The Old Man and the Sea
УПРАЖНЕНИЕ 1. Ответьте письменно на следующие ниже вопросы.
1. Where do you live? (My home (native) town is...)
2. Where do you work? (at the Mosfilm studio, at the Gorky studio, at the T.V. studio).
3. What kind of films do you like? (feature films ~ художественные фильмы, thrillers — триллеры, comic films — кинокомиксы, comedies, tragedies, gangster films — гангстерские фильмы, action-gangster films — боевики, science fiction — научно-фантастические фильмы, adventure films — приключенческие фильмы, horror films — фильмы ужасов, documentary films — . документальные, costume drama — исторические фильмы).
4. What kind of books do you read? (novels — романы; comic-books — комиксы; thrillers (detective stories) — триллеры, детективы; best-sellers, comedies, plays — пьесы).
5. Are you serious (серьезный) (kind — добрый, clever — умный, gloomy — мрачный, optimistic — оптимистичный, pessimistic — пессимистичный, merry — веселый, funny — забавный, wicked — злой)?
6. What do you do in your spare (свободный) time? (to read, to watch T.V, to go in for sports, to knit — вязать).
7. Do you like English?
УПРАЖНЕНИЕ 2. Выпишите из текста А все случаи употребления глаголов в пассивном залоге (см. таблицу блок 3) и переведите их на русский язык.
УПРАЖНЕНИЕ 3. Выполните письменно задание 6 блока 3, позволяющее выявить факторы, определяющие успех фильма.
ЗАДАНИЕ 6.
а) Заполнив пропуски, напишите фамилии кинематографистов и факторы, которые, по вашему мнению, определяют слагаемые успеха фильма.
б) Переведите полученные предложения на русский язык, обращая внимание на формы глагола-сказуемого в страдательном залоге.
The film is a success when the story is written by _.
The film is a success when the plot is based on a famous story, _.
The film is a success when a film star is cast, for example _.
The film is a success when the film is shot by a famous film director, for example _.
УПРАЖНЕНИЕ 4. Сделайте письменно задание 7 к тексту А блока 3, воссоздающее последовательность проведения работ во время подготовительного периода кино-производства.
ЗАДАНИЕ 7.
а) Расположите в правильном порядке предложения, описывающие процесс кинопроизводства.
б) Переведя их на русский язык, вы получите план пересказа текста. Сравните его с версией перевода текста (Text А).
1. The story is found.
2. The production unit is formed.
3. The budget is established.
4. The treatment is presented.
5. The shooting script is developed.
6. The film tests are made.
7. The actors and actresses are cast.
8. The locations are hunted for.
9. The sets and costumes are designed and ordered in the workshops.
10. The rehearsals are held.
УПРАЖНЕНИЕ 5. Выполните письменно задание 10 блока 3, представляющее описание работы отдельных цехов и служб киностудии.
ЗАДАНИЕ 10. Ознакомившись с картинкой киностудии, расскажите о том, что вы там видели, выбрав необходимую форму глагола из перечисленных в скобках форм. Добавьте информацию от себя.
УПРАЖНЕНИЕ 6. Выполните письменно задание 11 блока 3.
ЗАДАНИЕ 11. Сократив Text А, составьте по-английски реферат о подготовительном этапе съемок кинофильма.
УПРАЖНЕНИЕ 7. Переведите письменно на русский язык рецензию на фильм «Старик и море», используя текст и лексику задания 12 .
ЗАДАНИЕ 12.
а) Пользуясь словарем, переведите на русский язык рецензию на фильм «Старик и море».
б) Постарайтесь соблюдать формы и клише жанра рецензии на русском языке.
The Old Man and the Sea
The American film «The Old Man and the Sea» is based on the novel by Hemingway. It was produced in 1959 and released by the Hollywood Studio. The short novel by Hemingway was adapted for the screen by the American director Zinneman.
This screen adaptation is faithful to the original. However, in this case it is the drawback rather than the merit of the film. This is a detailed illustration of the novel rather than an original treatment.
What went wrong? The thing is that the material of the book needs black-and-white treatment. And this is how the plot was conceived. But Zinneman and his producer came to the conclusion that such a treatment would limit the commercial possibilities of the picture. That is why it was shot in colour, which is absolutely out-of-place in a film like that. The action of the film is set in Florida. And the bright colours distract attention rather than emphasize the mood. Besides, the leading roles are played by young actors whose performance is sentimental.
The film was produced in close co-operation with Hemingway himself. The writer can be seen on the screen. His style and language are preserved practically unchanged both in the dialogue and in the long quotations from the novel. Perhaps, it is by this lack of creative freedom of the authors of the film, that its failure can be explained. And the wonderful laconic style often sounds absurd when it is spoken aloud.
в) Расскажите по-английски, как бы вы сняли фильм по этому произведению Хемингуэя. Остановитесь на следующих моментах:
1. screen adaptation (faithful to the original / new treatment)
Model
The screen adaptation must be faithful to the original because it is Hemingway's world.
2. style (changed / unchanged)
Model
The style must be changed because cinema is a visual art.
3. plot, characters (is/are preserved / varied)
Model
The plot must be varied because I have another conception of the film.
4. colour treatment (black-and-white, colour film)
Model
It must be a colour film because it provides a new colour treatment.
5. cast
Model
I'd like to cast... because he is a brilliant actor.
УПРАЖНЕНИЕ 8. Напишите вопросы к тексту «Writing a script» (задание 17).
ЗАДАНИЕ 17. Предположите, что данное ниже высказывание Мэриэм Купер является ответом на вопросы интервью. Напишите их, дополнив следующие предложения, или составьте свои вопросы.
How do you... ?
What do you write about the ... ?
How many characters are there ... ?
Did Frank Nugent... ?
Writing a script
Meriam С Cooper (producer):
«I develop the script with the screenwriter from my own story idea. On all my pictures I always write the history of each character from birth to death. If you do this, you know all about the characters: what country they come from, what their life is, what they eat, how they sleep, whom they loved, whom they hated, how they died. There were eighteen characters, I think, in «Fort Apache» that Jack and I did that way. And then we hired Frank Nugent, who wrote a script. Each day he came and wrote. And we all three met for lunch and discussed the script. Then Frank Nugent went back and wrote again. That's the way we usually work».
УПРАЖНЕНИЕ 9. Выпишите из текста В все формы глаголов в пассивном залоге и переведите их на русский язык.
TEXT В
УПРАЖНЕНИЕ 10. Выполните письменно задание 23 по предложенной в нем модели.
ЗАДАНИЕ 23.
а) Посмотрите на схему киностудии и напишите о том, что можно видеть в каждой из служб во время съемок.
б) Используйте следующую модель, повторив случаи употребления времени Present Continuous.
УПРАЖНЕНИЕ 11. Прочитав текст «Casting» (задание 25), ответьте письменно на вопросы, данные в пункте б).
ЗАДАНИЕ 25.
а) Пользуясь при необходимости словарем, прочитайте текст «Casting».
Casting
Major actors are often cast in the following manner. A script is brought to the attention of the actor's agent. The actor evaluates the role for which he is considered. If his judgment is positive, he instructs the agent to negotiate a deal. Some stars call for changes in the role. Then producer, director and scriptwriter revise the script to take advantage of the actor's talent and screen image.
In some cases, the actor is asked to take a screen test in which a short film is made of the actor when he is reading a scene in character.
Casting is such a big job that it is often turned over to a specialist — either a casting director or an agency. The casting personnel take a good look at the script and then decide which actors may be chosen for each of the roles. Casting agencies continually update thin files keeping track of which actors are available for work, which ones are «hot», and which are the most promising newcomers.
б) На основе текста «Casting» ответьте по-английски на следующие вопросы:
1. Who will cast the actor and sign contract?
2. Is it possible to change the script if the actor calls for changes?
3. Are the screen tests made?
4. What does the casting depend on?
УПРАЖНЕНИЕ 12. Напишите по-английски биографию Джека Николсона, используя информацию, полученную из текста в задании 26, а также образец русского текста об актере и лексику задания 27.
ЗАДАНИЕ 26.
УПРАЖНЕНИЕ 13. Напишите по-русски реферат статьи о фильме И. Бергмана «Земляничная поляна», приведенной в задании 32.
ЗАДАНИЕ 32. Сделайте на русском языке реферат статьи «Земляничная поляна» Ингмара Бергмана.
Text С. Ingmar Bergman and his film «Wild Strawberries»
Part 1. Biographical Note
Ingmar Bergman was born in Uppsala, Sweden, on 14 July 1918. His father was a Lutheran pastor. Ingmar Bergman studied at Stockholm University. When he finished his university studies, he began working as director — first at the City Theatre in Halsingborg and some years later in Malmo. In 1959 he became director at the Royal Theatre in Stockholm, where he served as head from 1963 to 1966.
His first feature film «Crisis» was released in 1945. It was based on the play «The Mother Creature» by the Danish author Leek Fischer. «Prison» (1949) was the first film written and directed by Bergman. Since «Crisis» he has directed almost forty films and had a hand in the making of several others.
Ingmar Bergman's best films are: «The Silence», «Hour of the Wolf», «Waiting women», «A Lesson in Love», «Smiles of a Summer Night», «Persona», «Shame», and «Wild Strawberries».
Part 2. «Wild Strawberries» (1957, 95 min.)
Directed by Ingmar Bergman. Production manager: Allan Ekelund, Screenplay by Bergman, Photography by Gunnar Fisher, Sets by Gittan Gustabsson, Assistant director Gosha Ekman. With Bibi Anderson, Ingrid Thulin and others.
The theme of «Wild Strawberries» is death-in-life, emotional-spiritual atrophy. It is embodied in the generations of the Borgs. And in fact atrophy is not simply repeated from generation to generation but developed.
Bergman connects five generations within the twenty-four hours unity. We see death-in-life in grandmother (Naima Wifstrand), her children Isak and Sigfrid and her grandchildren. The life of grandmother is all self-pitying bitterness. She cannot see herself as she is. Her existence is a kind of spiritual prison.
The family relations of her sons and grandchildren is explored by Bergman as contrast between brothers (Isak and Sigfrid) and two Sarahs (Sarah one and Sarah two). This contrast embodies the theme of the film: death and life. The contrasting personalities are represented by the two brothers: Isak is a moralist, Sigfrid is shallow and frivolous. Just the same, Sarah I is torn between natural impulse and the dictates of morality. Sarah II represents freedom.
Beyond the three generations of the Borgs we meet in the course of the film, Bergman suggests past and future. Isak's mother talks of her mother and Marianne (Ingrid Thulin) expresses her fears for the child she is carrying. She is afraid that the «living death» will be inherited by her baby.
The five generations of the Borgs reflect the movement of Swedish society since the late nineteenth century.
The theme of the film is developed like musical themes. Visual motifs are taken up, varied and developed. We see many scenes in flashback which are connected with the present. They explain the present and opposition of the main theme: death and life. Death and life are opposed in symbols. For instance, the dead tree is in opposition to the wild strawberries and wild flowers. The clock with no hands symbolizes not only death but impotence. This musical composition and organization of the film expresses Bergman's sense of existence where death and life, dreams and reality are connected and opposed to each other. The film embodies the Christian virtues of love and forgiveness between parents and children. It is one of the most loved of Bergman's films.
Контрольная предназначена для тех, кто изучает киноиндустрию.
