Title ĐÁP ÁN ĐỀ THI HSG ANH 12 PHÚ THỌ 2022-2023.docx ✅

1 SỞ GIÁO DỤC VÀ ĐÀO TẠO PHÚ THỌ ĐỀ CHÍNH THỨC KỲ THI CHỌN HỌC SINH GIỎI CẤP TỈNH LỚP 12 THPT NĂM HỌC 2022-2023 Môn thi: TIẾNG ANH Thời gian làm bài: 180 phút, không kể thời gian giao đề (Đề thi gồm có 18 trang) I. LISTENING (20 points) Part 1. Listen to a writer talking about the history of Bali and complete the notes with NO MORE THAN THREE WORDS. (10 points) Date Event Importance for art 3000 BC farmers from China built temples ornamented with wood and stone (1) ______ carvings and statues ______ in Bali 14th century introduction of (2) ______ Hinduism ______ artists employed by the ruling families and focused on epic narratives 1906 establishment of Dutch East Indies Company art became expression of opposition to (3) ______ colonization ______ 1920s beginning of (4) ______ tourism ______ encouraged use of new materials, techniques, and subjects 1945 beginning of independence started to describe the (5) ______ myths and legends ______ of Balinese history as well as the everyday life of their people TRANSCRIPT Last week, we looked at the traditional art of Japan. In this week's lecture, we are going to move south and look at the very special way in which art has developed in the beautiful island of Bali, which is now part of Indonesia. I'll begin by giving you a brief historical overview. It's thought that the first inhabitants of Bali were farmers who arrived around 3000 BC at the beginning of the Iron Age. They probably originally came from China, and in Bali they cultivated rice and built temples ornamented with wood and stone carvings and statues. The Hindu religion was introduced in the 14th century AD, and this has remained the main religion on the island. This was an important period in the artistic development of the island when sculptors, poets, priests, and painters worked together in the service of the ruling families. Rather than painting everyday scenes, artists concentrated on narrative paintings illustrating the epic stories of Hinduism. Bali's rich natural resources have always made it an alluring goal for merchants, and from the 17th century
2 onwards, Dutch ships visited the island to trade in spices and luxury goods. Gradually, the old royal families lost their power, and eventually in 1906, the Dutch East Indies Company was founded, and the island became a colony. In the 20th century, art then took on a very different role as a tool accessible to everyone in the fight of the Balinese people against colonization rather than as the property of a minority. Shortly after this, in the 1920s, stories of the beauty of the island of Bali began to spread around the world, and Balinese art underwent another vast transformation with the advent of tourism to the island. At first, this was only on a small scale, but it had important effects. Expatriate artists from Holland and Germany settled on the island, bringing paper, Chinese ink, and other new materials with them. They worked with local artists, encouraging them to experiment with concepts like naturalism, expressionism, light, and perspective, as well as to move away from the traditional focus on narrative painting towards something closer to their own experience. When independence came in 1945, this desire for an art to match a new national identity became stronger, and the traditional narrative paintings started to give way to scenes showing the everyday life of the Balinese people: harvests, market scenes, and daily tasks, as well as the myths and legends of their history. Part 2. You will hear a radio program about the arts. For questions 1-5, choose the letter A, B, C or D to indicate the best answer to each of the following questions. (10 points) 1. Tonight’s program will focus on ____________. A. training priorities in broadcasting companies B. courses for those hoping to work in the media C. career prospects for existing media employees D. employment opportunities in London colleges 2. What is the main aim of the organization called Cinemax? A. Recruiting scriptwriters for the film industry. B. Providing courses in media studies. C. Organizing a local film festival. D. Getting young people interested in cinema. 3. How does Nigel feel about the input from the consultant? A. He is pleased that he ignored her advice. B. He is keen to acknowledge her contribution. C. He feels that she was over-critical. D. He is glad she rewrote some sections. 4. Nigel explains that consultants were brought in because ____________. A. they may provide funds for future projects
3 B. they provided some expensive equipment C. the team members were lacking in confidence D. the organizers had invested heavily in the project 5. Looking to the future, Nigel says he is ____________. A. aware of the need to remain flexible B. less enthusiastic about working in film making C. hoping to do some further work on his first script D. keen to become a full-time scriptwriter TRANSCRIPT And now here's Mandy Pulsford with tonight's edition of the arts programme in the media. WOMAN: Good evening. Tonight we look at opportunities for young people in the media. Later on we'll be considering how useful college courses in subjects such as media studies are to aspiring young broadcasters and programme makers, and we'll be looking in depth at what's on offer at one London college. We'll be hearing from students and staff and then getting reactions to the course contents from our two studio guests, both of whom work as recruitment managers on major networks. But first of all, I went earlier in the week to the southwest to talk to Nigel Yattan, who, at the age of 19, is already an up-and-coming young scriptwriter. So, Nigel, I think you've already had some success as a scriptwriter, haven't you? NIGEL: That's right. I wrote a 12-minute short film that was used as a curtain-raiser at the local film festival last year. WOMAN: So how did that all come about? NIGEL: Well, the festival is run by a group called Cinemax, which was set up with a specific aim of raising both awareness and levels of involvement in all aspects of filmmaking and film appreciation among young people in the area. (Uhha) I was at college doing media studies, and the production manager from Cinemax came to see us all one day to tell us about a film project they were setting up. And one of the things that she said was that they were looking, amongst other things, for a scriptwriter, and would any of us be interested? WOMAN: So scriptwriting almost chose you, did it? NIGEL: In a way, but actually no. I did already have a few scenes down on paper, but I hadn't actually thought of taking it any further because, you know, I guess I didn't know that the opportunity was there. And like normally, it wouldn't be there, I suppose, because it's really difficult to get practical experience in filmmaking if you live outside London, because everything's so small-scale. If it hadn't been for Cinemax, I don't suppose I'd have ever got the chance to try it. WOMAN: Tell us about the film. NIGEL: Well, it's about relationships, really, and it's shot against the backdrop of the local dance scene. The
4 whole idea was to try and plug that youthful vein. It was great doing it because I had the ideas but not the skills to translate them into a film script. Cinemax liked the ideas, so I joined the team, and they brought in an experienced TV scriptwriter as a consultant. It was brilliant. WOMAN: So how exactly did that work? What kind of help did you get? NIGEL: Well, after I'd done so many drafts, you know, got my ideas into shape, we sent it to the consultant, and she wrote back saying what she thought of it. And it was great to get that feedback. She was pretty critical, but I didn't mind because, you know, I'm the one on the learning curve. And although the final draft really reflected her input, it was still all mine, which is the important thing. The consultants were the key to getting it right because, you know, it was a big project, and I think the organizers felt they needed a safety net, because at the end of the day, you know, most of the work on the project was done by people of my age. You know, 25 of us doing everything from the script to the camera work to the makeup, and not one of us had done anything like it before. WOMAN: Uhha. When you say it was a big project, you mean in terms of investment? NIGEL: That's right, because the total budget for the film, which was shot on digital video, ran to about £30,000, but that included buying the equipment. Now that the group has got that, it'll be there for the next time, because if the funding can be found, this is going to become a regular feature of what Cinemax does. WOMAN: And I'm sure that you personally got a lot out of it too. NIGEL: Oh yeah, it really opened my eyes. I think I appreciate what filmmaking means now because, you know, to get those 12 minutes, a lot of work went into it. And seeing the finished product was a strange transition for me, like when it's been in your mind for so long, and then all of a sudden you see it up there on the screen, it's tremendous. It's kind of unreal. WOMAN: So, Nigel, what do you think about a future in scriptwriting? NIGEL: I'd love to produce and write in whatever form for Film or TV. This project has really given me a taste for the work, and hopefully, I can go on from here. But you've got to keep your feet on the ground though, and like, you never know what's around the corner. WOMAN: Wise words there. I was talking to Nigel Yatton in the southwest of England. Meanwhile, back in our London studio. II. PHONETICS (5 points) Part 1. Choose the letter A, B, C or D to indicate the word whose stress pattern is different from the other three in the position of stress in each of the following questions. 1. A. index B. commit C. preview D. abbess /ˈɪndɛks/ /kəˈmɪt/ /ˈpriːvjuː/ /ˈæbɪs/ 2. A. therapeutic B. conscientious C. fanaticism D. orthographic