Clara Blandick
Dorothy Gale is swept away to a magical land in a tornado and embarks on a quest to see the Wizard who can help her return home…

Reading
1. Read Text 7. Suggest the Russian equivalents for the words and expressions in bold and translate the sentences containing them into Russian.
TEXT 7. 100 GREATEST MOVIES: THE WIZARD OF OZ
“By courtesy of the wizards of Hollywood The Wizard of Oz reached the screen yesterday as a delightful piece of wonderworking which had the youngsters’ eyes shining and brought a quietly amused gleam to the wiser ones,” begins Frank Nugent’s review of The Wizard of Oz published in The New York Times on August 18, 1939. Produced and distributed by MGM at a cost of $2.5 million, the film is a tribute to the Hollywood style and system of filmmaking. It was a bit of “wonderworking” indeed, as this fantasy film would forever alter the courseof the Hollywood film musical.

Begun in 1938, The Wizard of Oz was produced at the apex of the classic Hollywood era, when MGM had at its disposal theforemost technical achievements available in Hollywood at that time. It was this standby of talent that made the production of a film like Wizard feasible. To mount such a project today would cost at least $50 million.

Wizard was photographed in a little-used three-strip qualedd process⁷. It was an extremely intricateprocess to handle and required enormous amounts of light to properly expose. While it was the most expensive process available to Hollywood at the time, it yielded the unequaled color quality. The studio chose the three-strip process because it worked out well with black-and-white stock. The framing of Dorothy’s fantasy was processed in black-and-white, heightening the effect of the qualedd journey to Oz.

For these reasons the production of Wizard occurred entirely indoors on the stages of MGM. Because the film was studio-bound, a lot of responsibility fell on the special effects department headed by Arnold Gillespie. Mattes were used extensively to give depth to the Kansas landscape, and a sense of distance to the Land of Oz. Intricate trick photography was employed to allow a bicyclist and a man rowing a boat to float helplessly in a tornado.

No less important was the MGM art department. It was headed at the time by Cedric Gibbons whose career garnered 11 Academy Awards while at MGM. Elaborate sets were conceived and constructed in full scale to create Oz, the Wicked Witch’s sanctuary, and the throne room of the Wizard of Oz. Working with the limitations imposed by the tri-color film process, Gibbon’s department had to create a color scheme that the film stock could exploit. The result was beautiful, color-conscious scenes.

Perhaps most miraculous was the role played by Jack Dawn and the MGM makeup department. It was Dawn’s task to take three nonhumans—a scarecrow, a tin man, and a lion — and bring them to life. He had to give them personalities and human characteristics that would evoke humanity amidst the costumes dictated by their roles. This was done convincingly, resulting in three of the most elaborate makeup/costume designs to date in Hollywood. The costumes did pose certain critical problems for production, however. Bert Lahr’s costume for the Cowardly Lion, for instance, weighed nearly 100 pounds. This, coupled with the intense heat caused by the lighting needed to shoot, made filming for long durations impossible, and the film had to be shot in segments with a day’s shooting often ending before a scene was complete. As a result, before the next day’s shooting could begin, makeup had to be meticulously matched and perfectly recreated toretain consistency. Daily rushes were used to aid this process. While this precision slowed down the production, the commitment to perfection became a trademark of MGM.

For their efforts both Jack Dawn and Cedric Gibbons received Academy Award nominations (though Gibbon’s contract insured that his name would appear in the credits of all MGM films regardless of his involvement). This recognition, while falling on individuals, was no less a tribute to the system. It was a recognition of the elaborate collaborative nature of Hollywood filmmaking.

Though Wizard remains an elaborate technical achievement for its time, the technology involved has since become obsolete. Perhaps the long term contribution of the film is the precedent it set for the type of Hollywood musical identified with MGM. Wizard was perhaps the earliest example of what came to be called the “integrated musical”. Traditionally, music in films had been incorporated in a performance setting, establishing logical moments in which to include musical numbers. In The Wizard of Oz the music became another dimension of the characters’ language, an extension of their personalities and feelings. There is no intrinsic logic in Dorothy’s singing “Somewhere Over the Rainbow”, but it is understood as a viable expressionof some inner longing. The film narrative is advanced by musical numbers. Songs often replace dialogue as when the Munchkins pay tribute to Dorothy for killing the Wicked Witch of the East. In Wizard, music isn’t a digression, but instead a fundamental part of the narrative structure.

The Wizard of Oz has witnessed more than 20 years of revival on both television and in theaters, remaining widely popular. Internationally, the film has enjoyed wider distribution than any other American film in history — fantasy, musical or otherwise. It would seem that the directness of the film’s message — “There’s no place like home” — and the sincerity of its presentation is the key. However, beneath the fantasy is one of the most polished and elaborate productions ever mounted in Hollywood.

Robert Winning

(http://www.movieretriever.com)
2. Answer the following questions taking into account the information given in Text 7.

1. 
   How do you understand “wonderworking”? Why is the film called “a piece of wonderworking”?
   
2. 
   Can you describe Technicolor technology of film shooting? Why was this technology used together with black-and-white shooting?
   
3. 
   What were the difficulties that the special effects department and the art department had to overcome during the shooting?
   
4. 
   Who is Jack Dawn and why was his work especially miraculous on the one hand and especially meticulous on the other?
   
5. 
   Explain the term “integrated musical”.
   

3. Find the equivalents of the following expressions in Text 7, give the Russian translation.

1) to change, modify	3) possible	5) small part, portion
2) pinnacle, high point	4) complex, complicated	6) acknowledgment

4. Use the equivalents you’ve found to fill in the gaps in the following sentences (2 sentences for each word):

1. 
   Although a box office failure, the film received worldwide ____________owing to its international appeal.
   
2. 
   Different roles also can ____________the ways anactor prepares for specific acting work.
   
3. 
   A shot where people are having a conversation usually consists of voice and non-voice ____________.
   
4. 
   For director Victor Fleming, who began making movies during the black-and-white, silent era, «Gone with the Wind» represented the ____________ of his career.
   
5. 
   It restores your faith in the idea that good actors do eventually get the roles and the ____________ they deserve.
   
6. 
   Film production is a combination of ____________ processes including aesthetic, financial and organizational needs.
   
7. 
   The great actor quit his career at the ____________ of his professional success.
   
8. 
   The foremost technical achievements available in Hollywood have made a number of fantastic special effects
   technologically ____________.
   
9. 
   A brief ____________excerpted from a film can’t outline the whole picture.
   
10. 
    Studio-quality special effects simply weren’t ____________for other than large production movie studios.
    
11. 
    The actor may ____________her voice by varying her pitch range, dynamic range, timbre, and tempo or by speaking with a dialect.
    
12. 
    The film became the trickiest, most ____________ actingassignment of the year for the superb cast.
    

5. Translate the following sentences into English using the new vocabulary from exercises 1 and 3.

1) Передовые технические достижения сделали выполнимыми множество сложных спецэффектов и обеспечивают несравненное качество цвета каждому кадру фильма. 2) Декорации к каждому фильму тщательно выполняются в полном масштабе, так как приверженность к совершенству — фирменный знак нашей киностудии. 3) Эта роль ознаменовала вершину его актерской карьеры и полностью изменила его жизнь. 4) Киносъемки — крайне замысловатый процесс, так как необходимо снимать фильм почастям, тщательно соблюдая последовательность. 5) Этот широко популярный фильм был снят как дань современной киноиндустрии, но не получил международного признания. 6) Музыка, написанная к фильму, послужила средством живого выражения чувств и эмоций персонажей. 7) Режиссер славится своей приверженностью к совершенству и не одобряет никаких отступлений от сценария в процессе съёмок. 8) Эта актерская работа стала вершиной его профессионального успеха, а фильм заслужил всеобщее признание. 9) Сюжет этой книги очень запутан, но, благодаря великолепной работе сценариста, её воплощение на экране стало возможным. 10) Несравненное качество цвета и съемки в технологии 3D произвели глубокое впечатление на зрителей.
6. Find in Text 7 at least 5 more words and expressions concerning the film industry and make up 10 sentences of your own (5 in English, 5 in Russian) for your group-mates to translate.
7. Prepare a summary of Text 7 (see Appendix 1). Use the new vocabulary.
PART II

Brainstorming
Discuss the following questions in your group:

1. 
   Music has been an essential part of filmmaking since the beginning of the sound era. What purposes does the musical accompaniment serve?
   
2. 
   Why can music be regarded as “another dimension of a character’s language”? How can it reveal a character’s image?
   

Listening
1. Are you an expert in the field of famous soundtracks? Listen to some of them and check your knowledge using the following table.

Title, year	Plot	Music, lyrics	Song, singer
???	…The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son…	NinoRota	-
???	…A former Secret Service agent takes on the job of bodyguard to a pop singer, whose lifestyle is most unlike a President’s…	DollyParton
???	…An American agent, under false suspicion of disloyalty, must discover and expose the real spy without the help of his organization…	Danny Elfman	-
???	…A seventeen-year-old aristocrat, expecting to be married to a rich claimant by her mother, falls in love with a kind but poor artist aboard the luxurious, ill-fated passenger liner…	JamesHorner, WillJennings	???
???	…A young rapper, struggling with every aspect of his life, wants to make the most of what could be his final opportunity but his problems around give him doubts…	???	“Lose Yourself”, Eminem
???	…Two pretty murderesses find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s America…	John Kander, Fred Ebb	“All That Jazz”, Catherine Zeta-Jones, Renée Zellweger, Taye Diggs
???	…A super agent’s loyalty to his boss is tested when her past comes back to haunt her. Whilst MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost…	Adele, PaulEpworth	???

2. Read the following information before listening to Audio 4:

“Over the Rainbow”(music by H. Arlen, lyrics by E.Y. Harburg) — a classic Academy Award-winning ballad:

• 
  Was written for the 1939 movie The Wizard of Oz, and was sung by actress Judy Garland in her starring role as Dorothy Gale.
  
• 
  The song is number one on the “Songs of the Century” list compiled by the Recording Industry Association of America and the National Endowment for the Arts. The American Film Institute also ranked “Over the Rainbow” the greatest movie song of all time on the list of “AFI’s 100 Years...100 Songs”.
  
• 
  It was adopted by American troops in Europe in World War II as a symbol of the United States. Garland herself performed the song for the troops as part of a 1943 commandperformance.
  
• 
  In April 2005, the United States Postal Service issued a commemorative stamp recognizing lyricist Yip Harburg’s accomplishments. The stamp features the opening lyric from “Over the Rainbow.”
  

(https://itunes.apple.com)


AUDIO 4

(“Over the Rainbow”, music H. Arlen, lyrics E. Harburg)
3. Listen to Audio 4. Fill in the gaps.

Somewhere over the rainbow Way up high, There’s a land that I heard of Once in a (1) ____________. Somewhere over the rainbow Skies are blue, And the dreams that you (2) ____________ to dream Really do come true. (3) ____________I’ll wish upon a star And wake up where the clouds are far Behind me. Where (4) ____________ melt like lemon drops Away above the chimney tops That’s where you’ll find me.

Somewhere over the rainbow Bluebirds fly. (5) ____________ fly over the rainbow. Why then, oh why can’t I? If happy little bluebirds (6) ____________ Beyond the rainbow Why, oh why can’t I?

4. Listen to Audio 4 one more time. Check your answers to ex. 3.
5. As is known “Over the Rainbow”became Garland’s signature song. Read the quotation given below.

…’Over the Rainbow’ has become a part of my life. It’s so symbolic of everybody’s dreams and wishes that I’m sure that’s why some people get tears in their eyes when they hear it. I’ve sung it thousands of times and it’s still the song that’s closest to my heart…

-Judy Garland-

6. Answer the following questions:

1. 
   Do you agree that the song “is symbolic of everybody’s dreams and wishes”? What feelings does it evoke?
   
2. 
   How does the song characterize Dorothy in The Wizard of Oz?
   
3. 
   In your opinion, why was the song adopted by American troops in Europe in World War II as a symbol of the United States?
   

7. 
   What is your favourite film soundtrack? Prepare a report mentioning the following points:
   

• 
  the authors, the singer, the history of creation;
  
• 
  the film it’s written for/played in;
  
• 
  the significance for the plot or characters’ images;
  
• 
  the impression it makes on you.
  

PART III

Brainstorming
Discuss the following questions in your group:

1. 
   Are you fond of 3D? In your opinion, what film genres does it fit best and why?
   
2. 
   Is it always to the good for a film to be converted into 3D? What 3D versions you consider to be better/worse than the originals?
   
3. 
   Whatfilm would yoube excitedto see as a 3D re-release?
   

1. Read Text 8 and fill in the gaps with the following word combinations:

the bogus embellishment, the screening, mainly in colour, spectacular, a rare treat, demonstrably worse, a first-rate 3D conversion, the clarity of the imaging, cutting-edge technology, to dim the picture, another potboiler, the artificiality of the sets
TEXT 8.____________________________________

(byPeter Howell, published on September 20, 2013 )
Normally I stand with rascal pup Toto in desiring to expose false movie magic. Just as Toto yanked the curtain in The Wizard of Oz, so have I often felt inclined to expose (1) ____________ of 3D. Very few films are improved by the process, and some are made (2) ____________, as in the instances of most 2D-to-3D conversions.

And yet I found myself last Sunday afternoon eagerly lining up to see The Wizard of Oz 3D at the Scotiabank Theatres.

There were a lot of other excited people from young children to seniors. One woman showed me the pair of ruby pumps she had brought with her to wear during (3) ____________, in honor of Dorothy’s ruby slippers.

I’ve seen The Wizard of Oz dozens of times in my childhood when watching it on my family’s old black-and-white TV was an annual tradition. I didn’t even realize that the film was (4) ____________ until I saw it for the first time on the big screen at North York’s old Willow Theatre in 1967.

My main motivation for seeing the 3D version was curiosity. Had Warner Bros. spent the money and time needed to do (5) ____________, as James Cameron did two years ago? Or would it be (6) ____________ such as some recent 3D conversions?

I also wondered if the 21^st century (7) ____________ could possibly improve the original special effects performed by gurus of The Wizard of Oz, who managed to turn a plain nylon stocking into the terrifying twister that lifts young Dorothy Gale from Kansas to Oz.

The sepia-hued Kansas opener was sharper and brighter than I’d ever seen, and I was knocked out by (8) ____________. You see the added perspective when Dorothy is peering through the wooden boards of her Aunt Em’s farm, and also when Toto is sneaking out of the basket of the furiously cycling dog-napper Almira Gulch.

The value of 3D conversion really came through as I began to notice colors and details that I hadn’t really seen before, such as how the Wicked Witch comes and goes in an orange cloud of smoke when she makes her dramatic entries and exits. Finally, The Wizard of Oz brings more magic out!

Unfortunately, the vastly improved visuals made me much more aware of (9) ____________: the demonstrably fake flowers, the matte landscape paintings in the background. You can see the makeup on all of the cast, especially the prosthetic lion mask the great Bert Lahr wears as the Cowardly Lion. You can detect where the Yellow Brick Road actually dead-ends into a wall, yet Dorothy goes right up to it as if it runs on without end.

A couple modifications are a mystery, possibly unnecessary.

Why the first portion, memorably in black and white, is tinted to sepia is unclear. And a Gothic-looking hallway leading to the wizard’s chambers is oddly elongated in 3-D so that Dorothy and her trio of pals look like toys rather than life-size.

Happily, this revived version has none of the darkness common to film conversions to 3-D as the polarized glasses tend (10) ____________. It also wisely avoids the technology’s silly, ‘in-your-face’ tricks. The Wicked Witch and her evil flying monkeys don’t fly right into your face, for example, although they now seem even more sinister as they dart and hover above the Kingdom of Oz. The 3-D effects in this gleaming revision are subtle and don’t detract from the already (11) ____________ movie.

The sound was also remastered making the audio crisper, all the better to hear the clever, catchy songs

The real magic of this ever-shining gem from Hollywood’s Golden Age hasn’t been ruined by this adaptation for the film’s 75^th anniversary which took 16 months and 1,000 people to accomplish. Clearly, it was done with care and respect. Simply seeing it on a large screen is (12) ____________.

(http://www.thestar.com)
2. Look through Text 8 again. Which sentence can be used as a headline for the whole review? Suggest your own variant of the headline also.
3. Does the review correspond to the classical scheme of film analysis (see Appendix 3)? What parts are included and what parts are skipped?
4. List the advantages and disadvantages of The Wizard of Oz 3D conversion pointed out by the author.
5. Paraphrase the following sentences using the new vocabulary.

1) In spite of the wide popularity of 3D movies, some 3D versions turn out to be overloaded with unnecessary fake decorations. 2) Every display of a 3D film attracts a lot of spectators because of amazing visual effects. 3) This director’s last work was shot chiefly in the multicoloured scheme. 4) The film is famous for a decent amount of eye-catching scenes due to the fabulous work of the special effects department. 5) What an exquisite pleasure is to enjoy watching a breathtaking adventure film! 6) The problem is that behind all these 3D tricks the quality of screenplays is getting apparently worse. 7) To the fans’ great delight, the classical film finally got a first-class 3D adaptation. 8) The modern computer technologies endow all the film industry masterpieces with the unequaled clearness of the picture. 9) All thinkable up-to-date technical achievements are available in Hollywood. 10) Impressed with the final scene of that wonderful love story, she began to cry and her tears completely blurred the image. 11) His acting work in this soap-opera is regarded by critics as one more example of botchery. 12) The film is perfect in every detail except for the only flaw: the unnaturalness of the scenery spoils the whole impression.
6. Using the new vocabulary make up 10 sentences of your own (5 in English, 5 in Russian) for your group-mates to translate.
Video
VIDEO 6

(“The Wizard of Oz”, 1939)
7. Look through the film information (p. 48). Are the listed names familiar to you? What do you know of the director and the actors?
8. Read the following information to find out some facts about them before watching the film:

Victor Fleming (1889-1949)

Victor Fleming entered the film business as a stuntman in 1910, as he had been a mechanic and professional race-car driver. He became interested in working on the other side of the camera, and eventually got a job as a cameraman.

Soon, he began directing, and his first big hit was The Virginian (1929). Fleming’s star continued to rise during the ‘30s, and he was responsible for many of the films that would eventually be considered classics, such as Red Dust (1932), Bombshell (1933), Treasure Island (1934), and the two films that were the high marks of his career: Gone with the Wind (1939) and The Wizard of Oz (1939). Ironically Fleming was brought in on both pictures to replace other directors and smooth out the troubled productions, a feat he accomplished masterfully. His career took somewhat of a downturn in the ‘40s, and most of his films, with the exception of Dr. Jekyll and Mr. Hyde (1941), weren’t particularly successful. He ended his career with the troubled production Joan of Arc (1948), which turned out to be a major critical and financial failure.

Judy Garland (1922-1969)

(Frances Ethel Gumm)

One of the brightest, most tragic movie stars of Hollywood’s Golden Era was born in a family of vaudevillians and from the early childhood travelled across America where she would perform in nightclubs, cabarets, hotels and theaters solo.

In September, 1935 she was signed by Louis B. Mayer, mogul of leading film studio MGM, after hearing her sing and her name was changed from Frances Gumm to Judy Garland. MGM set to work preparing various musicals with which to keep Judy busy. All this had its toll on the young teenager, and she was given numerous pills by the studio doctors in order to combat her tiredness. This soon resulted in her lifelong drug addiction.

In 1939, Judy shot immediately to stardom with The Wizard of Oz. Her poignant performance and sweet delivery of her signature song, ‘Over The Rainbow’, earned Judy a special juvenile Oscar statuette on 29 February 1940 for Best Performance by a Juvenile Actor. She began to play meatier adult roles and eventually became a much-loved character whose warmth and spirit, along with her rich and exuberant voice, kept theatre-goers entertained with an array of delightful musicals. Her most famous acting works are For Me and My Gal (1942), Meet Me in St. Louis (1944), The Clock (1945), The Pirate (1948), Easter Parade (1948), Summer Stock (1950).

Frank Morgan (1890-1949)

(Francis Philip Wuppermann)

Jovial, somewhat flamboyant Frank Morgan will forever be remembered as the title character in The Wizard of Oz (1939), but he was a veteran and respected actor long before he played that part, and turned in outstanding performances both before and after that film. One of 11 children of a wealthy manufacturer, Morgan followed his older brother, Ralph Morgan (born Raphael Wuppermann) into the acting profession, making his Broadway debut in 1914 and his film debut two years later. Morgan specialized in playing courtly, sometimes eccentric or befuddled but ultimately sympathetic characters, such as the alcoholic telegraph operator in The Human Comedy (1943) or the shop owner in The Shop Around the Corner (1940). He was nominated for an Academy Award for Best Actor for The Affairs of Cellini (1934).

Ray Boldger (1904-1987)

(Raymond Wallace Bulcao)

Ray Bolger began his career in vaudeville. He was half of a team called “Sanford and Bolger” and also did numerous Broadway shows on his own. He was a song-and-dance man as well as an actor. He was signed to a contract with MGM in 1936 and his first role was as himself in The Great Ziegfeld (1936). This was soon followed by a role in Rosalie (1937). His first dancing and singing role was in Sweethearts (1938), where he did the “wooden shoes” number with red-headed soprano/actress Jeanette MacDonald. This got him noticed by MGM producers and resulted in his being cast in his most famous role, that of the Scarecrow in The Wizard of Oz (1939). Surprisingly, even though the film was a success, Bolger’s contract with MGM ended. He went to RKO to make Four Jacks and a Jill (1942). After this, Bolger went to Broadway, where he received his greatest satisfaction. In 1953 he turned to television and got his own sitcom, “Where’s Raymond?” (1953), later changed to “The Ray Bolger Show”. After his series ended, Bolger made frequent guest appearances on TV and had some small roles in movies.

Bert Lahr (1895-1967)

(Irving Lahrheim)

Fittingly known to be a “Leo” for his horoscope, Bert Lahr is always remembered as the Cowardly Lion in The Wizard of Oz (1939). But during his acting career, he has been known for being in burlesque, vaudeville, and Broadway.
Dropped out of high school at the age of fifteen for a juvenile vaudeville act, Lahr worked his way up to the top billing of the Columbia Burlesque Circuit. When in Broadway, Lahr usually plays a comic actor in plays which he starred in such as the classic routine The Song of the Woodman, which he would later perform in Merry Go Round (1937). Aside from The Wizard of Oz (1939), Lahr’s movie career never caught on because his gestures and reactions were too broad.