IELTS Cambridge 6 Test 3 Passage 1 Reading Answers

IELTS Cambridge 6 Test 3 Passage 1 Reading Answers

You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage below.

A 

The Lumière Brothers opened their Cinematographe, at 14 Boulevard des Capucines in Paris, to 100 paying customers over 100 years ago, on December 8, 1985. Before the eyes of the stunned, thrilled audience, photographs came to life and moved across a flat-screen.

B 

So ordinary and routine has this become to us that it takes a determined leap of imagination to grasp the impact of those first moving images. But it is worth trying, for to understand the initial shock of those images is to understand the extraordinary power and magic of cinema, the unique, hypnotic quality that has made films the most dynamic, effective art form of the 20th century.

C 

One of the Lumière Brothers’ earliest films was a 30-second piece that showed a section of a railway platform flooded with sunshine. A train appears and heads straight for the camera. And that is all that happens. Yet the Russian director Andrei Tarkovsky, one of the greatest of all film artists, described the film as a ‘work of genius’. ‘As the train approached,’ wrote Tarkovsky, ’panic started in the theatre: people jumped and ran away. That was the moment when cinema was born. The frightened audience could not accept that they were watching a mere picture. Pictures were still, only reality moved; this must, therefore, be a reality. In their confusion, they feared that a real train was about to crush them.’

D 

Early cinema audiences often experienced the same confusion. In time, the idea of films became familiar, the magic was accepted- but it never stopped being magic. The film has never lost its unique power to embrace its audience and transport them to a different world. For Tarkovsky, the key to that magic dynamic image of the real flow of events. A still picture could only imply the existence of time, while time in a novel passed at the whim of the reader. But in cinema, the real, objective flow of time was captured.

E 

One effect of this realism was to educate the world about itself. For cinema it makes the world smaller. Long before people traveled to America or anywhere else, they knew what other places looked like; they knew how other people worked and lived. Overwhelmingly, the lives recorded at least in film fiction- have been American. From the earliest days of the industry, Hollywood has dominated the world film market. American imagery-the the cars, the cities, the cowboys became the primary imagery of the film. The film carried American life and values around the globe.

F 

And, thanks to the film, future generations will know the 20-th century more intimately than any other period. We can only imagine what life was like in the 14th century or in classical Rome. But the life of the modern world has been recorded on film in massive encyclopedic detail. We shall be known better than any preceding generations.

G 

The ‘star’ was another natural consequence of cinema. The cinema star was effectively born in 1910. Film personalities have such an immediate presence that inevitably, they become super-real. Because we watch them so closely and because everybody in the world seems to know who they are, they appear more real to us than we do ourselves. The star as a magnified human self is one of cinema’s most strange and enduring legacies.

H 

Cinema has also given a new lease of life to the idea of the story. When the Lumiere Brothers and other pioneers began showing off this new invention, it was by no means obvious how it would be used. All that mattered at first was the wonder of movement. Indeed, some said that, once this novelty had worn off, cinema would fade away. It was no more than a passing gimmick, a fairground attraction.

I 

Cinema might, for example, have become primarily a documentary form. Or it might have developed like television -as a strange noisy transfer of music, information and narrative. But what happened was that it became, overwhelmingly, a medium for telling stories. Originally these were conceived as short stories- early producers doubted the ability of audiences to concentrate for more than the length of a reel. Then, in 1912, an Italian 2-hour film was hugely successful, and Hollywood settled upon the novel-length narrative that remains the dominant cinematic convention of today.

J 

And it has all happened so quickly. Almost unbelievably, it is a mere 100 years since that train arrived and the audience screamed and fled, convinced by the dangerous reality of what they saw, and, perhaps, suddenly aware that the world could never be the same again -that, maybe, it could be better, brighter, more astonishing, more real than reality.

Questions 1-5

Reading Passage 1 has ten paragraphs, A-J. Which paragraph contains the following information?
Write the correct letter, A-J in boxes 1-5 on your answer sheet.

1 the location of the first cinema
2 how cinema come to focus on stories
3 the speed with which cinema has changed
4 how cinema touches us about other cultures 5 the attraction of actors in films

Questions 6-9

Do the following statements agree on witl1the the views of t11e writer in Reading Passage I?
In boxes 6-9 on your c1nswer sheet, write:

YES
NO
NOT GIVEN

if the statement agrees with the views of the writer
if the statement contradicts with the views of the writer
if it is impossible to say what the writer thinks about this

6 It is important to understand how the first audiences reacted to the cinema.
7 The Lumiere Brothers' film about the train was one of the greatest filn1s ever mode.
8 Cinema presents a bias0d view of other countries.
9 Storylines were important in very early cinema.

Questions I0-13

Choose the correct letter A, B, C, or D.
Write the correct letter in boxes 10-13 on your answer sheet.

10 The writer refers to the film on the train in order to demonstrate

The simplicity of early films
B the impact of early films
C how short early films were
Dhow imaginative early films were

11In Tarkovsky's opinion.t11e attract of the cinema is at it

A aims to impress its audience 
B tells stories better than books
C illustrates t11e passing of t me
D describes familiar events

12 When the cinema first began. people thought t11at
Ait would always tell toes
Bit s11ould be used in fairgrounds
Cits audiences were unappreciative
Dits future was uncertain

13 what is the best title for the passage?

A The rise of the cinema star
B Cinema and novels compared
C The dominant of Hollywood
D The power of the big screen

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IELTS Cambridge 6 Test 3 Passage Reading Answers

1. A

2. I

3. J

4. E

5. G

6. yes

7. not given

8. not given

9. no

10. B

11. C

12. D

13. D

Question 1-5: 

1. A (the whole para: ―The Lumiere Brothers opened their Cinematographe, at l4 Boulevard des Capucines in Paris, to 100 paying customers over 100 years ago, on December 8, 1895. Before the eyes oi the stunned, thrilled audience, photographs came to life and 

moved across a flat screen‖) 

2. I (line 5-14: ―narrative. But what happened was that it became, overwhelmingly, medium for telling stories. Originally these were conceived as short stories - early produces doubted the ability of the audience to concentrate for more than the length of a reel. Then, in I912, an Italian 2-hour film was hugely successful, and Hollywood settled the novel-length narrative that remains the dominant cinematic convention of today.‖) 

3. J (line 2-9: ―unbelievably, it is a mere 100 years since that train arrived and the screamed and fled, convinced by the dangerous reality of what they saw, and perhaps, aware that the world never same again — that, maybe, it could be better brighter more astonishing, more real than reality‖) 

4. E (first 6 lines: ―One effect of this realism was to educate the world about itself. For the cinema it makes the world smaller. Long before people traveled to America or anywhere else, they knew what other places looked like; they knew how other people worked lived‖) 

5. G (lines 3-8: ―bon in 1910. Film personalities have such an immediate presence that inevitably, they become super-real. Because we watch them so closely and because everybody in the world seems to know who they are, they appear more real to us than do ourselves‖) 

Question 6-9: 

6. YES (para D, line 1-9: ―Early cinema audiences often experienced the same confusion. In time, the idea of the film became familiar, the magic was accepted - but it never stopped being magic. The film has never lost its unique power to embrace its audiences and transport them to a different world. For Tarkovsky, the key to that magic was the way in which 

cinema created a dynamic image oi the real flow of events‖) 

7. NOT GIVEN 

8. NOT GIVEN 

9. NO (para I, line 7-11: ―Originally these were conceived as short stories - early produces 

doubted the ability of the audience to concentrate for more than the length of a reel.‖) 

Question 10-13: 

10. B (para C, line 9-17: ―the train approached,' wrote Tarkovsky, 'Panic started in the theatre: people jumped and ran away. That was the moment when Cinema was born. The frightened audience could not accept that they were watching a mere picture. Pictures were still, only reality move; this must, therefore, be a reality. In their confusion, they 

feared that a real train about to crush them.‖) 

11. C (para D, line 7-13: ―world. For Tarkovsky, the key to that magic was the way in which cinema created a dynamic image oi the real flow of events. A still picture could only imply the existence oi time, while time in a novel passed at the whim oi the reader. But in 

cinema, the real, objective flow of time was captured.‖) 

12. D (para H, last 4 lines: ―movement. Indeed, some said that, once this novelty had worn 

off, the cinema would fade away. It was no more than a passing gimmick, a fairground 

attraction‖) 

13. D