PASSAGE 28(1)

PASSAGE 28
►Read the following passage and mark the letter A, B, C or D on your answer sheet to
indicate the correct answer to each of the questions from 1 to 10.
Even before the turn of the century, movies began to develop in two major directions: the
realistic and the formalistic Realism and formalism are merely general, rather than absolute,
terms. When used to suggest a tendency toward either polarity, such labels can be helpful, but in
the end they are still just labels. Few films are exclusively formalist in style, and fewer yet are
completely realist. There is also an important difference between realism and reality, although
this distinction is often forgotten. Realism is a particular style, whereas physical reality is the
source of all the raw materials of film, both realistic and formalistic. Virtually all movie directors
go to the photographable world for their subject matter, but what they do with this material - how
they shape and manipulate it - determines their stylistic emphasis.
Generally speaking, realistic films attempt to reproduce the surface of concrete reality with
a minimum of distortion. In photographing objects and events, the filmmaker tries to suggest the
copiousness of life itself. Both realist and formalist film directors must select (and hence
emphasize) certain details from the chaotic sprawl of reality. But the element of selectivity in
realistic films is less obvious. Realists, in short, try to preserve the illusion that their film world
is unmanipulated, an objective mirror of the actual world. Formalists, on the other hand, make no
such pretense. They deliberately stylize and distort their raw materials so that only the very naive
would mistake a manipulated image of an object or event for the real thing.
We rarely notice the style in a realistic movie; the artist tends to be self-effacing. Some
filmmakers are more concerned with what is being shown than how it is manipulated. The
camera is used conservatively. It is essentially a recording mechanism that reproduces the
surface of tangible objects with as little commentary as possible. A high premium is placed on
simplicity, spontaneity, and directness. This is not to suggest that these movies lack artistry,
however, for at its best the realistic cinema specializes in art that conceals art.

Question 1: What does the passage mainly discuss?
A. Acting styles

B. Film plots

C. Styles of filmmaking

D. Filmmaking 100 years ago

Question 2: With which of the following statements would the author be most likely to agree?
A.

Realism and formalism are outdated terms.

B.

Most films are neither exclusively realistic nor formalistic.

C.

Realistic films are more popular than formalistic ones.

D.

Formalistic films are less artistic than realistic ones.

Question 3: Whom does the author say is primarily responsible for the style of a film?
A. The director

B. The actors

C. The producer

D. The camera operator

Question 4: The word "shape" in line 8 is closest in meaning to
A. specify

B.form

C. understand

D. achieve

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Question 5: The word "preserve" in line 14 is closest in meaning to
A. encourage

B. maintain

C. reflect

D. attain

C. formalists

D. raw materials

Question 6: The word "They" in line 16 refers to
A. films

B. realists

Question 7: How can one recognize the formalist style?
A. It uses familiar images.

B. It Is very impersonal.

C. It obviously manipulates images.

D. It mirrors the actual world.

Question 8: The word "tangible" in line 20 is closest in meaning to
A. concrete

B. complex

C. various

D. comprehensible

Question 9: Which of the following terms is NOT used to describe realism in filmmaking?
A. Simple

B. Spontaneous

C. Self-effacing

D. Exaggerated

Question 10: : Which of the following films would most likely use a realist style?
A. A travel documentary

B. A science fiction film

C. A musical drama

D. An animated cartoon

ĐÁP ÁN
PASSAGE 28

Question 1:
Bài viết chủ yếu đề cập đến nội dung gì?
Even before the turn of the century, movies began to develop in two major directions: the
realistic and the formalistic
Few films are exclusively formalist in style, and fewer yet are completely realist.
=> C
Question 2:
Điều nào sau đây tác giả có thể đồng tình nhất
A.

Chủ nghĩa thực tế và chủ nghĩa hình thức là những thuật ngữ đã lỗi thời.

B.

Hầu hết các phim đều khơng hồn tồn thực tế hay hình thức

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C. Các

phim thực tế nổi tiếng hơn các bộ phim mang tính hình thức.

D. Các

phim mang tính hình thức ít mang tính nghệ thuật hơn các phim thực tế.

Few film are exclusively formalist in style, and fewer yet lire completely realist. (Rất ít phim
có phong cách hồn tồn hình thức, và càng ít phim là hồn tồn mang tính thực té)
=> B
Question 3:
Whom does the author say is primarily responsible for the style of a film? Ai là người theo
như tác giả sẽ chịu trách nhiệm về phong cách của một bộ phim?
Virtually all movie directors go to the photographable world for their subject matter, but
what they do with this material -how they shape and manipulate it - determines their stylistic
emphasis.
=> A
Question 4:
shape (v): to make something into a particular shape - làm cho cái gì có hình dạng cụ thể
(theo từ điển Oxford Learner's Dictionary) = form (v): tạo ra, tạo thành cái gì
-

-

specify (v): chỉ rõ, ghi rõ, định rõ

-

understand (v): hiểu, thấu hiểu

-

achieve smt (v): đạt được cái gì

=> B
Question 5:
preserve (v): to keep a particular quality, feature, etc.; to make sure that something is kept
– giữ một đặc điểm, chất lượng cụ thể, duy trì, giữ gìn (theo từ điển Oxford Learner's
Dictionary) = maintain (v): duy trì
-

-

encourage (v): khuyến khích

-

reflect (v): phản ánh

-

attain (v): đạt được, giành được

=> B
Question 6:
Formalists, on the other hand, make no such pretense. They deliberately stylize and

distort their raw materials so that
=> C
Question 7:
How can one recognize the formalist style? Làm cách nào để nhận ra phong cách hình thức?
A.

Nó sử dụng những hình ảnh thân thuộc

B.

Nó rất khách quan, khơng liên quan đến riêng ai

C. Nó

rõ ràng điều khiển các hình ảnh

D. Nó

soi chiếu xã hội thực tại

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Realists, in short, try to preserve the illusion that their film world is unmanipulated, an
objective mirror of the actual world. Formalists, on the other hand, make no such pretense.
=> C
Questions 8:
tangible (adj): that can be clearly seen to exist - hữu hình, có thể nhìn thấy, rõ ràng, cụ

thể (theo từ điển Oxford Learner's Dictionary)
-

-

concrete (adj): cụ thể, chi tiết

-

complex (adj): phức tạp

-

various (adj): đa dạng, phong phú

-

comprehensible (adj): có thể hiểu được, có thể nhận thức được

=> A
Question 9:
Which of the following terms is NOT used to describe realism in filmmaking? Thuật
ngữ nào sau đây không được sử dụng để mô tả chủ nghĩa hiện thực khi làm phim?
We rarely notice the style in a realistic movie; the artist tends to be self-effacing.
A high premium is placed on simplicity, spontaneity, and directness
=> D
Question 10:
Which of the following films would most likely use a realist style? Thể loại phim nào
sau đây có thể sử dụng phong cách thực tế
A. Một phim tài liệu về du lịch

B. Một phim khoa học viễn tưởng

C. Một phim ca nhạc

D. Một phim hoạt hình

Realists, in short, try to preserve the illusion that their film world is unmanipulated, an
objective mirror of the actual world
It is essentially a recording mechanism that reproduces the surface of tangible objects
with as little commentary as possible.
Phim mang tính thực tế thường soi chiếu lại đờỉ sống thực tại và ghi lại bề mặt của những
vật cụ thể...
=> A

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