DOCSLIB.ORG

Fluency Booklet Unit 6.3.1 Qu'est-Ce Que Tu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fluency Booklet Unit 6.3.1 Qu'est-Ce Que Tu Fluency Booklet Unit 6.3.1 Qu’est-ce que tu regardes à la télé ? Quel genre de films aimes-tu ? 1. Qu’est-ce que tu regardes à la télé ? What do you watch on television? 2. Je regarde I watch 3. J’aime regarder I like watching 4. Les infos The news 5. Un documentaire A documentary 6. Un feuilleton A soap opera 7. Un jeu télévisé A gameshow 8. Une série (américaine) An (American) series 9. Une émission de téléréalité A TV reality programme 10. Une émission de sport A sports programme 11. Quel genre de films aimes-tu ? What genre of films do you like? 12. Un film historique A historical film 13. Un film d’action An action film 14. Un film de science-fiction A science fiction film 15. Un film fantastique A fantasy film 16. Une comédie A comedy 17. Est-ce que tu aimes… ? Do you like…? 18. Quelle est ton émission préférée ? What is your favourite television programme? 19. Ils/elles sont… They are… 20. Divertissant(e)(s) Entertaining 21. Intéressant(s)(s) Interesting 1. Traduire - Translate Traduisez en anglais 1 Je regarde les jeux télévisés et les séries américaines. 2 Mon émission préférée s’appelle ‘The Apprentice’, c’est une émission de téléréalité. 3 J’adore les films fantastiques, parce qu’ils sont divertissants. 4 J’aime les films historiques et les westerns mais je déteste les films de science-fiction. 5 Mon film préféré est ‘Le Seigneur des Anneaux’. 6 Je préfère les comédies car elles sont drôles ! 2. Écouter – Listening https://www.bbc.co.uk/bitesize/guides/zhhvd6f/revision/1 Level 1: Listen carefully to Abdul and find the two mistakes in the transcript below: Moi, c’est Abdul. Je n’aime pas regarder les films au cinéma. Je préfère aller au cinéma parce que j’adore voir les films de science-fiction sur un grand écran. Level 2: Listen carefully to Michaël and fill in the missing words/phrases that you hear: Bonjour je m’appelle Michaël. J’adore la télé. Quelquefois __________________ mes émissions préférées en Streaming sur mon ____________________, surtout les émissions de ___________________. 3. Lire – Reading Read the sentences and then answer the questions below. Jean-Baptiste Je n’aime pas les films fantastiques mais j’aime les films d’action. Alain Je regarde beaucoup de télé mais je ne vais jamais au cinéma. Je préfère les émissions de téléréalité et j’aime les documentaires Marie-Élise aussi. Alexandre J’aime les films d’action car ils sont divertissants et intéressants. Je regarde la télé dans ma chambre sur mon ordinateur. Je regarde Anton beaucoup de films. 1. Who finds action films entertaining? …………………………………………… 2. Who never goes to the cinema? …………………………………………… 3. Who prefers to watch TV in their room? …………………………………………… 4. Who isn’t a fan of fantasy films? …………………………………………… 5. Who is a fan of TV reality shows? …………………………………………… 4. Parler – Speaking Steal my card A. J’ai une passion pour le cinéma. B. Je regarde les jeux télévisés. C. Je regarde les documentaires. D. Je ne regarde pas les infos. E. Je ne regarde pas les documentaires. F. Je préfère les films d’action. G. J’aime les films historiques. H. Je n’aime pas les films fantastiques. I. Je n’aime pas les westerns car ils sont barbants. J. Mon émission préférée s’appelle ‘Luther’. 5. Écrire – Writing Level 1: Choose the correct adjective for each sentence: 1. Mon émission préférée est ‘Luther’ car c’est intéressant/intéressants. 2. J’aime les documentaires car ils sont éducatif/éducatifs. 3. Moi, je préfère les émissions de téléréalité car elles sont divertissants/divertissantes. Level 2: Complete each sentence by adding a reason. You can use puisque/car/parce que: 1. Je préfère les comédies ……………………………………………………………………………………………… 2. Mon émission préférée est ‘Luther’……………………………………………………………………………. 3. Je déteste les documentaires ……………………………………………………………………………………. 4. J’adore les films fantastiques ……………………………………………………………………………….……. .
Load more

Recommended publications
  • Writing the High Fantasy Film Ryan Mccue
    Writing the High Fantasy Film Ryan McCue Faculty Mentor: Dr. Kelly Younger Loyola Marymount University Abstract: As the fantasy genre reaches ever greater heights in Hollywood, the high fantasy film ​ ​ continues to struggle. This research explores one of the most challenging subgenres in film, and puts forward fairy tales as one possible means of revitalizing it. I begin by exploring what constitutes a fantasy film as well as the recent history of fantasy in Hollywood. Then, I consider the merit of the high fantasy film as both escapism and as a means of dealing with social trauma. Finally, I consider how fairy tales—with their timeless and wide appeal—may assist filmmakers in writing more effective high fantasy films. By analyzing a selection of high fantasy films on the basis of how well they fit fairy-tale paradigms, I expect to find that the films which fall more in line with fairy-tale conventions also achieved greater success, whether that is critically, commercially, or in lasting cultural impact. Finally, I propose utilizing the results of the research to write my own original high fantasy film. McCue 2 Narrative Introduction: Currently, it can be said that Hollywood is an empire of fantasy. Year-to-year the most successful films—whether that be a superhero movie or a new Pixar film—are those that weave fantastical elements into their narratives (Box Office Mojo). Yet despite the recent success ​ ​ fantasy has found in Hollywood, there is a certain type of fantasy film that continues to struggle: the high fantasy film. While high fantasy has found success in animation and television, in the ​ ​ realm of live-action film these stories have become incredibly rare.
    [Show full text]
  • CONSIGNES Semaine Du 23 Au 27 Mars Travail À Faire Sur La
    CONSIGNES Semaine du 23 au 27 mars Travail à faire sur la thématique des films Pour suivre le cours de cette semaine voici les étapes à suivre : 1- D’abord, vous lisez attentivement la trace écrite en page 2 puis vous la recopiez dans votre cahier. 2- Ensuite, vous compléter au crayon à papier la fiche en page 3. Pour faire cela, vous devez d’abord lire toutes les phrases à trou puis lire chaque proposition et ensuite essayez de compléter les trous. 3- Pour terminer, vous faites votre autocorrection grâce au corrigé qui se trouve en page 4 1 Monday, March 23rd Objectif : Parler des films Film vocabulary I know (vocabulaire de film que je connais) : - film (UK) / movie (USA) - actor = acteur / actress = actrice - a trailer = une bande annonce - a character = un personnage 1. Different types of films - Activity 2 a 1 page 66 (read, listen and translate the film types) An action film = un film d’action / a comedy = une comédie / a drama = un drame / an adventure film = un film d’aventure / an animation film = un film d’animation = un dessin animé / a fantasy film = un film fantastique / a musical = une comédie musicale/ a spy film = un film espionnage / a horror film = un film d’horreur / a science fiction film = un film de science fiction. - Activity 2 a 2 page 66 (listen to the film critic and classify the films) Johnny English Frankenweenie The Hobbit Les Misérables The Star Wars Reborn (French) series - A comedy, - An animation - A fantasy film - a musical - the series are film, science fiction - An action film - an adventure - a drama films and and - A comedy and film - adventure films - A spy film - A horror film 2.
    [Show full text]
  • Reality, Realism and Fantasy: a Study of Ray's Children's Fiction Hirak
    Reality, Realism and Fantasy: A Study of Ray’s Children’s fiction Hirak Rajar Deshe Arpita Sarker Research Scholar (M.Phil.) University of Delhi India Abstract In my paper I intend to first explain different form of realism by discussing Ian Watt‟s definition of realism, in The Rise of The Novel comparing and contrasting it with Brecht and Luckas‟s idea of realism as explained in Bertolt Brecht: Against George Luckas. Secondly I will discuss in brief the difference between reality and realism in a work of fiction. Thirdly, I will talk about the portrayal of reality and realism in children‟s literature, using socialist realism and Brecht‟s view on it. In order to discuss third part of my paper I will analyze film maker Satyajit Ray and his socialist- realist- fantasy film Hirak Rajar Deshe. The movie is adapted from Ray‟s father‟s collection of work for children name Goopy Gayen and Bagha Bayen. Keywords: Fantasy, Reality, Realism, Socialism, Brecht. www.ijellh.com 50 Children‟s literature is a genre that is vastly dependent on fantastic elements that make it appealing to children and adults. The fantastic elements, on the surface, act as a model for psychologically cushioning that protects the child from the harsh realities of life and bestow moral messages to the masses. But the fantastical element alone cannot reveal the social, political, or moral message the fiction intends to spread. The fantasy element is hence paradoxical complicated by the presence of realism in Children‟s Literature. The use of realism, in the façade of fantasy, and larger than life characters, has helped writers to adhere to the real intention of children‟s literature.
    [Show full text]
  • Exhibition Hall January - Exhibition Hall - 2012
    Exhibition Hall January - Exhibition Hall - 2012 OK, this is the return. I know, I know, I’ve Trust me, it will make sense. said that before, but I really mean it this time! Steampunk in 2012 looks solid, but 2011 Exhibition Hall is coming back to a more regu- looked just as solid. Since our last issue, sev- lar schedule, I promise. One of the reasons I eral significant Steampunk-y things have hap- am more driven to do Exhibition Hall again is pened. The release of a new George Mann that James and I won ourselves a Hugo for The novel, new stuff from Cherie Priest and Gail Drink Tank in 2011, Journey Planet has been Carriger and several new anthologies have going well, and now in 2012, it’s time to bring happened since April. SO much good stuff. Exhibition Hall back to more regularity. And there’ve been several Steampunk con- With a few changes. ventions and gatherings. There’s even been One thing is that each issue will be rath- a reference to Steampunk on The Simpsons! er shorter, and will tend to be on a single topic. Nothing says you’ve made it as much as In this case, it’ll be a look at one of the better that! films of 2011: Hugo. It’s a Steampunk film, and We’ve got new books from the likes of one of the few I’ve ever seen that isn’t also Gail Carriger to look forward to, and hopefully a science fiction or fantasy film.
    [Show full text]
  • FLM201 Film Genre: Understanding Types of Film (Study Guide)
    Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode...................................................................................................
    [Show full text]
  • Cultural Hybridity in the Contemporary Korean Popular Culture Through the Practice of Genre Transformation
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-28-2018 2:30 PM Cultural Hybridity in the Contemporary Korean Popular Culture through the Practice of Genre Transformation Kyunghee Kim The University of Western Ontario Supervisor Blackmore, Tim The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Kyunghee Kim 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Kim, Kyunghee, "Cultural Hybridity in the Contemporary Korean Popular Culture through the Practice of Genre Transformation" (2018). Electronic Thesis and Dissertation Repository. 5472. https://ir.lib.uwo.ca/etd/5472 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The focus of this dissertation is to show how the media of contemporary Korean popular culture, specifically films, are transformed into “hybrid cultural forms” through the practice of genre transformation. Since the early 21st century, South Korean popular culture has been increasingly spreading across the globe. Despite its growing attention and popularity, Korean pop culture has been criticized for its explicit copying of Western culture with no unique cultural identity. Others view the success of Korean media, both its creative mimicry and its critique of the West, as a new hybrid form that offers the opportunity for reassertion of local identity as well as challenging the global hegemony of the West.
    [Show full text]
  • Exploring Trauma Through Fantasy
    IN-BETWEEN WORLDS: EXPLORING TRAUMA THROUGH FANTASY Amber Leigh Francine Shields A Thesis Submitted for the Degree of PhD at the University of St Andrews 2018 Full metadata for this thesis is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this thesis: http://hdl.handle.net/10023/16004 This item is protected by original copyright This item is licensed under a Creative Commons Licence https://creativecommons.org/licenses/by-nc-nd/4.0/ 4 Abstract While fantasy as a genre is often dismissed as frivolous and inappropriate, it is highly relevant in representing and working through trauma. The fantasy genre presents spectators with images of the unsettled and unresolved, taking them on a journey through a world in which the familiar is rendered unfamiliar. It positions itself as an in-between, while the consequential disturbance of recognized world orders lends this genre to relating stories of trauma themselves characterized by hauntings, disputed memories, and irresolution. Through an examination of films from around the world and their depictions of individual and collective traumas through the fantastic, this thesis outlines how fantasy succeeds in representing and challenging histories of violence, silence, and irresolution. Further, it also examines how the genre itself is transformed in relating stories that are not yet resolved. While analysing the modes in which the fantasy genre mediates and intercedes trauma narratives, this research contributes to a wider recognition of an understudied and underestimated genre, as well as to discourses on how trauma is narrated and negotiated.
    [Show full text]
  • Fantasy Films As a Postmodern Phenomenon A
    FANTASY FILMS AS A POSTMODERN PHENOMENON A THESIS SUBMITTED TO THE DEPARTMENT OF COMMUNICATION AND DESIGN AND THE GRADUATE SCHOOL OF ECONOMICS AND SOCIAL SCIENCES OF İHSAN DOĞRAMACI BİLKENT UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS By İclal Alev Değim June 2011 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. İCLAL ALEV DEĞİM __________________________ ii I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. ________________________________________ Assist. Prof. Dr. Ahmet Gürata (Advisor) I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. ________________________________________ Assist. Prof. Dr. Dilek Kaya Mutlu I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. ________________________________________ Dr. Özlem Savaş Approved by the Graduate School of Fine Arts ________________________________________ Prof. Dr. Bülent Özgüç Director of the Graduate School of Fine Arts iii ABSTRACT FANTASY FILMS AS A POSTMODERN PHENOMENON İclal Alev Değim M.A. in Media and Visual Studies Advisor: Assist. Prof.
    [Show full text]
  • Asfacts Oct18.Pub
    BEST DRAMATIC PRESENTATION: Bambi, BEST EDITOR: John W. Campbell, BEST PROFESSIONAL ARTIST: Virgil Finlay, BEST FANZINE: Le Zombie, and BEST FAN WRIT- ER: Forrest J Ackerman (The late Jack Speer of Albu- querque was nominated). 2018 During the San Jose Worldcon, The Science Fiction & Fantasy Conventions of New Zealand Incorporated (SFFCONZ, Inc.) non-profit society won the bid to host Winners for the Hugo Awards and for the John W. the 78th World Science Convention at the TSB Bank Campbell Award for Best New Writer were announced Arena and Michael Fowler Centre in Wellington, New by Worldcon 76, the 76th World Science Fiction Con- Zealand July 29-August 2, 2020, receiving 643 of the 726 vention, on August 19 during a ceremony held at the San votes cast. There were no other registered candidates. Jose McEnery Convention Center in San Jose, CA. Re- Santa Fe’s George RR Martin will be the toastmaster. becca Roanhorse, NM author and Bubonicon 50 partici- And the Utah Fandom Organization won the bid to pant, won in two categories: host the 13th North American Science Fiction Conven- BEST NOVEL: The Stone Sky by N.K. Jemisin, BEST tion (NASFiC) at the Davis Conference Center in Layton, NOVELLA: All Systems Red by Martha Wells, BEST NOV- UT July 4-7, 2019, receiving 171 of the 192 votes cast. ELETTE: “The Secret Life of Bots” by Suzanne Palmer, There were no other registered candidates. NASFiC hap- BEST SHORT STORY: “Welcome to your Authentic Indian pens whenever a Worldcon is held outside of North Experience™” by Rebecca Roanhorse, BEST RELATED America (as in the case of Worldcon 77, which will be WORK: No Time to Spare: Thinking About What Matters held in Dublin, Ireland).
    [Show full text]
  • English Language Notes to April and the Extraordinary World
    STUDIOCANAL and JE SUIS BIEN CONTENT present Original graphics creation Tardi Directed by Christian Desmares and Franck Ekinci Screenplay Franck Ekinci and Benjamin Legrand Based on an original idea from Benjamin Legrand Producers Marc Jousset, Franck Ekinci, Brice Garnier, Denis Delcampe Winner of the Cristal Award for feature film at the Annecy Animation Film Festival 2015 Runtime: 105 minutes FRENCH RELEASE: 4 NOVEMBER 2015 CONTACTS INTERNATIONAL MARKETING INTERNATIONAL PUBLICITY Jane Carter Delphine Vaquier [email protected] [email protected] Brittani Robinson [email protected] Images and Press materials: www.studiocanal.com SYNOPSIS Paris,1941. A family of scientists is on the brink of discovering a powerful invincibility serum when all of a sudden, the parents are mysteriously abducted, leaving their young daughter, April, behind. Ten years later, April is living alone with her precious cat, Darwin, continuing her family’s research. But soon, she finds herself at the center of a bizarre conspiracy. Along with Darwin and her trusted friend, Julius, April embarks on an adventure to find her parents and discover the truth behind their disappearance. INTERVIEW WITH JACQUES TARDI Did you feel that moving into animation with APRIL AND THE EXTRAORDINARY WORLD was an opportunity to see your graphic art and your work as a writer adapted more faithfully to the screen? Of course, provided you stay within the graphic world, and you’re not dealing with a reinterpretation of your character or casting an actress who cannot look like the heroine you drew. That said, in Luc Besson’s THE EXTRAORDINARY ADVENTURES OF ADÈLE BLANC-SEC, they used make-up and fake ears on the supporting cast to make them look like the original characters, which was pretty successful.
    [Show full text]
  • Clothed in History: Costume and Medievalism in Fantasy Film and Television
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-14-2020 10:00 AM Clothed in History: Costume and Medievalism in Fantasy Film and Television Avery Lafortune, The University of Western Ontario Supervisor: Sprengler, Christine, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Master of Arts degree in Art History © Avery Lafortune 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Arts and Humanities Commons Recommended Citation Lafortune, Avery, "Clothed in History: Costume and Medievalism in Fantasy Film and Television" (2020). Electronic Thesis and Dissertation Repository. 7198. https://ir.lib.uwo.ca/etd/7198 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This thesis examines representations of the medieval in popular fantasy film and television. Emphasizing costume design, this paper explores themes of identity, nation, past and present. Analysis is organized through three case studies, Andrew Adamson’s The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Peter Jackson’s The Lord of the Rings: The Fellowship of the Ring (2001) and David Benioff and D.B. Weiss’ Game of Thrones (2011- 2019). Each work demonstrates different strategies for constructing the past and referencing history to authenticate fantastic worldbuilding. They exist within broader traditions of medievalism and exploring present concerns through the veil of the past.
    [Show full text]
  • Magical Realism in Transnational Cinema
    MAGICAL REALISM IN TRANSNATIONAL CINEMA CODY LANG A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN CINEMA AND MEDIA STUDIES YORK UNIVERSITY TORONTO, ONTARIO August 2020 © Cody Lang, 2020 ii Abstract This project is an analysis of the magical realist genre in cinema, specifically its multiple forms found in transnational cinema. The status of magical realism in film as a genre will be questioned and this project argues that the concept is best understand as a transgeneric critical category rather than a genre in the conventional understanding of the term. Magical realism as academic concept has been discussed in-depth in literary theory and this project extends those discussions into the field of cinema. The history of criticism of magical realism is summarized as it applies to studying film with special attention given towards the semiotic differences between literature and cinema. Furthermore, this project explicates the distinct ways that magical realism operates in cinema in contrast to literature while also noting the shared aesthetic strategies between each media. Each section covers a thematic topic observed in transnational magical realist cinema: metafiction in overt and covert forms; the representation of historicity; and the representation of marginalized subjectivities, specifically looking at how magical realist cinema presents issues of class, gender, race, and sexual identity. The final thematic discussion discusses the possibility of utopian discourses in magical realist cinema, the attempts to envision a less exploitative social collective according to a variety of cultural and national contexts in late-capitalism.
    [Show full text]