7. Grammar

a) Choose the correct item

1. Ben is very rude. He could/ shouldn’t/ mustn’t have talked to Sarah that way.

2. It’s very late. The children must/ can’t/ shouldn’t be sleeping.

3. We might/ needn’t/ have to finish the project by Friday or else we’ll lose the client.

4. You needn’t have/ needn’t/ mustn’t made anything for the party. I have plenty of food.

5. The north of England may/ can/ could get very cold during the winter.

6. You shouldn’t/ need/ ought to write and thank everyone for the birthday presents they gave you.

7. John isn’t at home. He might/ couldn’t/ can’t be at the gym.

8. Susan has broken a leg. She can’t have/ couldn’t/ may gone skiing.

9. It’s your own fault you crashed the car. You might not have/ may not have/ shouldn’t have been driving so fast.

10. That mustn’t/ needn’t/ can’t be Eve on the phone. She doesn’t know our new number.

11. Bob and Moira are late because they could have been/ might have/ should missed the 5 o’clock bus.

12. You need/ don’t need to/ needn’t have bring your tent with you. We can both sleep in mine.

13 You needn’t/ couldn’t/ didn’t need to have brought do many jumpers. I could have lent you some of mine.

14. Diana must be preparing/ have been preparing/ have prepared the stage props all night.

b) Complete the sentences with a modal verb and an infinitive in the appropriate form.

Example: Kerry’s rather late. She must have missed (miss) the train.

Travellers’ cheques can/ may be exchanged (be exchanged) at most banks.

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1. They’re not answering the phone so they ___(be) out.

2. Don’t phone her now. It ___(be) the middle of the night in Australia.

3. They ___(not move) house yet. I saw them in town this morning.

4. I haven’t seen Joanna this week. I think she ___(visit) her parents.

5. Her exam results are coming out soon. She worked very hard so she ___(do) well.

6. That woman’s just fallen over. Let’s go and see her: she ___(be) hurt.

7. I don’t know where she is. She ___(not still play) tennis: it’s been dark for the last hour.

8. I sent the letter two days ago so he ___(get) it by now, but you can never be sure.

9. The encyclopedias ___(be found) on the second floor of the library.

10. Jim’s been very quiet since his girlfriend went away. He ___(miss) her.

8.Reading/ Vocabulary

key soft under back hard fill top side frontal filters

a) Complete the text with the words below:

We ignore the illumination of our everyday surroundings, so film lighting is also easy to take for granted. Yet the look of a shot is centrally controlled by light quality, direction, source, and colour. The filmmaker can manipulate and combine these factors to shape the viewer’s experience in a great many ways. No component of mise-en-scene is more important than “the drama and adventure of light.”

We tend to think of film lighting as limited to two colours – the white of sunlight or the soft yellow of incandescent interior lamps. In practice, filmmakers who chose to control lighting typically work with as purely white light as they can. By use of filters placed in front of the light source, the filmmaker can colour the onscreen illumination in any fashion. There may be a realistic source in the scene to motivate the hue of the light. For example, cinematographers often use _____ to suggest the orange tint of candlelight. But coloured light can also be unrealistic in its motivation. Eisenstein’s Ivan the Terrible uses a blue light suddenly cast on an actor to suggest the character’s terror and uncertainty.

Lighting quality refers to the relative intensity of the illumination. “_____” lighting creates clearly defined shadows, crisp textures, and sharp edges, whereas “_____” lighting creates a diffused illumination. In nature, the noonday sun creates hard light, while an overcast sky creates soft light. The terms are relative, and many lighting situations will fall between the extremes.

The direction of lighting in short refers to the path of light from its source or sources to the objects lit. We can distinguish among top lighting, frontal lighting, backlighting, underlighting, and a sidelighting.

_____ lighting can be recognized by its tendency to eliminate shadows and give fairly flat-looking image. _____ lighting (also called a crosslight) sculpts the character’s features.

_____lighting comes from behind the subject filmed. It can be positioned at many angles: high above figure, at various angles off to the side, pointing straight at the camera, or from below. Used with no other sources of light, it tends to create silhouettes. Combined with more frontal sources of light, the technique can create an unobtrusively illuminated contour. This use is called edge lighting or rim lighting.

_____ lighting suggests that light comes from below the subject. Since it tends to distort features, it is often used to create dramatic horror effects.

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_____ lighting. The spotlight shines down from almost directly above the object.

Lighting ca also be characterized by its source. In making a documentary, the filmmaker may be obliged to shoot with the light available in the actual surroundings. Most fictional films, however, use extra light sources to obtain greater control of the image’s look.

Cinematographers manipulating the lighting of the scene will start from the assumption that any subject normally requires two light sources. The ____ light is the most directional light, and it usually corresponds to the motivating light source in the setting. It is the primary source, providing the dominant illumination and casting the strongest shadows. The ____ light is less intense illumination which “fills in”, softening or eliminating shadows cast by the key light. By combining these two lights, and by adding other sources, lightning can be controlled quite exactly.