UNIVERSITY OF CAMBRIDGE ESOL EXAMINATIONS English for Spe !

ers of O"her L ng# ges FIRST CERTIFICATE IN ENGLIS$

PAPER 1 Reading

Additional materials: Answer sheet

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1 hour

INSTRUCTIONS TO CANDIDATES Do not open this question paper until you are told to do so. &ri"e 'o#r n %e( Cen"re n#%)er n* + n*i* "e n#%)er on 'o#r ns,er shee" if "he' re no" lre *' "hereRead the instructions for each part of the paper carefully. Answer all the questions. Read the instructions on the answer sheet. Mark your answers on the answer sheet. se a pencil. !ou %#s" complete the answer sheet within the time limit. At the end of the test" hand in #oth this question paper and your answer sheet.

INFORMATION FOR CANDIDATES $here are %& questions on this paper. 'uestions . / .0 carry two marks. 'uestions .1 / 23 carry one mark.

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4 r" . !ou are going to read a newspaper article a#out attending a new attraction for film fans in the /. 4or questions ./5" choose the answer 5A( B( C or D6 which you think fits #est according to the te7t. Mark your answers on "he sep r "e ns,er shee"-

S" r for
3t is a warm e2ening in .os Angeles" and 3 am standing in a long queue outside a fa#ulous8 looking place called $inseltown /tudios. 9er2ous chatter and the noise of a distant" si78 lane freeway hum in the air. :omen #usily re8 apply their lipstick and smooth their dresses. .ike me" they are hoping that they are a#out to get a taste of what it feels like to #e a star. :e are spending an e2ening at one of the newest and strangest ideas dreamt up #y the American entertainment industry. $inseltown;s owners" 1gden Entertainment" claim that" for one night only" they will <turn ordinary indi2iduals into screen legends; = and 3 can hardly wait. 1ur e2ening #egins at +.%& p.m. >anding o2er my ticket" 3 walk down the long red carpet ahead. <4ans; approach and ask for my autograph. 3 graciously agree. <Reporters; ask where 3 got my outfit and who will star with me in my new film. 1n my right" a <tele2ision crew; is inter2iewing two girls. A <?ournalist; approaches. <-ongratulations"; she says" <you are nominated as @est Actress tonight.; /he turns out to #e one of the organisers of the e2ent and she tells me that" along with three other nominees" 3 will #e edited into a scene from a famous mo2ie so that it will seem as if 3 am the star. $he eight scenes 5showing four men and four women6 will then #e #roadcast o2er dinner and the @est Actress and @est Actor chosen. 9ominees are chosen #y staff at the #eginning of the e2ening" on the #asis of who they think looks as if they ha2e the most guts. /o why did they choose meA /uddenly" the ner2es that the staff did not detect come to the surface. -oping with people who are pretending to #e fans" ?ournalists and $B crews is one thing" #ut #eing #roadcast acting #adly in front of *&& peopleA 3 didn;t know if 3 could handle that. $hen 3 and the other three nominees are

Nigh"
shown into a lift and taken upstairs to the studio. 3 am to replace Cene2ie2e @u?old as the 'ueen of England in "nne o# a Thousand $ays. $hey show me the scene" hand me a costume and push me in front of a camera. My fi2e lines are written onto a large white #oard and held in front line 50 of me. /uddenly" it is all o2er. 1nce all four nominees ha2e #een filmed" we ?oin the rest of the <stars; in the 2ast #anquet room. 12er the first course" 2ideos are shown on a screen a#o2e us. $he show #egins with the red carpet <inter2iews; filmed as we" the guests" arri2ed. 4irst up is a man called Dohn Richardson. 3s he pleased to #e nominated for an award tonight" asks the <reporter;A <!ou know" #eing a stunt man isn;t as glamorous as #eing an actor"; he replies. <Most of the time" people watching the picture think that it is the actors doing the stunts" so it;s good to finally get some recognition.; Dohn;s friends" who are sitting at the ta#le ne7t to mine" are lo2ing his inter2iew" applauding e2ery time he speaks. <:ho;d ha2e thought that" in real life" he is ?ust a dull computer programmerA; says one of them. >e is right: as more <stars8for8a8night; are inter2iewed" 3 am struck #y how competently these people e7press themsel2es. A waiter approaches with a warning: 3 am a#out to #e <spotlighted;. 3 am introduced to the audience" my #lushing face appears on the #ig screen and then" as 3 squirm with em#arrassment in my chair" the film of me" edited 5rather #adly6 into "nne o# a Thousand $ays" is shown. 3 am also handed a pre8 scripted speech = with #lanks so 3 can say a thank8you to whome2er 3 choose = ?ust in case 3 am chosen as @est Actress. >owe2er" my performance was so wooden that 3 don;t win. !et now that 3 know 3 won;t ha2e to make a speech" 3 feel a moment of real disappointment.

For 45 dollars, visitors to Tinseltown Studios are treated like their Hollywood idols on Oscar night. Laurel Ives joins the would !e stars.

line 36

:hen the writer is waiting to go into $inseltown /tudios" she A D thinks she has little in common with the other people. B wants to find that the claim the company makes is true. C fears that the e2ent may go on for too long. is surprised #y the appearance of the #uilding.

As she goes into the #uilding" the writer

A B C D 3

gets confused as to who some of the people are. acts as if she really is a star. is una#le to respond to certain questions. is impressed #y some of the other 2isitors.

:hat is meant #y <guts; in line %EA

A B C D 4

e7perience am#ition energy courage

:hat does <it; in line (& refer toA

A B C D 5

the filming of the writer the white #oard the filming of all four nominees the writer;s last line

Dohn Richardson answers the question he is asked #y

A B C D 6

denying an accusation. e7plaining a change in attitude. e7pressing satisfaction. admitting to #eing confused.

$he writer notices that the other people who are inter2iewed

A B C D 7

try to respond in the same way that Dohn Richardson did. try to appear more interesting than they really are. ha2e similar ?o#s to Dohn Richardson;s in real life. ha2e little difficulty in gi2ing good answers to questions.

:hen the writer is <spotlighted;" she

A B C D 8

finds that she is una#le to speak. quickly looks away from the screen. clearly feels uncomforta#le. #ecomes con2inced that she will win.

:hen she disco2ers that she has not won" the writer

A B C D

understands why she was not chosen as the winner. is glad that she will not ha2e to make a speech. wishes she had not agreed to #e filmed. regrets not ha2ing a #etter part.

4 r" 6 !ou are going to read a newspaper article a#out a guitar8making course. /e2en sentences ha2e #een remo2ed from the article. -hoose from the sentences A7$ the one which fits each gap 587.06. $here is one e7tra sentence which you do not need to use. Mark your answers on "he sep r "e ns,er shee"-

G#i" r "h "9s

:hen 3 arri2e at @ailey;s Cuitars" where 3 am to spend the ne7t fi2e days" my first impressions are not 2ery positi2e. An old shed in the corner of an industrial estate" @ailey;s contains two old work#enches which sit #eneath a couple of unsteady8looking shel2es. $he tutor" Mark @ailey is a man in his mid8 thirties. >e teaches people such as me how to #uild their own electric guitars. 8 $hey shouldn;t #e confused either with those which come in sections for you to put together yourself" following a few simple instructions. 9o" @ailey;s guitars are works of art" car2ed #y hand from large pieces of wood" such as maple and mahogany. $rained as a maker of musical instruments since the age of si7teen" Mark @ailey is passionate a#out his craft and is a perfectionist. <3 can;t let people make any old ru##ish"; he e7plains. .3 !et many of them are made #y people who" like me" sign up for one8 week courses" ha2ing no pre2ious e7perience. $here are four of us on the course this week" each working at different speeds" and @ailey goes from one to another" making sure that no mistakes are #eing made. >is face is screwed up in total concentration. .. /o there are raised eye#rows when 3 ask to make the standard model. /urely 3 would like to add a few personal touches = wasn;t that the point of comingA :ith the course costing ?ust FG&& per week" these guitars work out cheaper than ha2ing one

,or! of r"
made for you #y a professional. And making your own in2ol2es plenty of choices such as the type of wood used and the colour of the 2arnish. .6 $he work is di2ided into a#out (& different tasks and @ailey has a tried and tested method for each stage of the process. Machines are used for some of the ?o#s. $his is the first woodwork 3 ha2e tackled since lea2ing school a decade ago" so 3 needed a lot of guidance. .2 3n two years" only one pupil has made such a drastic mistake that a half8finished guitar had to #e thrown away. Most of those who come to @ailey;s are men" #ut they 2ary in age from teenagers to old8age pensioners. 1ur working day #egan a#out H a.m. and went on until late in the e2ening and 3 found the work une7pectedly hard and physical. .: 1n the last e2ening" after fi7ing the 2arious electronic parts together inside our guitars" we are ready to play them for the first time. @ailey" who claims he can only <#ash out a couple of tunes; gi2es each instrument a trial" mine included" playing each one with considera#le style. :itnessing this #rings it home to you that you;2e actually produced a genuine musical instrument. .0 @y this time" 3 must admit that 3;d e2en come to feel quite at home in the scruffy shed on the edge of the industrial estate.

To% &retlove learns how to %ake his own uni'ue instru%ent under e()ert tuition.

$his means that no two guitars made on the course e2er look the same.

3t is also his am#ition to #uild up the name into a well8known #rand.

3n fact" 3 realised that the sound of my guitar had come from all my hard work o2er the fi2e days.

4ortunately" @ailey is particularly skilful when it comes to talking his students through each technique.

:hat;s more" apart from mugs full of tea to keep us going" there were few #reaks" so no one had much energy left for socialising afterwards.

$hese are completely different from the mass8 produced guitars you #uy in music shops" howe2er.

3ndeed" e2ery guitar that comes out of @ailey;s is an ad2ertisement for the firm.

nlike me" the other participants share @ailey;s fascination for anything out of the ordinary to do with guitars.

4 r" 2 !ou are going to read some #ook re2iews. 4or questions .1/23" choose from the re2iews 5A7E6. $he re2iews may #e chosen more than once. :rite your answers on "he sep r "e ns,er shee".

In ,hi+h )oo!
does the author make a num#er of choices which most readers would not e7pectA is the information organised #y topic rather than placeA does the author;s imagination seem to take o2er at timesA do we learn a#out certain professional techniquesA are ordinary places made to seem more interestingA .1 .; .5 .8 63

&hi+h )oo!
might help us to understand more a#out oursel2esA co2ers its su#?ect thoroughlyA makes us feel some of the writer;s en?oyment of the su#?ectA introduces us to some 2ery strange peopleA shows how people may try to influence othersA was #ased on an earlier piece of workA is one of a num#er on a similar themeA fails to underline the connection #etween two aspects of its su#?ectA shows us changes taking place at the present timeA was written #ecause of an anni2ersaryA Africa: A Biography of the E Continent( )' <ohn Re *er $his #ook is concerned not only with the Africa of European e7plorers" traders and colonists #ut with the Africa of the Africans who ha2e #een there for four million years or more. $his #ook does not deal with Africa region #y region" #ut rather adopts a thematic approach" dealing with specific su#?ects indi2idually = crop gathering" keeping animals" iron making" trade" disease = taking e7amples from across almost the whole of the continent. $his is a solid work of scholarship and at the end we feel that reading it has taken away the necessity of reading doIens of other #ooks on the history and pre8history of Africa. 6. 66 62 6: 60 61 6; 65 68 23

Boo! of "he &ee!

A
Hungry for You( )' <o n S%i"h Food is of monumental importan e to us and !et "e often tend to ma#e its role seem unimportant$ %n t&is intri'uin' olle tion of arti les( )oan *mit& tries to ma#e us realise t&at "e s&ould not simpl! ta#e food for 'ranted$ +&e ,oo# s&o"s &o" our &oi e of "&at "e eat( &o" "e prepare it and "it& "&om "e s&are it an re-eal t&in's a,out us$ +&e ,oo# in-ites us to loo# at &o" food an ,e used to &arm and impress people$ +&is is a fas inatin' read( ,ut ,e "arned . !ou ma! ne-er ,e a,le to sit do"n to a meal in /uite t&e same "a! a'ain$

long8forgotten crime mo2ie or cow#oy film which" in the author;s eyes" takes film8 making into new territory. /corcese;s infectious delight in his su#?ect and

Full Circle, )' L#is Sep=l>e*

Full Circle co m es f ro m a se ries of books of t r a v e l l e rs stori es b ro u g h t ou t re ce n t l y b y a le a d i n g p u bl is h e r . Full Circle is a bo u t w h a t i t c a l ls a jo u r n e y w i t h o u t a n y se t pl a n i n t o t h e h e a r t of Sou t h A m e r i c a . T h e a u t ho r p a i n ts v i v i d , so m e t i m e s su r r e a l , pi c t u r es of people a n d pl a ces w h e re i t is ofte n diffi c u l t to t el l t h e diffe re n ce be t w e e n f a c t a n d fi ct ion . h e t h e r h e is t r a v e l l i n g i n !a t a go n i a or i n so m e sleep y t rop i c a l to w n , t h e a u t h o r c re a t es c h a r a c t e rs w h o a re a l m ost u n be lie v a b l e a n d t h e n pl a ces t h e m i n e " t r ao rd i n a r y si t u a t io ns. detailed understanding of what directors were attempting to achie2e with 2arious camera angles and styles of editing make for a fascinating read.

Rotterdam Photographic

Impressions, )' M r"in ?ers #a r t i n $e rs h a s be co m e f a m o u s fo r h i s p hotog r a p h s of t he % u t c h l a n dsc a p e a n d m a n y p eople sti l l fee l t h a t t h is is w h a t h e does best . & n t h is book h e s ho w s t h a t h e is e' u a l l y sk ilf u l in s ho w i ng j u st h o w i n t e rest i n g a ci t y l a n dsc a p e c a n be . T h e book p a i n ts a po w e rf u l pi c t u r e of a mode r n a n d d y n a m i c ci t y . i t h h is kee n e y e for co n t r a st , $e rs m a k es e v e n t h e most u n i nspi r i n g h a r bo u r sce n e co m e to life . (o w e v e r , i t is a pi t y t h a t h e doesn t m a k e m o re of t h e oppor t u n i t y t o sho w ho w closel y t h e ci t y a n d t h e h a r bo u r a re re l a t ed to e a c h ot h e r . &n t he e n d , t ho u g h , $e rs s u c ceeds i n sho w i n g us a m ode r n ci t y w o r k i n g t i re l essl y on i ts o w n t r a n sfor m a t i o n a n d de v e lop m e n t .

A Personal ourney !ith "artin #corcese through American "o$ies( )' M r"in S+or+ese

$his #ook was written as a result of a tele2ision documentary made #y Martin /corcese some years ago" at the in2itation of the @ritish 4ilm 3nstitute" to mark the first hundred years of cinema. /corcese;s selection of the films which ha2e most influenced him is quite surprising. 4or e2ery widely accepted classic" there is a

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