6. Grammar.

a) Fill in the gaps with may or may not and one of the verbs from the list

leave, buy, come, be, enjoy, cut, go, visit, cook

1. I may not go to school tomorrow. I don’t feel very well.

2. Father ___ the grass today. It looks as if it is going to rain.

3. Dan isn’t at home. He ____at the football field.

4. I ___ a new dress. I haven’t really got enough money.

5. We ___ the Smiths. There is a film on TV we want to watch.

6. Let’s take Molly to the funfair. She ___ it.

7. Mother ___ something special tonight. It’s my birthday.

8. I ___ work early today. I have almost finished everything I have to do.

9. Sally ___ home late tonight. She’s got a lot of work at the office.

b) Rewrite the sentences using modal verbs.

Example: It isn’t necessary for her to wear a suit to the office.

She needn’t/ doesn’t have to wear a suit to the office.

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1. You aren’t allowed to take those books out of the library.

2. It is possible that Mark will be at home this evening.

3. Would you like me to make some sandwiches for you?

4. I advise you to leave early.

5. Emily managed to find a job after looking for six months.

6. I’m sure Paul isn’t from Canada.

7. We are obliged to take exams every six months.

8. I’m sure the children aren’t happy with your decision.

9. Perhaps we will go to Florida on holiday.

c) Choose the correct answer.

1. I (don’t have to/ needn’t/ must) remember to go to the bank. I haven’t got any money.

2. (Mustn’t/ Must/ May) I take your order, please?

3. (Can/ Should/ May) you ride a bicycle?

4. Steven (must/ could/ couldn’t) read and write until he was seven years old.

5. (Shall/ Will/ May) you make dinner tonight?

6. Susan, (will/ shall/ may) you come outside?

7. You (couldn’t/ shall/ shouldn’t) go to bed late during the week.

8. You (ought to/ were able to/ shall) visit your grandparents more often.

9. (Mustn’t/ May/ Shall) we go to the cinema at the weekend?

10. “Where (must/ shall/ ought to) we meet?” “At my place.”

11. Peter (ought to/ shall/ can) go to the dentist before his toothache gets worse.

12. You (needn’t/ must/ mustn’t) do the ironing. I’ll do it instead.

13. You (needn’t/ mustn’t/ must) cross the road without looking first. It’s dangerous.

7. Reading.

a) Vocabulary.

Look at the words in the box and find the words with similar meaning:

illuminate patch attach happen lead shade conceal impact allow adjoin guide shadow light affect give cast spot occur hide permit

Complete the sentences with the words above in an appropriate form:

1. The trees _____ long shadows in the evening light.

2. We sat down in a _____ of shade.

3. The sports ground was _____ to the school.

4. Television can ____ the public opinion about elections.

5. Police said that the accident _____ about 4.30.

b) Read the text

3) Lighting

Much of the impact of an image comes from its manipulation of lighting. In cinema, lighting is more than just illumination that permits us to see the action. Lighter and darker areas within the frame help create the overall composition of each shot and thus guide our attention to certain objects and actions. A brightly illuminated patch may draw our eye to a key gesture, while a shadow may conceal a detail or build up suspense about what may be present. Lighting can also articulate textures: the soft curve of a face, the rough grain of a piece of wood, the sparkle of a faceted gem.

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Lighting shapes objects by creating highlights and shadows. A highlight is a patch of relative brightness on a surface. Highlights provide important cues to the texture of the surface. If the surface is smooth, like glass or chrome, the highlights tend to gleam or sparkle; a rougher surface, like a coarse stone facing, yields more diffuse highlights.

There are two basic types of shadows, each of which is important in film composition: attached shadows, or shading, and cast shadows. An attached shadow occurs when light fails to illuminate part of an object because of the object’s shape or surface features. If a person sits by a candle in a darkened room, patches of the face and body will fall into darkness. Most obviously, the nose often creates a patch of darkness on an adjoining cheek. This phenomenon is shading, or attached shadow. But the candle also projects a shadow on the wall behind. This is a cast shadow, because the body blocks out the light.

Lighting also shapes a shot’s overall composition. One shot from John Huston’s Asphalt Jungle welds the gang members into a unit by the pool of light cast by a hanging lamp. At the same time, it sets up a scale of importance, emphasizing the protagonist by making him the most frontal and clearly lit figure.

A shot’s lighting affects our sense of the shape and texture of the objects depicted. Hollis Frampton’s short film Lemon consists primarily of light moving around a lemon, and the shifting shadows create dramatically changing patterns of yellow and black

c) Answer the questions:

1. Why is lighting significant?

2. How many types of shadows are there?