Translation Exercise

45 Make a written translation of the text into Ukrainian.

From Nigella Lawson's "Private Lives, Cutting Edges",

Observer, September 17, 2000

Is there anyone who truly believes that seeing a violent film is going to make them violent? No - but we all fear the effect it has on others. Of course, our fears are - as they should be - concerned mostly with the vulnerable young, and that certainly seems to be the drive behind the latest rethink of film-categorisation and censorship policy.

Yet however well intentioned any discussion of censorship rules or guidance, there is an inherent problem. Our society is violent. Not as violent as it has been (though there wasn't the mass entertainment business around to exploit it), but we do seem to enjoy violence and no amount of censorship can have any impact on that.

While I can understand the primitive bloodlust that lies behind the desire to see as much detailed, hideously realistic violence in the name of entertainment as possible, I am more disturbed by the impulse itself than its screen manifestation. And this is not because I feel there is a danger of our being actively corrupted: it's that our appetite for it is a sign of our prior corruption. Perhaps our untroubled engagement with the violent and the horrific is the natural reaction of a coddled generation: we haven't witnessed war or had to go off to fight. Our lives are protected and sanitised, and the result is that while we insist on trying to make the world less randomly dangerous than it ever can be, we are intent on immersing ourselves in lurid acts of violence that the age we live in has otherwise spared us.

If this seems inconsistent - in that I have declared my distaste for screen violence to have no basis in the belief that it might incite further public violence - it is because the two areas of concern are disparate.

… But the sort of violence people pay to go and see is cartoon-violence. It's for amusement. It's not really that much different from the enjoyment taken in a television series such as Casualty, which is not shocking or repellent, but does in the same way make one wonder about what kind of people we are that we take so much pleasure in viewing people even play-acting distress, pain, suffering, the rest. In part, I envy those whose lives are so untouched by personal catastrophe that they feel impelled to make up the shortfall cinematically or on television. …

Unit 2 Cinema

Part 3. Moguls and Others

Lead-in

46 Below are some terms referring to people who take part in decision making in film industry. Match the terms to the definitions.

mogul	editor	producer	director	auteur	scriptwriter
a) Director with "artistic" ambitions.	b) Powerful decision-maker in Hollywood, especially a studio boss.	c) The individual who decides what scenes are to be used, how, where, in what sequence, and at what length they will appear.	d) Person who writes the screenplay.	e) Person who is in charge of organising and making arrangements for a film, controlling the film budget, exercising general supervision over the production and personnel.	f) The individual who interprets the script in terms of cinematic technique, supervises all phases of the work involved in achieving a unified film presentation and assumes responsibility for what appears on the screen.

47 Match the names of jobs and objects with the images in the picture beside.

the props the extra

the movie actress the lighter

the set the make-up man

the camera man the script

the motion picture camera the assistant operator

the microphone the microphone gallows

the spot-light the director

the assistant director the camera truck

the technician the actor

the sound operator

48 Imagine you have just seen a film where you have enjoyed everything to the smallest detail. Whose names of the film production staff would you like to memorise most? Choose some five jobs, write them down on a list in the order of importance (as you see it) and explain your choice.

Music Director, Casting Director, Costume Designer, Make-up Director, Visual Effects Supervisor, Production Designer, Director of Photography, Scriptwriter, Set Director, Director, Producer, Sound Engineer, Film Editor, Technical Director

Reading

49 Read the following article about one of the best-known Hollywood actors Michael Douglas. Make sure you study the language of the text to be competent in further exercises and discussions.

Breaking the Mold

Actor and Producer Michael Douglas

By Alysse Minkoff

It wasn't until the mid-80s, though, that Michael Douglas scored as a film actor -- first as the philandering husband in Fatal Attraction, then as the veritable epitome of Reaganomics greed in Wall Street. As slick, ultra-wealthy financier Gordon Gekko, Michael won an Oscar for Best Actor, an accolade, which has eluded his father. He continues to heat up the screen in such films as Basic Instinct and Disclosure. Now he is starring in An American President.
Michael Douglas creates real men. Flawed. Good. Human. Conflicted. Passionate. Smart, decent men who occasionally have moral lapses. And immoral men who are dazzlingly desirable. As an actor his choices reflect a fearlessness in the face of a public who constantly wants to identify and define its icons by the characters that they portray on film. He's a leading man who doesn't always want to do what the traditional leading man is supposed to do. And he is one of the few men, in any age category, who consistently weaves raw and blatant sexuality into the threads of incredibly charismatic characters.

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