CUADERNILLO

DE TEXTOS ESPECÍFICOS
DE LAS CARRERAS DE
CIENCIAS DE LA COMUNICACIÓN

INGLÉS II

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  TEXT 1

THE HISTORY OF CINEMA SINCE THE BEGINNINGS OF HOLLYWOOD

The Silent Era
Hollywood was established in 1912. That's when a group of New York film producers
decided to open a new studio in California. Why California? Because the climate was good, labour
was cheap and there were lots of beautiful locations nearby.
As a result of their decision, Hollywood soon attracted film actors and technicians from all over the
country. While World War One was fought in Europe, and for several years after, these cinema
pioneers made thousands of black and white films -comedies, tragedies, fantasies, romances and
historical dramas. This was "the silent era"- the era of Charlie Chaplin, Rudolph Valentino, Clara
Bow, Douglas Fairbanks and Buster Keaton. It was called "silent" because there was no recorded
sound. Instead, the actors' dialogue appeared on cards shown every 15 or 20 seconds. At the time it
seemed perfectly normal. That's simply how films were.
In fact, even as late as 1924, director D W Griffith declared "There will never be speaking
pictures". But Griffith was wrong. A revolution was coming, and its name was...
The Talkies
Recorded sound ended the silent era in 1927. That's when Al Jolson both spoke and sang in
"The Jazz Singer". (His first words were "Wait a minute, wait a minute folks. You ain't heard
nothing yet!) The impact on cinema-goers was enormous. They loved "The Jazz Singer" and
demanded more and more talking pictures. The studios quickly responded and by 1930, audiences
were up from 57 million a week (1926) to 110 million a week. Only 31 years after the Lumiéres
first film-show, modern movies had arrived.
A Threatening Competitor: Television
In 1932 Technicolor arrived. Coming only five years after the sound revolution, it made
cinema more popular than ever. So popular, in fact, that the next 20 years are often called
Hollywood's "golden age", In the 30s and 40s, millions queued every week to see films produced by
the top studios. These included Paramount, RKO, Warner Brothers and, most successful of all,
Metro Goldwyn Mayer.
Run by Louis B. Mayer, MGM's motto was "more stars than there are in heaven". This
referred to the "family" of film stars who had contracts with the studio. (In those days actors only
worked for one company). During the 30s and 40s, MGM's family included The Marx Brothers.
Greta Garbo. Jean Harlow, Clark Gable, Joan Crawford, Spencer Tracy, Judy Garland and Gene
Kelly.
It was an impressive list, but only one of several. All the other "dream factories" had stables
of top box-office names, too, In fact, competition was an important part of Hollywood's success.
The reason was simple. Each studio wanted to make bigger, better films than its rivals. After 1948,
though, movie tycoons like Louise B. Mayer began to face another kind of competition. And this
time, it wasn't from inside the cinema industry-it was from outside.
America's TV revolution began in the years following World War two. At first, Hollywood
didn't worry. After all -what was there to worry about? John Logie Baird's invention only produced

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small, black and white pictures. It wouldn't last. But as more and more people bought sets, cinema
queues began to get shorter. And, not just 5% or 10% shorter. By the early 50s, weekly audiences
had been cut in half to 50 million. Clearly, the movie industry had a serious problem on its hands.
Studios bosses tried to solve the problem in several different ways. These included:
CINEMASCOPE: This technique made it possible to show films on a wider screen than ever
before. Several action-packed Cinemascope films were made. The first, a Biblical epic, was called
"The Robe".
3D: To watch 3D or "three-dimensional films, audiences had to wear special glasses. These gave
images on the screen extra height, width and depth. The idea was used in several 50s horror films,
but never really caught on.
CINERAMA: Three projectors were needed to show Cinerama films. Each one filled a third of a
huge, curved screen. Again the idea didn't catch on -this time because it was too expensive.
SMELL-O-VIS1ON: Another Hollywood scheme for winning back TV audiences was
Smell-O-Vision. This was an electronic system which sent the smell of roses, gun smoke, coffee,
etc. (whatever was shown on the screen) over movie-goers during a film.
70 MM FILM: Before the 50s, movie cameras and projectors used film which was 35 mm wide.
The arrival of 70 mm film produced a much bigger, clearer image. 70 mm is still used for some
films today. Basically, then, the Hollywood studios competed with television by making movies
bigger, better and more realistic. Some of their ideas succeeded, others failed. But what really saved
the cinema industry wasn't a technical development at all -it was another 50s invention... .teenagers.
Movies and youth culture discovered each other in the mid-50s with two key films: "Rebel
Without A Cause" (1955), starring James Dean, and "Rock Around The Clock" (1956), starring
early pop idol Bill Haley. For Hollywood it was a turning point. Before then, the average cinema-
goer had been over 30. Suddenly, all that began to change. And it's a change that's continued ever
since. Today 75% of all box-office tickets are sold to people between the ages of 15 and 25.
These days, cinema and television live side-by-side. The movie industry didn't collapse (as
some people predicted) in the 50s and 60s. But cinema audience-figures are still low compared to
50 years ago. In Britain, for example, most people only see one or two films per year. In Europe it's
three or four and in America six or seven. Because of this, modern movie-making has become very
different from how it was in Louis B. Mayer's time. For example:
 Hollywood has more competition from international film-makers now than ever before
 Enormous "picture palaces" with one screen are being replaced by "multi-screen"
 There are still large studios, but the old "studio system" (with groups of stars working for
one company) has disappeared
 Modern films have three lives instead of one, First, they appear in the cinema, then on
 DVD, and finally they're shown on TV.

But things have changed again, and nowadays different apps offering streaming services, like
Netflix, Hulu, Amazon Prime Video, HBO Now, CBS All Access, Disney Plus, HBO Max and
others are the main source of almost unlimited content of movies, TV shows and serials, and even
original programming and own productions.

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  TEXT 2

THE FILM INDUSTRY TODAY

Today, our online habits are transforming the way we consume video content, whether in
blockbuster productions or the advertising industry.

Some time ago, David Lynch, American director and screenwriter, lamented the future of
filmmaking and voiced his concerns for the big screen, announcing:
"Television is way more interesting than cinema now. It seems like the art-house has gone to
cable."

(Art-house : a movie theater that specializes in films that are artistic or experimental rather than
merely entertaining).

While Lynch is of course a creative genius, we doubt he knew just how astute his comment would
be in years to come. In fact, the days of cable TV came and went too. Online streaming platforms
such as Netflix are leading a transformation in film entertainment, while social channels like
Instagram are fast evolving to offer more video content than ever.

Filmmaking is a truly emotional process. Its trends are increasingly leaning towards engaging
concepts – just consider Black Mirror: Bandersnatch, the fascinating new interactive film by
Netflix, which allows viewers to choose between multiple endings. Increasingly, viewers want to
feel a part of the action.
As a result, many producers are looking into making more engaging and intimate video content,
many going beyond the confines of professional film studios to do so. By working with a
documentary maker rather than scripted advertising, it is possible to get to the true heart of the
matter – and to make content you actually want to watch.

Virtual reality (VR) is still very much an emerging filmmaking trend, but it is expected to grow
exponentially. Projected within the safe confines of a headset, these virtual environments offer
limitless potential, and practically any industry can create content to connect with consumers. The
technology can entertain, instruct and educate audiences in a whole new way.
BAFTA winning Martin Percy, British director of interactive video, has been especially proficient
with VR filming. Thanks to the latest production technologies, Martin is able to make the imaginary
a reality, all within a safe environment.
“With VR, we’re not trying to make a film which people are watching on a VR headset,” he
explains. “We’re trying to give people a sense that they are, in some magical way, actually present
in some fascinating or exciting location."

ACTIVITY:
- Do some research and, also taking into account Text 1, draw a timeline of the evolution and
innovations of the filmmaking industry from the appearance of the “Talkies” (films with
recorded sound) and Hollywood´s Golden Age (1920/1960) to the present.
- Have you seen any interactive movie? What was your experience?

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 TEXT 3

GRAPHIC DESIGN TODAY

Few things have affected the history of graphic design as significantly as the rise of technology
and digital transformation.
A few decades ago, no-one could have imagined where computers and the web would take us.
Now, we can only look back in awe at the impact the digital revolution has had on the way we
work, communicate, and socialise. Graphic designers have become masters of consumer
manipulation.
Here are just some of the changes we’ve seen in graphic design today.
1. Companies are investing more in graphic design
The number of people investing in graphic design companies has gone up astronomically.
Technology ensures that brands have more opportunities for exposure online. Those who want
to interact with their clients in a memorable way need an image, and that’s where graphic design
comes in. Graphic design has become a global conversation between brands, their customers,
and the people with the creativity to bridge the gap.
2. Clever content marketing and graphic design
Back when graphic design first became a fundamental part of marketing, artists focused mostly
on designing logos and advertising media for their clients in the form of leaflets and banners.
Graphic design was an occasional purchase, but today, it’s a consistent part of a solid branding
strategy. In fact, some of the best companies in the world use graphic design every day with
their social media marketing and content marketing efforts.
3. New channels to explore
In the past, designing media for a company was all about explaining what the business did in the
most effective way possible. While that’s still a common component of graphic design today,
there are so many new concepts to think about too.
For instance, psychology and buyer behaviour now play a part in graphic design. Many
branding experts look at things like the psychology of colour, and the impact of shapes to make
sure they’re conveying the right personality for each client. At the same time, designers aren’t
only creating imagery for a single platform anymore. Logos, visual identity assets, and graphic
design elements all have to perform equally well on apps, mobile devices, and larger screens.
4. The role of the graphic designer has changed
Fundamentally, the role of the graphic designer has changed. They are now an essential part of
any business team. Today’s brands rely on their designers not just to create logos and tactical
communication pieces, but to establish presence for them in the online world and build
recognition for their brand. Graphic design isn’t just about the artwork anymore, it’s about the
process of establishing a real connection between customers and companies using words,
images, design and technology.

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 The nature of human communication and the rapid pace of the digital world means that it’s
often difficult to keep track of the ever-changing nature of graphic design. In an era where
technology is everywhere, trends in modern graphic design can dissipate as quickly as they
emerge. Something that appeared to be cutting-edge last year might be totally outdated this year.
Today’s customers are busier and more rushed than ever before. They don’t have the time to
deal with companies that can’t convey their personality within the simplest possible graphic. In
the past, companies that wanted to make a big impact would go big and even complex with their
logo designs and websites. Today, simplicity is the key to success. Graphic designers have
begun to make bigger choices combined with flat colourful graphics and simple shapes.
Function has overridden superfluous design details today. Graphic design doesn’t have to be
complicated anymore. It just needs to mean something and make an impact.
The key to graphic design today is remembering that visuals aren’t just about making a brand
look attractive – they’re about contributing to the customer experience. Graphic design is the
key to a memorable visual identity.
As we move into the future, the chances are that graphic design will continue to change.
However, it’s impossible to predict all of the changes the years ahead will bring.
ACTIVITY: Complete the table contrasting Graphic Design in the past and nowadays

GRAPHIC DESIGN
In the Past Today

 TEXT 4:
PHOTOJOURNALISM
While journalism is the collecting, editing, and presenting of news material for publication or
broadcast, photojournalism is a particular form of it that uses images in order to tell a news story. It
does not just refer to still images, but to video and any other source of images broadcasting as well.
Photojournalists are visual reporters of facts. They must often make decisions instantly and
carry photographic equipment, often while exposed to significant obstacles (physical danger,
weather, crowds).
The public places trust in its reporters to tell the truth. The same trust is extended to
photojournalists as visual reporters. This responsibility is essential to a photojournalist. At all times,
they have many thousands of people seeing through their eyes and expecting to see the truth. There
is no need to "set up" reality. There is no need to lie to a community.
However, although it is true that photos can testimony facts, it is also true that a photograph
substitutes reality by an image. Consequently, it is not real itself. It is always a message that

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interprets reality and many times it can be falsified or simply chosen to manipulate the information
or the audience.
And that leads us to notice the way in which the two main types of newspapers, tabloids and
broadsheets, make use of images. A popular or tabloid newspaper focuses more on sensation than
real news, whereas a quality newspaper (or broadsheet) is more interested in seriously
commented news, with images that merely inform facts rather than being exciting or shocking. A
tabloid usually has a smaller format than a quality paper, it has larger headlines and shorter stories,
often about film stars or violent crimes, and the journalists working for them compete fiercely to get
the scoop. A scoop is an exciting or important news story that one news organization publishes or
broadcasts before anyone else. Tabloids carry out yellow journalism, which is a type of journalism
that minimizes legitimate news in favour of eye-catching headlines and images that sell more
newspapers. It may feature exaggerations of news events, scandals, sensationalism, or
unprofessional practices. Yellow Press newspapers usually have daily multi-column front-page
headlines covering a variety of topics, such as sports and scandal, using bold layouts with shocking
large coloured illustrations, and heavy reliance on unnamed sources.

What makes a photojournalist different from a photographer?

Photographers take pictures of nouns (people, places and things). Photojournalists shoot action
verbs ("kicks," "explodes," "cries," etc.). Photojournalists do shoot some nouns. These nouns can be
standard photos of people (portraits), places (proposed zoning areas or construction sites) and things
(name it). However, the nouns we seek still must tell a story.
There are two kinds of informative photography: newspaper or impact photos and magazine or
pose photos. Impact photos highlight the here and now of an event. Pose photos often show a
character. Both can illustrate a piece of news, a story or an interview. Sometimes a photo -or a set
of photos- with a few sentences is enough to tell a story.
A portrait is generally not a snapshot, but a composed image of a person in a still position. A
portrait often shows a person looking directly at the camera.
An impact photo can be defined as photography intended to convey information about a topical
event or events. It is characterized by immediacy. This demarcates it from documentary
photography, which implies time spent examining an ongoing situation or process. The effect of
impact photo is based on the special circumstance in which the photograph is taken: an accident
occurs and the photographer is there, in the right place, at the right time, to capture the moment.
The press photographer can define a moment for ever, burning their vision onto the international
conscious via newspaper pages all over the world. Across battlefields and red carpets, art galleries
and global summits, packed stadiums and ruined homes, press photographers can chronicle the
pinnacles of success and achievement, as well as the depths of human suffering and misery.
Press photography is not creative art; it has never felt the need to transgress aesthetic rules, or to
attain absolute originality. Press photography presents reality; it has journalistic ideals: to be at the
right place at the right moment, and to be a witness, not a picture creator. Yet, within this
framework, press or documentary photo is probably characterized by a combination of artistic value
and social engagement. Since the late 1970s, photojournalism and documentary photography have
increasingly been accorded a place in art galleries alongside fine art photography.

ACTIVITY: Read the text and answer:

1- Define Journalism and Photojournalism

2- What is the main responsibility of a photojournalist?
3- How do tabloids and broadsheets use images?
4- What do you understand by “shooting nouns” and “shooting verbs”?
5- What is the difference between informative photography and documentary photography?

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6- In your opinion, is press photography art?