Unit 9
MEDIA ETHICS
AND RELATIONSHIPS
READING
Exercise 1. A radio phone -in programme is dicussing the following questions :
– Reporting of celebrity scandals in the press: should it be banned?
– Are scandals in the private lives of famous people any of our business?
Read what 8 people said. Do they think that these stories and photos should
(A) be allowed, or (B) be banned?
Speaker A or B?
Linda
Bob
Nick
Harry
Tom
Joe
Emily
Rachel
Linda: I don’t think that it’s got anything to do with us, it’s none of our business. If people want to do what they want, I don’t care who they are, they should be allowed to. I think we can do without this kind of thing in the papers.
Bob: I think that the problem is that half of the staff they print is just complete rubbish. They’ll print anything to make a bit of money, and I think that half the time they just make it up. I don’t think they should be allowed to print a load of lies.
Nick: A lot of people, especially young people, look up to pop stars and film stars and people like that, so my feeling is that it’s important we know what they’re up to. These people are role models for our children, so it’s right if we know what they are really like.
Harry: I really like finding out about who’s going out with who, who’s getting married and that kind of thing. I get “Hello” every week and it gives you all the latest news and I really look forward to it. What’s wrong with that?
Tom: I can’t see how it is in the public’s interest to know about the private life of a Hollywood film star or some princess or other. It may be that these people have immoral lives but it’s even more immoral to write and read about it. I don’t go along with this kind of thing at all.
Joe: If people want to read information like this, then the newspapers will print it. I don’t think you can blame the newspapers. If people gave up buying these papers, then you wouldn’t get all these shock-horror stories. It’s as simple as that.
Emily: I think it’s really important that the press has complete freedom. After all, if you start saying “No, you can’t print this, you can’t print that”, it won’t be long before our whole democratic society breaks down. I don’t want politicians deciding what I can read.
Rachel: Well, these film stars say they’re not happy about it but they keep on giving interviews all the time, so I can’t see how they can complain if sometimes the papers print stories about them that are maybe a bit embarrassing. That’s just too bad for them!
WRITING
Exercise 2. You are going to write an essay about invasion of privacy by the press.
Use the essay plan below to help you.
On a piece of paper, write your essay plan. Use the ideas in the text above.
Before you start, look at the language below to help you.
I. Celebrity scandals in the press: should they be banned?
Paragraph 1
Introduction: explain that some people think the reporting of celebrity scandals in the press should be banned. You may like to give an example of such a scandal.
Paragraph 2
Give your opinion and choose one or two reasons for this. Also, give arguments against your reasons.
Paragraph 3
Choose one or two more reasons and also give arguments against.
Paragraph 4
Conclusion: give your opinion again.
II. In my opinion, it is true to say …
Personally, I believe / don’t believe that …
My feeling is (that) …
Having said that, it is important to remember that …
At the same time, I feel that …
Although some people feel …
Perhaps the most important point, however, is …
What is more, …
Another important consideration is that …
One of the main arguments against …is …
All things considered, it is fair to say that …
In conclusion, / On balance, I would say that …
SPEAKING
READING
Exercise 5. a) The passage describes the plot of a well-known film classic. Read the
WRITING
READING AND
COMMUNICATION
Exercise 7. a) In pairs. Discuss what qualities you think are needed for successful
director / producer relationship.
b) Scan the article and check your ideas.
VOCABULARY
VOCABULARY AND
COMMUNICATION
Exercise 12. a) Read this statement and decide if you agree with it. Give reasons.
“Being my own producer is a little more work but it’s more efficient.” –Sidney Pollack
b) Find out what the other people in your class think about the statement.
GRAMMAR
PASTPERFECT
PastPerfectобозначает действие, которое было закончено до другого действия в прошлом.
утверждения:
| I You ’d (had) seen him before. He (etc.) |
отрицания:
| I You had not seen him before. He hadn’t seen (etc.) |
вопросы:
| you Where had she been before? they (etc.) |
краткие ответы:
Had he already left? – Yes, he had.
No, he hadn’t.
– When I got home, I found that someone had broken into my apartment and had stolen my computer, so I called the police.
– I didn’t want to go to the theatre with my friends because I’d seen the play before.
– People said they had seen Amelia in Spain.
– The film had started when I arrived.
– By the time the plane was airborne I’d forgotten England even existed.
– He had a headache because he hadn’t slept.
– After we’d signed the contract we opened the bottle of champagne.
Compare:
When I got to the party, Peter went home. (= First I arrived, then Peter left.)
When I got to the party, Peter had gone home. (=First Peter left, then I arrived.)
Exercise 15. Decide if the ’d in these sentences is would or had.
1. I’d like to go all around the United States.
2. I’d have to work until …
3. …I’d saved enough money.
4. I’d probably travel with a friend.
5. If I’d the money now …
6. … I’d leave immediately
7. How much do you think it’d cost?
LANGUAGE USE
Exercise 16. Put the verbs in brackets in Past Simple or Past Perfect.
1. By the age of 30, Crichton ________________ (already/visit) many countries.
2. He wanted to quit Harvard because he _______________ (think) the classes were boring.
3. He separated from his wife before he _______________ (go) to L.A.
4. He went to Los Angeles because he ______________ (decide) to concentrate on writing.
5. After he went to Los Angeles, he _______________ (become) depressed.
6. He remembered that a friend ________________ (invite) him to Thailand.
7. When he arrived in Bangkok, his friend ______________ (meet) him at the airport.
8. Before he went to Bangkok, he ________________ (never /be) outside America or Europe.
9. He ________________ (know) Steven Spielberg for many years by the time he wrote Jurassic Park.
The differences in meaning.
1. When I arrived at the barbecue, they _________ eating sausages.
When I arrived at the barbecue, they _________ eaten all the sausages.
2. We thanked our teacher for everything she _________ doing to help us past the test.
We thanked our teacher for everything she _________ done to help us pass the test.
3. He told me that they_________ staying at the Carlton Hotel.
He told me that they _________ stayed at the Carlton Hotel before.
4. ________ you learn Italian when you went to Italy?
________ you already learned Italian when you went to Italy?
5. ________ Shakespeare write Hamlet?
________ Hamlet written by Shakespeare?
Exercise 21. In pairs.
GRAMMAR
Present
“I write.” he wrote.
“I’m writing.” He said/told me … he was writing.
“I’ve written.” he had written.
“I’ve been writing.” he had been writing.
Past
“I wrote.” he had written.
He said/told me …
“I was writing.” he had been writing.
Modals
“I will/would.” he would.
“I can/could.” He said/told me … he could.
“I must.” he had to.
Questions
“Do you work here?” if I worked there.
“When are you leaving?” He asked me … when I was leaving.
“Have you been to Rome?” if I had been to Rome.
_________________________________________________________________________
Imperative
“Come to my office.” He told me … to come to his office.
Примечание.
1. PastSimpleиPastContinuousвкосвеннойречимогутоставатьсябезизменения, когдауказано время совершения действия.
He said, “I began to learn English in 2013” He said that he began to learn English in
2013.
2. В разговорной речи все времена могут оставаться без изменения.
3. Не меняется время, и если утверждение до сих пор в силе.
“I’ll always love you,” she said. Shesaidshewillalwayslovehim.
II. Заменяются также некоторые наречия и местоимения.
this заменяется that
these на those
now then
today that day
tonight that night
tomorrow the next day
yesterday the day before
ago before
last week the week before
next week the following week
next year the following year
herethere
III. Способы передачи косвенной речи
Прямая речь Косвенная речь
1) утверждения и отрицания
“I like him,” she said. She said she liked him.
“I’m seeing him this evening,” she said. She said she was seeing him that evening.
“I’m not tired,” he said to her. He told her he wasn’t tired.
2) специальныевопросы
“How many channels are there?” he asked. He asked how many channels there were.
My friend asked, “What are you reading?” My friend wondered what I was reading.
3) общиевопросы
“Do you live in Moscow?” she asked me. She asked me if I lived in Moscow.
“Is satellite television very popular?” he asked. He asked whether satellite television
was popular.
4) повелительное наклонение, просьбы, предложения и т.п.
“Can you close the door, please?” he said. He asked me to close the door.
“Wait here,” he said. He told me to wait there.
5) глаголы , вводящиекосвеннуюречь :
say, tell smb, add, explain, complain, continue, inform, insist, note, mention, answer, reply, think, remind,ask, wonder,order, offer, promise, refuse, warn, agree, encourage, persuade, accept, refuse
LANGUAGE USE
Reporting verb.
1. “I’ll arrange something, I promise.”
2. “Rosemary, may I come in?” It was Philip.
3. Philip asked, “Explain. Who is she?”
4. “Look again. I think you’re making a mistake.”
5. “Philip,” she whispered, “am I pretty?”
Verbs below.
Characters actually said.
1. She said she liked him.
2. She said she was seeing him that evening.
3. She said she had never felt like that before.
4. He said he had enjoyed meeting her that night.
5. He said he would ring her the next day.
Backshift the tenses.
In their own words
1. “Anybody can direct a picture once they know the fundamentals. Directing is not a mystery, it’s not an art. The main thing is: photograph the people’s eyes.” (John Ford)
2. 
“Actors can be a terrible bore on the set, though I enjoy having dinner with them.” (Sir David Lean)
3. “Less isn’t more. More is more.” (James Cameron)
4. “We do pander to the audience. But the audience we think about is us.” (The Coen Bros.)
5. “We had access to too much money…and little by little we went insane.” (Francis Ford Coppola)
6. “When people ask me if I went to film school, I tell them, “No, I went to films.” (Quentin Tarantino)
7. 
“I’m a filmmaker, not a documentarian. I try to hit the truth.” (Sir Ridley Scott)
8. “I think when you’re young and have that first burst of energy, and make five or six pictures in a row that tell the stories of all the things in life you want to say…Well, maybe those are the films that should have won me the Oscar.” (Martin Scorsese)
9. “If you have a story that is very commercial and simple, you have to find the art. You have to take the other elements of the film, and make them as good as possible, and doing that will uplift the film.” (Steven Allan Spielberg)
10. 
“Telling me to take a vacation from filmmaking is like telling a child to take a vacation from playing.” (Stanley Kubrick)
11. “I don’t want to achieve immortality through my work; I want to achieve it by not dying.” (Woody Allen)
12. “In films painting and literature, theatre and music come together. But a film is still a film.” (Akira Kurosawa)
VOCABULARY
AND SPEAKING
Each type.
Musical love story
Ex.: action film: “Robocop”
GIVING OPINIONS
WORD-BUILDING
AND VOCABULARY
EMPHASISING
You can also use the following adverbs of degree before an adjective to emphasise something:
absolutely amazingly extremely especially extraordinarily particularly really
Ex.: It’s a really exciting film.
SPEAKING
Exercise 39. a) Say the sentences aloud. Use stress to emphasise your opinions.
1 It’s really amazing!
2 It’s an absolutely terrible film!
3 The ending is especially exciting!
4 The plot is particularly well-written.
5 The acting is simply appalling.
6 The music is extremely good.
b) Think of an example of a film for each phrase.
READING AND
COMMUNICATION
About the following:
the film, the plot, the acting, the ending ?
b) Enact the actual conversation.
Linda: Oh, I wanted to watch “Casablanca” on the TV last night but I didn’t get in time.
Joe: Oh, you didn’t get to see it, then.
Linda: No, did you see it?
Joe: Oh, yes, it’s a brilliant film, it’s a wonderful film. Yeah, I watched it again, I watch it any time it comes on because it’s a classic film, I never miss it.
Linda: Yes.
Joe: Er …yeah, you should have seen it. I mean the acting is fantastic …
Linda: Is it?
Joe: …you’ve got Humphrey Bogart playing Rick who runs this bar in Casablanca on the north coast of Africa and Morocco. And, er …Ingrid Bergman comes in to the story, Clark Raines, Paul Heinrich they are all wonderful.
Linda: Hmm, and what about the plot? The plot’s supposed to be very exciting, isn’t it?
Joe: Oh, it’s an outstanding plot, really. It’s er … got everything you need, it’s a very emotional love story, Ingrid Bergman’s married to this chap, and they come in, and she sees Humphrey Bogart, who was an old lover, and it starts the whole thing all over again, and, it moves, you know, in the midst of this strange setting, very gripping stuff.
Linda: Yes, and it’s supposed to have a very powerful ending as well, isn’t it?
Joe: It does, it has a very memorable ending, indeed. It’s an ending the image of which has been used in many commercials, it’s that popular.
Linda: Yeah. So what would you say is your favourite scene in the film?
Joe: Oh, I think the ending without question. It is …it’ so moving, and Bogart is, er …and Bergman saying their farewell at this …at the airport, it’s an image you never forget, it’s, er …a love story that is …archetypal, it’s outstanding. No question, it’s something that you should certainly see.
Linda: I really must get to see it, yeah.
READING AND
LANGUAGE USE
Exercise 42. a) In small groups or pairs. Discuss the statement by M. Scorsese.
Names side by side.
b) Find the reported speech and write down the actual statements.
Ingmar Bergman
1918-2007
“Bergman
was one giant;
Antonioni
was another.
Both of them cast
very, very long
shadows”
– Martin Scorsese
When Ingmar Bergman died at 89 on July 30 on Faro, a remote island off the coast of Sweden, the weather was cold and rainy. Somebody remarked that it was an all-too-fitting send-off for a man whose legacy included some of cinema’s bleakest visions of humanity. He told me that he was afraid that he would die on a very, very sunny day, quips Woody Allen, his longtime friend and greatest mainstream disciple.
From the chess match with Death in 1957’s “The Seventh Seal” to the intertwined female psyches in 1966’s “Persona”, Bergman was best known for deeply contemplative black-and-white sagas set in stark Scandinavia. A stage director by training and practice, he created 56 movies, three of which won Best Foreign Language Film Oscars (1960’s “The Virgin Spring”, 1961’s “Through a Glass Darkly”, and 1983’s “Fanny and Alexander”); he also earned the Irving G. Thalberg award in 1971. Many critics admitted that alongside Federico Fellini and Akira Kurosawa, he had been one of the great ambassadors of art-house cinema.
There were others who assumed that despite some of his more off-putting films, or perhaps because of them, Bergman had influenced pop culture enormously. Allen, who dubs Bergman “the greatest film artist of my lifetime,” famously paid homage via satires (“Love and Death”) as well as dusky dramas (“Interiors”) – and frequently employed two key members of his celebrated repertory company, actor Max von Sydow and cinematographer Sven Nykvist. But Bergman’s imprint extended to everything from Stephen Sondheim’s stage musical “A Little Night Music” (based on the unusually buoyant “Smiles of a Summer Night”) to, yes, “Bill & Ted’s Bogus Journey” (in which the heroes battle Death in a game of…Twister).
Bergman also leaves a remarkable canon of confessional films, pieced unmistakably by and about himself: his sickly childhood, his domineering minister father, and his strained home life (he wed five women, fathered at least nine children, and had a long relationship with his most notable leading lady, Liv Ullmann). These lit a path for the early work of Martin Scorsese, Bob Fosse, and even George Lucas. Elliott Gould who played the director’s surrogate, an archaeologist, in 1917’s “The Touch” said that Ingmar had always been digging. “He told me that, up until that time, his two best films were “Persona” and “Winter Light”. And the message in “Winter Light” is that even if there’s nobody in the congregation, you must continue to deliver the message….That’s what he’s doing right now.” –Joshua Rich
Exercise 43. Read the following sentences and decide if they are false (F) or true (T).
1. Ingmar Bergman died at 89 on July 30 in Stockholm.
2. Woody Allen was Antonioni’s longtime friend and mainstream disciple.
3. Bergman was best known for black-and-white comedies.
4. Bergman created 56 movies.
5. Alongside Federico Fellini and F. F. Coppola, he was one of the great ambassadors
of art-house cinema.
6. Elliott Gould played the director’s surrogate, an archaeologist, in “Winter Light”.
FILM PRODUCTION
This course provides practical experience of the many aspects of filmmaking, both live
action drama productions and documentaries. Our aim is to produce graduates who will
progress to key creative and production roles in mainstream film production. You will gain a contextual understanding of the entire process of film production and the relationship
between all its constituent roles and stages including design, editing, sound, cinematography, production and direction.
The result will be the production of visually exciting and engaging films, entertaining
and challenging audiences. This is a course for all film production specialists and produces
top-quality graduates with a range of skills and a practical, realistic and commercial
outlook. The course is well resourced with professional filmmaking equipment for each part of the process from pre-production to delivery of completed films. Resources include Arriflex Super 16mm film cameras and professional HD & SD video cameras, three film
studios, a production design studio, a student hub including three fully equipped production offices, twenty one Avid “Media Composer” editing suites, one Avid “Symphony Nitris” suite, two sound recording booths, four Avid “Pro Tools” audio editing suites, an Avid ISIS 32TB server and a HD capable screening room with surround sound computer graphic Techniques.
SEMESTER PROGRAMME 10+Weeks
Study Abroad students can apply to join a semester programme in year 1 or year 2 of the BA Film Production course, working alongside our full time students. Semester programmes start in October and January. Entry is by application and portfolio review.
Year 1 - gives you an intensive introduction to the fundamentals of film production and theoretical concepts, and a thorough grounding in technical skills, disciplines and
knowledge.
Year 2 - broadens your horizons, encouraging experimentation and development in your specialism.
A full description of course units is available from the Study Abroad Office
studyabroad@ouch.ac.uk or visit www.ouch.ac.uk/studyabroad for more information.
VOCABULARY
Each verb once only.
| gain produce broaden provide give join encourage |
1 ___________ practical experience
2 ___________ contextual understanding of the entire process
3 ___________ graduates
4 ___________ experimentation
5 ___________ a semester programme
6 ___________ your horizons
7 ___________ thorough grounds in technical skills
WORD-BUILDING
SPEAKING AND
COMMUNICATION
Exercise 51. a) In small groups, prepare VGIK leaflets. Use the vocabulary and
Exercise 52. Word Chain.
Do this word chain in which each word begins with the last letter of the
previous word.
| 1 | 3 | 5 | 7 | 10 | 14 | |||||||||||||||||||
| 13 | ||||||||||||||||||||||||
| 11 | 16 | |||||||||||||||||||||||
| 8 | 15 | |||||||||||||||||||||||
| 2 | 4 | 6 | 9 | 12 |
1. use of, permission to use, admission
2. intense physical or mental effort
3. beginner
4. nonsense or litter, garbage
5. a few
6. printed sheet of paper with information or advertising
7. full, whole, combined
8. the opposite of profit
9. series of events or piece of thin rope
10. aim
11. allow
12. three-legged stand for supporting a camera
13. not bright
14. unhappy, sad, depressed
15. interesting, attractive, likable
16. room for athletics
Unit 9
MEDIA ETHICS
AND RELATIONSHIPS
READING
Exercise 1. A radio phone -in programme is dicussing the following questions :
– Reporting of celebrity scandals in the press: should it be banned?
– Are scandals in the private lives of famous people any of our business?
Read what 8 people said. Do they think that these stories and photos should
(A) be allowed, or (B) be banned?
Speaker A or B?
Linda
Bob
Nick
Harry
Tom
Joe
Emily
Rachel
Linda: I don’t think that it’s got anything to do with us, it’s none of our business. If people want to do what they want, I don’t care who they are, they should be allowed to. I think we can do without this kind of thing in the papers.
Bob: I think that the problem is that half of the staff they print is just complete rubbish. They’ll print anything to make a bit of money, and I think that half the time they just make it up. I don’t think they should be allowed to print a load of lies.
Nick: A lot of people, especially young people, look up to pop stars and film stars and people like that, so my feeling is that it’s important we know what they’re up to. These people are role models for our children, so it’s right if we know what they are really like.
Harry: I really like finding out about who’s going out with who, who’s getting married and that kind of thing. I get “Hello” every week and it gives you all the latest news and I really look forward to it. What’s wrong with that?
Tom: I can’t see how it is in the public’s interest to know about the private life of a Hollywood film star or some princess or other. It may be that these people have immoral lives but it’s even more immoral to write and read about it. I don’t go along with this kind of thing at all.
Joe: If people want to read information like this, then the newspapers will print it. I don’t think you can blame the newspapers. If people gave up buying these papers, then you wouldn’t get all these shock-horror stories. It’s as simple as that.
Emily: I think it’s really important that the press has complete freedom. After all, if you start saying “No, you can’t print this, you can’t print that”, it won’t be long before our whole democratic society breaks down. I don’t want politicians deciding what I can read.
Rachel: Well, these film stars say they’re not happy about it but they keep on giving interviews all the time, so I can’t see how they can complain if sometimes the papers print stories about them that are maybe a bit embarrassing. That’s just too bad for them!
WRITING
Exercise 2. You are going to write an essay about invasion of privacy by the press.
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