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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: |
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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 |
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").
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
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 the
opportunity 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.
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.