Контрольна робота з англійської мови

Задание:Виконати вправи за Аракіна для 3 курсу. unit 5 Ex.5 p.157 (choose the right word) Ex.6 p.157 Ex.7 p.158 topical vocabulary PAINTING p.161 Ex.1 p.162 (read the text for obtaining information) Give the desciption and analyses(in a written form) of any painting you want using your topical vocabulary. Base on Ex.9 (A-E) p.166 unit 6 Text :The Man Of Destiny p. 179 Read, translate and give a summary of the text ( in a written form). Learn Essential Vocabulary p.186 and Word combinations p.188 Ex. 14 p.191 (render the text) Ex. 2 p.191(orally) Ex. 3 p. 195 (orally) Ex. 5 p. 197 (orally) Ex. 6 p. 197 (written form) Topical Vocabulary Feelings and Emotions p.200 Ex. 1 p. 201 (read the text for obtaining unformation) learn the expressions in bold unit 7 look trough the Speech Patterns p.210 Text: The Happy Man p.210 read, translate and write the summary. Learn Essential Vocabulary p.219 and Word Combinations p.223 Ex. 4 p. 223 (orally) Ex.5 p. 224 (orally) Ex. 6 p. 224 (written) Ex. 2 p.227 (orally) Ex. 3 p. 229 (written) Ex. 5 p. 232 (orally) Ex. 6 p.232 (written) Ex. 7 p. 232 (written) Topical Vocabulary p.236 Ex. 1 p. 237 (read text for obtaining information) Make a Character Sketch (in a written form) using your topical vocabulary. Base on Ex. 6 p. 240. Learn expressions from Ex. 13 p. 242 and use them while making the sketch. Read the text p. 243 for obtaining information. Make sure you are ready to discuss things in the auditory. Translate and learn the following words adoration affection agitation agony alarm amazement amusement anger anguish annoyance anxiety apprehension arousal astonishment attraction bitterness bliss caring cheerfulness compassion contempt contentment defeat dejection delight depression desire despair disappointment disgust dislike dismay distress dread eagerness ecstasy elation embarrassment enjoyment enthusiasm envy euphoria exasperation excitement exhilaration fear ferocity fondness fright frustration fury gaiety glee gloom greed grief guilt happiness hate homesickness hope hopelessness horror hostility humiliation hurt hysteria infatuation insecurity insult irritation isolation jealousy joy jubilation liking loathing loneliness longing love lust melancholy misery mortification nervousness optimism outrage pain panic passion pity pleasure pride rage rapture regret rejection relief remorse repentance resentment revulsion sadness satisfaction scorn shame shock sorrow spite suffering surprise sympathy tenderness tenseness terror thrill torment triumph uneasiness unhappiness woe worry wrath zeal zest Перевести For Advanced Students Technical Terms Used in Films In order to fully enjoy any hobby a person should become familiar with the terminology used. Below are some useful terms for those interested in movies. Why is this on a home theater page? Most people that have spent the time and money involved with the hobby of home theater do so to watch movies, usually more than regular TV programming. Well, here are some terms. Please feel free to write me with some terms you think should be listed here. 180 Degree Rule The 180-degree rule is a very important aspect of being a director. It is basically a line drawn through the center of the screen (actually the camera viewplate) from left to right that cuts the screen in half. It establishes the perspective of the viewer when the film is shown. It is used to set up a shot for the director. For example if you have a two shot and need to flip between a closeup of one character then the other using the 180 axis helps to keep the actors facing the correct direction. You don't want both coming across as if they are looking off to nowhere. The 180 axis helps the actors focus their gaze on the proper spot. If a scene is shot close to the 180 axis then the audience will feel as if they are part of the action. You are literally on their eye level. This increases the intimacy of the shot. If the camera is moved above the 180 axis then the audience feels above the action, a more voyeuristic viewpoint. Spielberg used the reverse in ET, he always had the camera set below the axis, more on the eye level of a child, permitting the audience to identification with the children that where central to the plot. AAAA Associated Actors and Artistes of America. An AFL-CIO affiliated organization that was established in 1919 and incorporates major unions and guilds which represent actors and entertainers in the US, such as the American Federation of Television and Radio Artists (AFTRA), Actors' Equity Association (AEA), the American Guild of Variety Artists (AGVA), the Screen Actors Guild (SAG), and the Screen Extras Guild (SEG). Academy Leader An un-projected identification and timing countdown film leader created to specifications of the American Academy of Motion Picture Arts & Sciences, and placed at the head end of a print reel. The countdown cuing information is related to "feet" which in the silent days, meant projection at 16 frames per second, or 1 foot per second. Acetate-base Film Film with a support that contains cellulose triacetate; also known as Safety Film. Answer Print The first combined sound and picture print that is sent by the lab to a film producer for approval. Also known as "approval print" or "first-trial print," it is screened for close examination of light grading, color balance, fades, dissolves, and other printing standards. The lab makes any corrections required by the producer, and often several answer prints are made before the final approval is given. When the quality is accepted, the answer print then serves as the standard by which the subsequent release prints are prepared. See also release print. Arc Light A high intensity light used to supply very bright illumination—provided by an electric flow (or "arc") crossing the gap between two electrodes. Used primarily for studio lighting, to create artificial daylight from the outside of interior sets, or to enhance or simulate sunlight for exterior scenes. "Brute" arcs are large, high intensity spotlight arcs used primarily in the shooting of color films. Also nicknamed "10K's" because they require 10,000 watts of power. Associate Producer Nominally a producer's second-in-command, he often shares both creative and business responsibilities with the producer. Sometimes he is the actual producer of a film with the credited producer functioning only as a figurehead. Best Boy In film-set jargon, an assistant or apprentice, such as the assistant to the gaffer or the key grip. Black Comedy Obsessed with death, darkness, morbidity and macabre wit, black comedy looks into the void and returns with a devilish grin. Using laughter as a formidable defense against the absurd complexities of modern life, black comedy is essentially entertainment as survival tactic, injecting humor into situations that might otherwise be unbearable. Nothing is sacred in a genre that dares to poke fun at the unthinkable, and black comedy gleefully violates taboos with abandon. Body Makeup Artist According to Hollywood union regulations, the ordinary makeup artist, usually a man, is allowed to apply cosmetics only from the top of the head to the apex of the breastbone and from the tips of the fingers to the elbows. All other areas of the body are the province of the body makeup artist. Cross-Cutting A technique of film editors where two different aspects of the story or locations are interwoven together. Usually this is used to contrast two sets of characters or situations. Often it is used to show the audience parallel events taking place at the same time. Dailies Similar to rushes where the director, producers and other members of the crew can see the footage filmed that day. It shows whether a scene needs to be reshot and gives the editor an idea of how the scene will work in the film as a whole. Director Generally considered the most important person on a set. The director usually, but not always, has the clearest vision of the final product, is in charge of the actors and technicians, and often has a say in both the pre- and post-production aspects of filmmaking. Dutch Tilt A technique where the camera is tilted to one side to disorient the audience. Jump Cut An abrupt, disorienting transitional device in the middle of a continuous shot in which the action is noticeably advanced in time and/or cut between two similar scenes, either done accidentally (a technical flaw or the result of bad editing) or purposefully (to create discontinuity for artistic effect). Editor In motion picture production, the person responsible for editing a film. Working behind the scenes, away from the glare of publicity and the glamorous surroundings of the film set, the film editor is an unsung member of a motion picture's creative team. Yet the success or failure of a production may hinge on the quality of his work. Sharp film editing can make a mediocre production look good and a good production look even better. Conversely, sloppy editing can undo a solid script and even negate fine efforts by the director, the actors, and technical crews. Focus Puller The person in the camera crew that is responsible to keep the scene in focus. Contrary to popular belief most film cameras are not auto-focus. The Focus Puller works to keep the proper focus as the actors and camera moves about. Gaffer The chief electrician on a film unit, responsible for the lighting of a set under instructions from the director of photography. Under his supervision the electrical crew positions the appropriate lamps before and during a shooting session. Gate The all important money, the business in show business. This is another term for the box office or ticket sales a film makes, usually in the first weekend of theatrical showing. A good rule of thumb is a film is a success if it makes a substantial portion of its cost the first week of release. Tops in gate all time include Titanic, Harry Potter, Lord of the Rings and Spider-Man. Films like My Big Fat Greek Wedding cost a few million to produce and earned hundreds of millions which makes it a Gate King. Grip A general-purpose handyman, the movie set's counterpart of the theater's stagehand. His duties include laying dolly tracks, moving flats, setting up parallels, building platforms, placing reflectors and gobos, doing light carpentry, and generally performing tasks that require brawn. Key Grip The head grip on a film set, in charge of a group of men, usually numbering from five to fifteen. Second Unit Director This job is usually held by the Director of Photography. It consists of shots made that do not have the featured actors in them. Usually, this includes scenery, highways, buildings etc. The scenes made by the second unit are then cut into the film to provide keys to the location, mood or the transition of time or distance. Practical Site The use of a real world set such as a house, office building, street etc. rather than a set built expressly for the film. While faster to get up and running a practical set imposes many constraints on the production company such as increased difficulty in blocking and lighting a scene. Rushes Immediate prints of a single day's shooting that can be examined before the next day's shooting. See dailies and answer print. Milo Camera An automated camera set on a track that can be programmed to move a small distance and take a single frame. When played back at 24 frames per second the result is a manic and static movement of the actors. A type of time lapse photography. 'McGuffin A term invented by Alfred Hitchcock for something, usually a prop, that drives and motivates the characters but means little or nothing to the viewers. Examples would include the $40,000 in Psycho or the brief case in Pulp Fiction. Both objects are vitally important to the characters within the story but actually do little to advance the plot as far as the audience is concerned. SnorriCam A small camera mounted to a harness attached to an actor. Provides a dynamic point of view from the actor's perspective. Named after two Icelandic brothers who invented it. POV Point of view. A camera technique where the camera man using a hand held camera is in the middle of the scene filming from the point of view of one of the characters. This technique highlights the first person feel of a film. Lens Speed The relative capacity of a lens to admit light. The speed of a lens is related to the size of its aperture. The larger the aperture, the faster the lens. A fast lens is capable of capturing images on film in relatively poor lighting conditions and at relatively high shutter speeds. Lens Turret A rotating disc in front of a camera on which are mounted several (usually four) lenses. By rotating the turret any of the lenses can be quickly brought into position before the camera aperture. When a lens is correctly shifted, the turret locks firmly. Lip Sync Accurate synchronization of filmed lip movements with recorded speech sounds. In a broader sense, the term is used to describe simultaneous recording of voice and picture rather than shooting with no sound at all or with wild sound. Leitmotif The use of a reoccurring theme, either visually or with the soundtrack. This is used to tie together aspects of the film to stress an important point in the plot. In Scarface (1932) an 'X' is seen in some form to denote a murder. Looping When the conditions of filming are such that there is a lot of 'wild' or ambient sounds the dialogue is often difficult or impossible to understand. When this happens the actors are brought into a recording studio to re-record the lines. This is referred to as looping. It is a common practice to create an alternate dialogue track to replace offensive words with those that are more acceptable for television viewing. Wild Sound Motion picture industry colloquial term for sound recorded without an accompanying picture or along with filming but not in synchronization with the footage being shot. Wild sound is often recorded on location by the sound engineer to capture available natural sounds and sound effects. These are later synchronized with the picture in the cutting room. Shot A single continuous take, filmed in a single session from one camera setup. The basic grammatical unit of the language of film, a shot may range from a single frame taken from a fixed position to a setup involving complex camera movement. See also scene, sequence. Montage A term derived from the French word for hoisting, setting up, mounting, or assembling—hence, staging in theater usage and editing in film terminology. In the US, the term has been used in a sense akin to that of photomontage in still photography—that is, the combining of several images on one frame by superimposition. As applied to motion pictures, this came to specifically describe a sequence made up of a quick succession of brief shots blending and dissolving into one another, created to compress action and convey the passage of time. The technique, typically featuring linked images of such items as calendar pages, newspaper headlines, place names, and train wheels, was particularly popular in Hollywood films of the '30s. Sequence A number of scenes linked together by time, location, or narrative continuity to form a unified episode in a motion picture. It is often likened to a chapter in a book, the scene being the equivalent of a paragraph and the shot the equivalent of a sentence. Traditionally, but not necessarily, a sequence begins with a fade-in and ends with a fade-out or some other optical transitional device. See fade. Fade (Fade In, Fade Out) An optical effect that causes a scene to emerge gradually on the screen from complete blackness (fade in), or a bright image to dim gradually into blackness (fade out). Transitional Effects Effects produced by a motion picture camera or added optically in the lab which allow a smooth flow of film narrative by providing a link between separate scenes. The most common transitional effects are the fade, the dissolve, and the wipe. Other variations include the swish pan, out-of-focus effects, and the moving of a body or an object toward or away from the camera lens. Post-Production The period after principal photography when the film undergoes editing, sound dubbing, and optical effects. The post-production time period is often equal to that of the initial shoot. See pre-production. Pre-Production The period before photography begins when final script changes are made, the cast and crew are hired, locations are scouted, and other preliminary work is finished. Stand-In A substitute for a motion picture star during the tedious process of preparing scenes, setting up the camera, taking light-meter readings, adjusting lights, etc. The men or women in question are chosen for their physical resemblance to a particular star, in size, coloring, and facial features. The stand-in may occasionally be used to substitute for the star in long shots or crowd scenes that require no acting. When a stand-in is used as a substitute for the star in potentially hazardous situations or in stunts requiring specialized physical agility, he or she is better known as a double. See also stunt man. Stunt man (Stunt person) A highly trained person that performs potentially dangerous scenes in a film. While the Director is in control of most aspects of a film, the Stunt Coordinator or head Stunt Man has the final say on all stunts. Strict union regulations state that the Stunt Coordinator and the actual Stuntmen involved must sign off on any stunt before it is attempted. There is a current trend for younger actors to perform their own stunts. In these cases stunt men must work with the star and certify his or her readiness. Process Body A simulation car, train, or any other vehicle with removable sides and front to allow interior photography, usually in conjunction with a process shot. Film Noir A term coined by French critics to describe a type of film that is characterized by its dark, somber tone and cynical, pessimistic mood. Literally meaning "dark (or "black") film," the term is derived from roman noir, "black novel," which was used by French critics of the 18th and 19th centuries to describe the British Gothic novel. Specifically, film noir was coined to describe those Hollywood films of the '40s and early 50s which portrayed the dark and gloomy underworld of crime and corruption, films whose heroes as well as villains are cynical, disillusioned, and often insecure loners, inextricably bound to the past and unsure or apathetic about the future. In order to be a true film noir there has to be several components present. First, no heroes or 'good guys'. With few exceptions, everyone is corrupt. Next, there is a crime, usually of passion or lust. Next, the central character is just barely on the right side of the law and through circumstances, finds himself pushed into the crime. Lastly, there is a woman. This woman is usually the reason the man gives into temptation and breaks the law. Often she betrays the man and makes out to her own advantage. Producer The person exercising overall control over the production of a motion picture and holding ultimate responsibility for its success or failure. Ideally, a producer should be a combination of shrewd businessman, tough taskmaster, prudent cost accountant, flexible diplomat, and creative visionary.