TEST 2

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

DOGME95
Since its inception in the 1890s, cinema has music, are non-diegetic and were therefore
seen many technical changes and advances not in accordance with the manifesto.
and, as with any art form, there have been
many different movements and styles The third rule stated that all filming should
associated with it. In 1995, a collective of be done with a hand-held camera. Usually
Danish film directors wished to change the in filmmaking, cameras are placed on cranes
direction of filmmaking and reinforce the or jibs in order to create a less shaky image
importance of cinematic truth. At the time, and capture all angles. The fourth and fifth
Hollywood blockbusters dominated the rules permitted only the use of colour film
market. The 'Dogme 95' movement was and natural lighting in Dogme films. Special
created in order to prove that a big budget lighting and filters were not allowed. The
did not necessarily equate with quality in vow of chastity explicitly that should there
filmmaking. be an unsatisfactory amount of light, a
single lamp might be attached to the
The avant-garde movement was started by camera.
directors Lars Von Trier, later known for
Melancholia (2011) and Thomas The sixth, seventh and eighth rules related
Vinterberg, director of the 2015 film Far to the plot. The film had to be set in the here
from the Madding Crowd. The two directors and now, and in the place in which the
created a manifesto which outlined certain filming occurred. Genre movies were
rules for filmmakers, with the aim of unacceptable, so the film could not be
editorial and editorial simplification. These horror or fantasy, for example, and had to
ten rules of filmmaking were later jokingly be realistic. Finally, the films were not
dubbed the 'vow of chastity' by the allowed to contain superficial action such as
directors. The first rule stated that all murders. These rules meant that the films
shooting must be done on location. were concerned with everyday aspects of
Furthermore, no props and sets could be life such as familial relationships,
brought in. If a specific prop, such as a friendships and so on.
piano, was needed in the plot, a location
which already contained the said prop had The ninth rule dictated only the use of the
to be selected. academy 35mm format, the film gauge
which is most commonly used in movies.
The second rule of the manifesto concerned The final rule stated that the director must
music and sound, asserting that these should not be credited. This most likely stemmed
be recorded while the film was being shot. from the prevalence of high-budget films at
If the directors wished to have music in a the time, in which the popularity of the
particular scene, then it had to originate directors and actors alike was considered an
from the characters, such as someone important factor in choosing to go and see a
singing or playing a musical instrument on film. The other aim of the final rule was to
screen. Sound of this type is classified as stop directors from showcasing their own
diegetic; other forms of sound, such as personal tastes within their films and
voiceovers, narrations or atmospheric
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encouraging them to simply exhibit the truth ofDogme 95 in film history remains
about the characters and the story. undeniable.

With these rules in mind, the two directors

each went on to make a film following the
rules of the manifesto. The first film to be
made in accordance to the vow of chastity
was Vinterberg's Festen (1998). The film
tells the story of a family gathering
celebrating the head of the family's sixtieth
birthday. Vinterberg shot the film on a
digital video camera and proceeded to blow
it up to fit the 35mm gauge, giving the film
a very grainy effect. Furthermore,
Vinterberg confessed to having covered a
window during a scene in Festen. Thus two
of the rules were broken in this film. Every
other aspect of the film followed the rules,
however, including the sound which was
solely diegetic. The film went on to win
many awards, including the Jury Prize in the
1998 Cannes Film Festival.

The second Dogme 95 film made was Lars

Von Trier's The Idiots (1998). It portrays a
group of adults who are seeking a way to
discover their 'inner idiots'. Although he
generally complied with the rules, Von Trier
admitted to having interfered with the
location by moving candies around to
achieve the desired lighting. He has been
chided for his use of non-diegetic music
during a scene of the film, an accusation
which Von Trier has rebutted, explaining
that he used a harmonica player for the
music, and although the player was not in
the scene itself, the sound was recorded at
the same time as the image.

Following the creation of Festen and Idiots,

further Danish directors joined the
movement, forming the so-called 'Dogme
Brethren'. Filmmakers from all over the
world have since attempted to follow the
vow of chastity while creating Dogme 95
films, many finding it an effective way to
approach making low-budget films. By
2005, over thirty Dogme 95 films had been
made worldwide. Its founders terminated
the movement in that year as they felt the
manifesto was resulting in formulaic films.
Despite this, the influence and importance

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Questions 1-5

Do the following statements agree with the information given in Reading Passage 1?

In boxes 1-5 on your answer sheet, write

TRUE if the statement agrees with the information

FALSE if the statement contradicts the information
NOT GIVEN if there is no information on this

1 Dogme 95 aimed to show that good films could be made without spending large
sums of money.

2 The Dogme 95 manifesto was launched in Copenhagen in 1995.

3 The films Melancholia and Far From the Madding Crowd were made in accordance
with the principles of the Dogme 95 manifesto.

4 None of the Dogme 95 films ever received critical acclaim.

5 The founders of the movement eventually became disenchanted with it.

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Questions 7-10

Complete each sentence with the correct ending, A-H, below.

Write the correct letter, A-H, in boxes 7-10 on your answer sheet.

6 The vow of chastity did not allow directors to ...

7 The source of music or sound effects was to ...

8 Filmmakers were permitted to ...

9 Horror, fantasy and unnecessary violence were to ...

10 Directors were not credited in films in order to ...

A put cameras on their shoulders.

B be avoided

C prevent them from imposing their own style on film.

D use professional musicians on the film soundtrack.

E use a maximum of one lamp when filming.

F alter the location they had chosen.

G tell actors how to act.

H be seen on the screen.

Questions 11 and 13

Choose THREE letters, A-E.

Write the correct letter in boxes 11 and 13 on your answer sheet.

Which THREE rules were broken in the first TWO Dogme 95 films?

A Rule one
B Rule two
C Rule three
D Rule four or five
E Rule six, seven or eight
F Rule nine
G Rule ten

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READING PASSAGE 2

You should spend about 20 minutes on Questions 14-26, which are based on
Reading Passage 2 below.

THESTORYOFTHESAXOPHONE

A With its faded gold exterior, looped bell and distinctive soulful sound, the saxophone is
one of the most instantly recognisable instruments. Although now most famous for its key
role in the development ofjazz music, it would be a mistake to believe it has always been
this way. Its story is quite unlike that of the equally prominent jazz trio - trombone,
clarinet and trumpet - which first appeared in the French military band of the late Middle
Ages. In fact it was not until the early 19th century that the saxophone first appeared on the
world stage, thanks to a young Belgian of profound musical ability who had inherited his
father's instrument invention.

B Born in Wallonia in 1814, Adolphe Sax grew up in an environment which struck a perfect
harmony of invention and musicianship. His father was a keen designer of instruments
who made notable improvements to the design of the horn and Adolphe had already
created several flutes and clarinets from scratch before heading to the Royal Conservatory
of Brussels to study woodwind. Following his studies, Sax emerged as a clarinet virtuoso
but - much to his master's disappointment - followed in his father's footsteps and
proceeded to focus on the improvement of the clarinet. In 1842, he opened a workshop in
Paris - then the artistic capital of Europe - where he set about designing instruments.

C Sax's opportunity came in 1859 when official changes were made to concert pitch,
meaning it would be necessary for every band and orchestra to acquire new woodwind
instruments. Originally, Sax invented two families of saxophone, one for orchestral use,
the other for military use. The latter gained more exposure in the musical world following
Sax's triumph at a head-to-head competition with the existing French military orchestra as
part of a project to revolutionise French military music, at the time considered to be an
embarrassment to patriotism and prestige. Subsequently, the saxophone made its journey
beyond France's borders, through the military bands of much of the Western world.

D In North America, the instrument became a key component of the popular wind bands
where clarinetists also :frequently experimented with the saxophone. One such dual
instrumentalist, Edouard Lefebere, had fallen in love with the instrument whilst visiting
Paris and pledged to make it his life's work to promote the instrument. He settled in the
United States where he eventually joined the John Philip Sousa Band, which toured
throughout the United States playing its patriotic military marches and providing a
platform for some of the saxophone's early icons. The instrument's popularity soon soared,
allowing saxophonists to achieve unprecedented acclaim and riches. However, the fact that
many early saxophonists incorporated novel gimmicks - such as simulated animal sounds
and wild comic vibratos - within their 'uncultured' performances meant that its potential
was yet to be recognised in more high-brow musical circles.

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E While the saxophone continued to gain approval from the public due to its continued use in
musical hall and vaudeville shows, early jazz pioneers continued to experiment with more
traditional members of the horn and woodwind sections - the clarinet, trumpet, and
trombone. In addition to the saxophone's negative associations as a frivolous instrument,
another concern at the time was that the sound - smooth and mellow - could not compete
with blaring trumpets, noisy drums and loud conversation that accompanied jazz
performances. To counter this, the mouthpiece was shortened in order to slightly increase
amplitude, making the instrument a suitable mouthpiece for the jazz sound. Through
former clarinetists - including Sidney Bechet - who did not like the fact that the clarinet
was unable to compete in volume with the brass melody instruments, the soprano
saxophone became the first variety of the instrument to make a name for itself within the
1920s New Orleans jazz scene.

F The saxophone became increasingly important in Swing music in the 1930s, which
featured baritone saxophone and brass sections of the band playing call-response patterns
between each other. Hugely influential towards the end of the 1930s was the work of
Coleman Hawkins whose arrival onto the scene marked the point at which the saxophone
grew to be an equal of the trumpet within the jazz sound. This momentum grew
exponentially through the 1940s Bop and 1950s Bebop periods, which employed the
saxophone expertly for solos and improvisations. Charlie Parker - now considered one of
jazz's most important pioneers and talented virtuosos - was one of the key exponents of
this new style of saxophone-focused jazz.

G The saxophone has continued to play a prominent role in the development of a variety of
types of music up to the present day. Saxophonists such as John Coltrane and Omette
Coleman made full use of the instrument's creative potential through the avant-garde jazz
movements of the 1960s and 1970s, experimenting with tonal exploration, harmonics and
multiphonics, and Pharaoh Sanders extended its reach to mimic non-Western ethnic
sounds. In addition to the occasional flirtations classical music made with the saxophone in
the early 20th Century, the instrument has also featured prominently in modem minimalist
music as well as film soundtracks. Pop music has had a love affair with the saxophone
from the 1950s doo-wop and rock and roll tracks, through to Motown and progressive
rock, and platinum sales of albums by saxophone artists such as Kenny G suggest that our
fascination with the instrument remains in full swing.

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Questions 14-19

Reading Passage 2 has seven paragraphs, A-G.

Choose the correct heading for each paragraph from the list of headings below.

Write the correct number, i-x, in boxes 14-19 on your answer sheet.

List of Headings

The saxophone's popularity falls

ii The saxophone takes centre stage

iii Success abroad

iv Late to the show

v A difficult decision

vi Two versions - the saxophone's early success

vii A child of science and sound

viii Problems fitting in and how they were solved

ix New sounds and new audiences

x The inventor's riches

Example Answer
Paragraph A iv

14 Paragraph B
15 Paragraph C
16 Paragraph D
17 Paragraph E
18 Paragraph F
19 Paragraph G

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Questions 20-22

Complete the summary below.

Choose NO MORE THAN THREE WORDS from the passage for each answer.

Write your answers in boxes 20-22 on your answer sheet.

While the other three jazz instruments were first played during the 20 ..................... the
saxophone did not appear until much later. Sax's father also had a key role in the
development of musical instruments, including the 21 ...................... Like the trumpet,
trombone and clarinet, the saxophone also owes much of its early success to its use in
22 ..................... music.

Questions 23-26

Look at the following statements (Questions 23-26) and the list of people below.

Write the appropriate initials for each answer.

23 introduced the instrument to new places and new people?

24 chose to play the saxophone over another instrument because he thought it was
more suited to his style of music?

25 was responsible for making the saxophone as important to jazz as other

instruments were?

26 became popular while playing the instrument without a backing band?

List of musicians

H Coleman Hawkins
p Charlie Parker
L Edouard Lefebere
G Kenny G
C Ornette Coleman
B Sidney Bechet

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READING PASSAGE 3

You should spend about 20 minutes on Questions 27-40, which are based on
Reading Passage 3 below.

Space clean-up

A When the Soviet Union successfully launched Sputnik 1 in 1957, it was the first artificial
satellite ever to enter orbit around the Earth, and the project's success marked a significant
milestone in the history of the exploration of space. There was suddenly a profound change
in human perspective, a change which would, in subsequent years, become ever more
marked as scientists progressively acquired the ability to study aspects of the planet from a
new (and not Earth-bound) point of view. However, the technology employed on that first
satellite mission was astoundingly simple when compared to what would follow. To cite
just one example of this, Sputnik 1 only employed four very basic radio transmitters.
Commercial satellites in 2017 routinely employ dozens of extremely complex
'transponders'.

B Increasing use of ever-more sophisticated satellites has now permeated almost all aspects
of modem life. Telecommunications could not function without them, and neither could
the precision geo-location and navigational aids which we all take for granted. Worldwide
monitoring of weather patterns has produced not only better forecasting, but an awareness
of the human impact on the planet. Satellite imaging of the Earth is essential in conflict
resolution and disaster management. Other satellites, such as the Hubble space telescope,
are being used to collect data which help us understand the universe beyond our planet.
Indeed, the international space station, on which a constantly changing crew of astronauts
live, is another type of satellite.

C Whilst the use of satellite technology has had a far-reaching impact on our lives, the
question remains of what happens to these machines when they are no longer functional. In
total over 6,600 satellites have been lanched since Sputnik 1. Of the estimated 3,600
u
which are still in Earth's orbit, only 1,000 remain in operation with the rest having become
lifeless space debris. The problem of space debris is also self­perpetuating; when two
satellites collide, many more pieces of rubbish are produced. A
recent collision between two relatively small satellites created over 2,000 trackable pieces.
There are now tens of thousands of objects larger than 5cm in diameter in orbit and an
estimated one hundred million minute pieces larger than 1 mm. This ever-growing volume
of junk is referred to as the Kessler syndrome, whereby each collision creates ever more
debris, increasing chances of further collisions.
D This growing volume of space waste can have serious consequences. Debris hurtling
through space can strike working satellites, rendering them inoperable. Not only is this
incredibly costly, but it can also take entire communications or tracking networks offline.
The danger increases with the involvement of manned spacecraft. In 2007, a piece of space
debris pierced the radiator of US space shuttle Endeavour. The International Space Station
has also faced problems. Despite being in an orbit with relatively little space debris, it is
frequently forced to make time-consuming manoeuvres out of the path of fragments of
rubbish. As a result, it is essential that pieces of space debris are constantly tracked. When

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 they do not have the necessary three days' warning to change the craft's path, the crew
members are increasingly told to take shelter in Soyuz, the evacuation craft.

E With more satellites and spacecraft being launched every year, the problem of space debris
needs a solution, one of which has recently been trialled by the Japanese. At the end of
2016, Kyoritsu was taken into orbit and released. Kyoritsu is a type of satellite from which
a kilometre-long cable manufactured by a fishing net company is tethered to a 20-kilogram
mass. As this moves through the Earth's magnetic field, it generates an electric current
which slows down space debris it comes into contact with. When travelling at a slower
speed the debris is forced down into the Earth's atmosphere where it bums up and is
destroyed upon falling to Earth. Although the initial trial of Kyoritsu was unsuccessful as
the tether failed to deploy, the team are hopeful for its future use.

F A further solution may come in redesigning both the types of satellites we use and the
technology to retrieve them. As technology has improved, we have the opportunity to
create much more compact satellites with considerably lower deployment costs. Many
scientists worry that this will lead to a proliferation of debris as these smaller devices fall
out of service. However, when Switzerland recently launched their first satellites, which
were no larger than a briefcase, they understood the need to have a system in place to
avoid them ending their life cycle as space debris. It is for this reason that they designed
CleanSpace 1, a satellite with a cone-shaped net at the front which can unfold and then
entrap smaller satellites. Once its targets have been captured, it can then slow down and
de-orbit, burning everything up as it re-enters the atmosphere. CleanSpace 1 is scheduled
to launch in 2018 to recapture the Swiss satellites.

G Brian Weeden, a technical advisor for the Secure World Foundation, has suggested that
space debris was a 'super wicked problem'. Super wicked problems are complex issues
without any clear solution, and little time to find one. This is not helped by the fact that no
central organisation takes responsibility. However, there are signs that more people are
taking this issue seriously with both commercial and national space organisations
understanding the need for sustainability in satellite deployment. Technologies like
Kyoritsu and CleanSpace 1 are being developed but more programmes are needed. At
present, Kessler syndrome still poses a real threat and the volume of space debris is
growmg.

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Questions 27-33

Reading Passage 3 has seven paragraphs, A-G.

Which paragraph contains the following information?

Write the correct letter, A-G, in boxes 27-33 on your answer sheet.

27 Satellites being smaller and cheaper to launch than they used to be.

28 The fact that the more rubbish there is in space, the more is created.

29 Space junk orbiting more slowly if it comes into contact with electricity.

30 Some paths round the Earth containing less debris than others.

31 Satellites performing a wide range of functions.

32 Space junk being an issue that must be addressed with extreme urgency.

33 Astronauts facing delays and dangers as a result of space debris.

Questions 34-40

Complete the summary using the list of words, A-J, below.

Write the correct letter, A-J, in boxes 34-40 on your answer sheet.

Two solutions to the problem of space debris have been developed and are similar in
that they both work by changing the 34 ..................... of the debris and making it burn
up as it enters Earth's atmosphere. 35 ..................... engineers have invented a
satellite which uses 36 ..................... to catch defunct satellites, although this solution
will only work with debris of a certain 37 ...................... while 38 ..................... scientists
have experimented with a satellite attached by a line to a 39 ..................... to force
debris to decelerate. Both advancements are a step in the right direction but more is
needed to address the growing 40 ..................... of space debris.

A weight B orbit C volume

D number E cable F netting

G size H Swiss I Japanese

J shape

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1. TRUE
2. NOT GIVEN
3. FALSE
4. FALSE
5. TRUE
6. F
7. H
8. E
9. B
10. C
11. A
12. D
13. G
14. vi
15. vi
16. ii
17. vii
18. i
19. x
20. Middle Ages
21. hom
22. military
23. L
24. B
25. H
26. G
27. F
28. C
29. E
30. D
31. B
32. G
33. D
34. J
35. H
36. F
37. G
38. I
39. E
40. C

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