The student is complaining the noise and dust made by the construction out of the library since they have to take some classes during this summer break. The housing officer says that she cannot help this situation, she cannot change the schedule of the construction as the man suggests, since the construction is decided by a special committee and funded several months ago. Then the man suggests the construction team to move to another side of the building. But it is too difficult to move anything. Later the officer suggests that maybe they can apply for another dormitory, but she needs contact with housing first.
1)Why the mango to the office?
2)What can be inferred from what the woman talks?
: Listen to part of a lecture in a films studies class. Now I’d like to take a look at just how important editing is for the film maker. You remember we said a film is made up of what we call shots. The basic unit to film narrative. And each shot is a continuous image being filmed, in which the camera is turned on for shooting that is filming the actor, scenery, whatever. And then it’s turned off. And after the shots are filmed, they have to be edited, put together, to tell a coherent story. Now, the most common way, is to cut from shot A to shot B, now cut in this sense, is a sudden change from one scene to another. In editing, the film maker chooses which shots, and how much of each shot to use. And what order to arrange them in. The typical Hollywood film, contains between 800 and 1200 shots, so, with so many shots to assemble, you can see how important editing decisions are, in shaping the finished film. So, cutting is an important editing technique. And it’s commonly used in what I’ll call, spatial and temporal manipulation. That is, in the conscious control in the relation between shot A and shot B in space and time. When a film cuts directly from one shot to the next, as viewers we perceive these shots as one uninterrupted segment between time, and space. For example, let’s say a shot of the speaker cuts to a shot of a cheering crowd. In reality, these two shots could have been taken on different days, and in two different locations. But, we assume that the crowd’s appearing FOR the speaker, during the speech, we infer spatial and temporal coexistence. The possibility of this kind of spatial and temporal manipulation was explored extensively in the 1920s by the Russian filmmaker Lev Kuleshov. Kuleshov did some experiments with film editing. In his most famous
1. What does the professor mainly discuss?
A. How film-editing techniques have changed over time
B. The effect of editing on viewers' perceptions of a film
C. Differences between fiction films and documentary films
D. How Kuleshov's experiences as an actor influenced his filmmaking
2. What point does the professor make when he describes a shot of a speaker that cuts to a shot of a crowd?
A. Filmmakers have difficulty manipulating time and space within individual scenes.
B. Kuleshov's early films used editing more extensively than his later films did.
C. Audiences tend to infer relationships between consecutive shots.
D. The filming of a crowd and the speaker on different days confused the viewers.
3. The professor describes Kuleshov's most famous film experiment. In the experiment, what aspect of the film did the audience praise?
A. The actor's ability to portray a variety of different characters
B. The actor's ability to express a wide range of feelings
C. Kuleshov's use of a popular actor
D. Kuleshov's ability to use scenery to create dramatic effects
4. What was Kuleshov's attitude toward the actors in his films?
A. He considered their acting abilities irrelevant to a finished film.
B. He depended on them to bring emotional impact to his films.
C. He believed that their training was often inadequate.
D. He valued their opinions about the filmmaking process.
5. What is the professor's opinion of the Kuleshov effect?
A. He thinks it is only of historical interest.
B. Film historians have overstated its impact on audiences.
C. It has a more dramatic impact in short films than in long films.
D. As a filmmaker, he finds it useful.
6. What does the professor imply about documentary films?
A. Most of them are produced without editing.
B. They tend to require more close-up shots than fiction films do.
C. They do not present events in an entirely neutral way.
D. They make more intentional use of the Kuleshov effect than fiction films do.