Енглески језик, Way up 1 Intermediate 1, уџбеник и радна свеска за енглески језик у првом разреду гимназије, Klett

Making a Historical Film
When filmmakers put history on the screen, they make thousands
of choices that shape what we see and hear and believe.
They do research. They decide which details to include – and
which to exclude. And they also make interpretive choices
about casting, set design, camera angle, lighting, image sequences,
music and sound effects. Here, writer/producer
Laurie Kahn-Leavitt takes us on a behind-the-scenes tour of
some of the preliminary work for the film A Midwife’s Tale.
Hatching the Idea
Every film begins with an idea. Shortly after Laurel Ulrich’s
book A Midwife’s Tale was published, I read a review, bought
the book, loved it, and called up the publisher to inquire about
optioning the film rights. They told me to speak with Laurel,
which I did. The two of us clicked. From the very beginning, I
had the idea of interweaving the story of Martha Ballard’s life
with Laurel Ulrich’s process of piecing it together. The film
I imagined would begin as a documentary (with the twentieth
century historian and the eighteenth century diary) and
evolve into a drama as Ulrich gradually figured out what happened
in Martha Ballard’s world.
Researching the Story, Exploring the Archives,
Speaking with Scholars
The past is a foreign place, and a film’s portrayal of the past
depends upon thousands of choices about the physical, behavioural,
and cultural details of the period and place being
presented. Being authentic or truthful about the past involves
much more than getting the costumes and the architectural
details right. Shortly after beginning the project, I put together
a board of advisors who are expert on the eighteenth century:
on women’s history, architectural history, medical history,
music, and material culture. With their guidance, I plunged
into the research. I visited the buildings which are still standing
which were part of Martha’s world. I visited archives all
over Maine, Massachusetts, and New Hampshire and put together
a database of thousands of images from the eighteenth
century, including handwritten documents, paintings, maps,
medical book illustrations, children’s book illustrations, newspapers,
photos of buildings, and the artefacts of everyday life.
I found out what had been written about dialects and music
and religious beliefs two hundred years ago. I learned as much
as I could about the everyday work done by men and women
in eighteenth century Hallowell, Maine: textile production,
laundry, cooking, farming, surveying, etc. I put together a
timeline of Martha Ballard’s life and the national and international
events that affected her family and her town. And I
also spent time talking with Laurel Ulrich about her process
of piecing together Martha’s life.
7 Rewrite the sentences using the given word/s.
1 Just before beginning the film, the producer saw
a review of the book.
Shortly after seeing a review of the book, the producer
began the film.
2 Until she optioned the film rights, the producer
couldn’t start to work on the project.
Before
.
3 The project’s smooth development resulted from the
fact that the author and producer got on well together.
Because
5 She could only proceed by consulting a group of
expert historians.
Before she
6 They helped her to get the historical details right.
With their
7 In order to ensure the historical accuracy of the film,
she visited many archives.
Her many visits
8 This also required her to find out about everyday
life in the past.
She
.
.
.
4 The producer’s plan for a complex structure meant
filming both present and past.
The producer planned
.
9 Her talks with the author meant she understood
the way the author had discovered the facts.
She
.
.
.
Забрањено је репродуковање, умножавање, дистрибуција, објављивање, прерада и друга употреба овог ауторског дела или његових делова у било ком обиму и поступку, укључујући
фотокопирање, штампање, чување у електронском облику, односно чињење дела доступним јавности жичним или бежичним путем на начин који омогућује појединцу индивидуални приступ делу
са места и у време које он одабере, без писмене сагласности издавача. Свако неовлашћено коришћење овог ауторског дела представља кршење Закона о ауторском и сродним правима.
119