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 ear­nest art. It is just entertainment. 9. Literary works should not be adapted for the screen as people simply stop reading fiction: see­ing a film is "easier" than reading a book.

13. Read the following text. Look for arguments and counterarguments for remaking films. Copy them out in two columns (I — "for", II — "against").

Make it Again

In the motion picture industry, remakes are^a fact of life. They have been with us almost from the birth of the art form and as long as good fresh story material is ^carcejthey will remain.

A remade movie doesn't have to be a bad movie. Produced with a talented cast, a capable director, an intelligent screen-play, an ample budget, and, most important, good judgement, these pic­tures can be thoroughly entertaining and, in some cases, surpass the quality of the original.

Film-makers are not absolutely opposed to the practice, al­though there are a couple of schools of thought on the subject.

Henry Blanke, who has produced many "second editions" in his time declares: "Never remake a picture that was previously suc­cessful. Remake one that was miscast, miswritten, or misdirected. In other words, a flop."

Producer H.B.Wallis takes the opposite viewpoint: "If you have a good piece of material that has not been filmed for a number of years, there is probably a brand new audience for it. So, I wouldn't hesitate to re-do a script with a new set of characters."

 

14. Discuss the text in pairs. One of the pair will take the optimistic view and insist that remakes should be done, the other will defend the opposite point of view. Be sure to provide sound arguments for whatever you say. Con­sider the following:

 

For:

1. There is always a shortage of  new, fresh story material.

2. The public wouldn't notice or wouldn't care that they were paying to see the same story.

3. There is always a valid reason 3. for doing it (the theme is timely, a new cast is available, the economic situation is favourable).

4.The coming of new screen techniques (sound, colour,

wide screen) inspired the studios to film their more popular pictures again.

5. A remake of the same director  gives the artist theopportunity to correct any mistakes he may have made in the first version.

6. The public at large seems to enjoy comparing the performances of current stars to the legendary ones.

 

 

Against:

1. Most subsequent renderings of the great cinema classics have been complete failures.

2.The director doing a remake might decide to "improve" the original story, to insert certain things, characters or eliminate others.

3.It is dangerous to use the original script almost word for word. Some stories require an updating of the dialogue.

4.In many cases, the moral values of the situations in a once exciting story have become so antiquated that the plot is not workable for contemporary audiences.

5.There is always the audience's memory of the earlier successful production, which can prevent spectators from receiving the film properly.

15. The extracts given below present rather controversial subjects. Team up with another student, work out arguments "for" and "against" and discuss the extracts in pairs. Use the conversational formulas of agreement and disagree­ment.

A. Does the audience influence the process of film-making? It is obvious that the audience of today, influenced by television and space research is very different from the audience of years ago. Most films produced decades ago have little current impact. A more

detailed analysis of human reaction is necessary, and will be much more so in the future. Similarly a new kind of artist and film-maker will be needed.

B. Should the printed word or films be used in the classroom?

Film is particularly useful for describing processes which can­not be easily demonstrated in the classroom. So far, however, its potentialities have only just begun to be exploited. Conservative teachers still resist breaking away from the printed word.

C. Should actors speak different languages in films?

Usually a director, aiming his film at an audience of compatriots, has everything spoken in the native language. In some films of Federico Fellini each character speaks his native language, which isn't usual in films. The director says he often mixes languages to express the truth of a given situation. But there is a language barrier.

D. Can critics give an objective judgement of a film?

The critic merely by saying, "I am a critic," inflates himself and causes himself to see not what exists but what he thinks ought to exist. But things are only what they are. Therefore, the critic is usu­ally mistaken. Sometimes he doesn't refer to himself as such but rather to his experiences of what other artists have done in a simi­lar situation. But when a critic tells how the work should be accord­ing to his taste, which has been formed by a certain culture and certain artists, he is still judging by what is congenial to him.

 

16. Role-Playing.             

The Best Film of the Year

Situation: The annual spectators' conference is held at the end of the year with the aim of selecting the best film of the year. Two films have won universal acclaim — an amusing comedy and an earnest, thought-provoking feature film. Which of them should be awarded the first prize?

Characters:

1. Sergey Tropov, aged 28, a young and promising scientist. Sci­entific exploration is his life. Rather tired. Likes cinema very much but understands it as entertainment versus art. He goes to the pic­tures to relax and to enjoy himself. Believes that all people go to the cinema to have a good laugh and to forget their worries. Thinks that the comedy under discussion is the best film of the year: the actors are in top form, the music in the picture creates a kind of frame-work for the story. The comedy he saw and liked has be­come a source of inspiration for his further investigation.

2. Oleg Kaladze, 20 year-old youth, a great cinema fan. His favourite actress is playing the leading role in the comedy, which Oleg likes very much. He is struck by the artistic quality of certain scenes. Is not impressed by the feature film. Thinks that it is ahead of its time and in fact acting is most important for the success of the film, while the plot is insignificant. Oleg is for the comedy.

3. Alia Larina, aged 25, a teacher of Russian Literature. Doesn't think it is possible to discuss these two films as they belong to dif­ferent genres. Each is fine in its own way. The feature reflects a hu­man creature, his ideas. It represents an individual consciousness. Its excellence lies in its power over other people's minds. The com­edy gives you a short and pleasant rest, a kind of relaxation. Both films are superb, both are the best.

4. Boris Runin, aged 47, a well-known film director who has made quite a number of features and popular science films. Always works in this genre. Thinks that a comedy is a simple entertain­ment and the comedy under discussion is no exception. It contains pleasant images but teaches you nothing. You like it because it is unreal, offers an escape. But it doesn't affect the spectator. He leaves the theatre in the same darkness with which he entered it. Naturally Boris is for the feature film.

5. Rita Strogova, aged 60, a pensioner, prefers the feature film which made her think a lot and raised many problems. Despises people who produce and like comedies and other films «for mere entertainment. Thinks that people who go to these films don't want to be bothered, they don't want responsibility, they want to remain asleep. Rita's idea is that "no matter how spectacular, the film will be a failure if it has no real message". Rita is for the feature film.

6. Helen Grabova, aged 45, a famous actress, starred in many films. Sees a lot of advantages in both films, but she never gives judgements about her colleagues. Thinks that an artist can no more judge another artist than one child can judge other children. Each artist has his particular vision. You can't wear someone else's glasses; they would fit badly, and you wouldn't see. The artist's glasses only work when they are put on non-artists, whom they move, touch, surprise. Thinks as both films have had long and suc­cessful runs they both should be equally rewarded.

Note: Divide your group into two teams, each of which should perform the same role play. While discussing the films show their merits and imperfections. Speak about the impression both films have produced on your character. Disagree with some of the participants of the conference, share the others' points of view if you feel like it, defend your own point of view. At the end of the conference you should select the best film of the year (perhaps with a vote). Comments from the class on each team's performance and the value of the different arguments are in­vited.

Group Discussion.

Give your own views on the problems below and speak against your oppo­nent.

Topic 1. The role of cinema in our life

Talking points:

1. Different genres of films, their impact on the spectators.

2. Development of people's cultural level, taste.

3. Films for entertainment and education.

4. Cinema in the classroom (Geography, History, Literature, Foreign Language).

5. Films to instruct: a) in an industry to teach people how to ac­quire skills, to learn their profession; b) in medicine to show the ac­tion of heart and pulse and other organs, to watch delicate opera­tions being performed by noted surgeons, etc.; c) in science to see the world of small things, etc.; d) in sport to give objective judge­ment during the competition, etc.

Topic 2. Is the ability to perform an inborn gift or is it an acquired skill?

Talking points:

1. The artistic potential of a person, his timing.

2. Skilful directors, modern techniques, the possibilities of the camera to accentuate.

3. The value of experience, necessity to acquire technique.

Topic 3. Should the actor "live" the part or should he just perform?

Note: The first would mean that the actor tries to sympathize with his charac­ter, to fully understand and share his feelings — despairing with him, loving and hating with him, shedding real tears. The second implies just going through the motions of the role with cool head. The first school (e. g. K.S.Stanislavsky's meth­od) relies on both feeling and technique, the second, entirely on technique.

Talking points:

1. Necessity to look at the character from a distance, to sympa­thize and criticize, to understand him.

2. Practice in reproduction of the character before the audience

3.Effect achieved: the less actors feel, the firmer their hold upon their facial and bodily expression.

4. A possibility of reaching such a state of mechanical perfec­tion that one's body is absolutely the slave of one's mind.

5. Necessity for actors to work with their own tools. (Each actor should choose the method he feels is best for him.)

Unit Three

SPEECH PATTERNS

1. It was up to me to find some way through to them.

It was up to their daughters to provide smart clothing for them­selves.

It was up to the elder boy to find some way out. It's up to the nurse to soothe the patient.

2. I felt angry and frustrated when they rudely interrupted that which was being done purely for their own benefit.

I felt sick and dirtied. The pastry smells good. How sweet the music sounds! The grapes taste sour.

3. The act was intended to display their utter disrespect for me.

The valet began to feel admiration for his new master. Scarlet looked at him with the affectionate contempt that moth­ers feel for small swaggering sons.

She didn't know anything about her nephew's love for the girl.

But His love of learning can be respected

4. I looked at her for some moments before daring to open my mouth.

They didn't dare to attack us, did they?

He dared to escape.

He dared to meet his enemy face to face..But:^[3] How dare you do such a thing?

He daren't say it matters.

I dare say the difficulty will disappear.

I dare say it doesn't matter.

EXERCISES

1. Complete the following sentences using the Speech Patterns:

1.... to retype the article. 2.... to do the shopping. 3.... to ex­plain the circumstances to the host. 4. Helen... did not want to be alone with him. 5. The answer sounds.... 6. It smells..., doesn't it? 7. The cucumbers taste.... 8. The child felt... all night. 9. Her feel­ing of... the unknown girl was increasing. 10. It was next to impos­sible to hide his... the children. 11. She felt great... her parents. 12. Her... reading is well known. 13. How... tell me such things? 14. I... say he will touch upon the subject. 15. The child... (not) open his mouth. 16. They have shown some... the authority.

2. Paraphrase the following sentences using the Speech Patterns:

1. You couldn't help admiring her slim figure, bright eyes and soft voice. 2. It's you who must go and see for yourself. 3. The chil­dren were upset when they understood that they were despised by their leader. 4. The stink of the stuff was unbearable. 5. My little daughter loves cartoons and puppet films. Everybody knows it. 6. You oughtn't ask for more. 7. I had enough courage to tell him that he would change his mind. 8. I find the sound of the music quite familiar. 9. What a nice tune. 10. All children knew that John was devoted to his pets, and respected this feeling. 11. I was shocked by the encounter. 12. You oughtn't deny the fact. 13. It's you who must decide.

 

3. Translate the following sentences into English:

1. Как ты смеешь смеяться над старушкой? 2. С понедельника она плохо себя чувствует. 3. Его любовь к книгам хорошо известна в группе. 4. Как чудесно пахнут розы! 5. Ребенок не осмелился задать свой вопрос учителю. 6. Чувство глубокого уважения к опекуну пе­реполняло Джуди. 7. Твои слова прозвучали довольно глупо. 8. Мэри рассердилась и расстроилась, когда услышала объяснения девочки. 9. Как вы смеете говорить со мной подобным образом? 10. В то осен­нее утро она прекрасно себя чувствовала и была в превосходном на­строении. 11. Именно ты должен показать город своему другу. 12. Им было холодно, они проголодались и очень устали. 13. Я думаю, дети сами должны помириться. 14. Елену всегда отличала удивительная привязанность к своей младшей сестре. 15. В ее глазах можно было видеть все то презрение, которое вызывал у нее молодой человек.