SECTION TEST - LISTENING
(Time: 30 minutes)
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Section 1

Script:

JUDY: Good morning. Total Insurance. Judy speaking, how may I help you?
MICHAEL:    I recently shipped my belongings from overseas back here to Australia and I took out insurance with your company. Some items were damaged during the move so I need to make a claim. What do I have to do?
JUDY: Okay, well first I need to get a few details about this. Can you give me your name please?
MICHAEL:    Yes. It’s Michael Alexander. 
JUDY: Okay. And your address please?
MICHAEL:    My old address or my current one?
JUDY: Your current one.
MICHAEL:    It’s 24 Manly Street, Milperra near Sydney.
JUDY: What was the suburb, sorry?
MICHAEL:    Milperra. M-I-L-P-E-R-R-A.   
JUDY: Right. Now, who was the shipping agent Mr. Alexander?
MICHAEL: You mean the company we used?
JUDY: Yes, the company who packed everything up at the point of origin.
MICHAEL:    Oh, it was ... er... First Class Movers.
JUDY: Okay ... where were the goods shipped from?
MICHAEL:    China, but the ship came via Singapore and was there for about a week.
JUDY: Don’t worry, all of that information will be in the documentation. Now, the dates. Do you know when the ship arrived?
MICHAEL:    It left on the 11th of October and got to Sydney on the 28th of November.
JUDY: Okay. I need one more thing. There’s a reference number. It should be in the top right-hand corner of the pink form they gave you.
MICHAEL:    Let me have a look. I have so many papers. Yes, here it is. It’s 601 ACK.
JUDY: Thanks. 

Complete the form below. Write NO MORE THAN THREE WORDS AND/OR A NUMBER for each answer.
 
TOTAL INSURANCE INCIDENT REPORT
Name
Michael Alexander
Address
24 Manly Street, (1)………, Sydney
Shipping agent
(2)…………
Place of origin
China
Date of arrival
(3)…………
Reference number
601 ACK       
1.
28 November First Class Movers Milperra


(1)  
(2)  
(3)  


Script:

JUDY: I need to take down a few details of the actual damage over the phone before you put in a full report. Can you tell me how many items were damaged and what the damage was?
MICHAEL: Yes, well four things actually. I’ll start with the big things. My TV first of all. It’s a large one ... very expensive.
JUDY: Our insurance doesn’t cover electrical problems.
MICHAEL: It isn’t an electrical problem. The screen has a huge crack in it so it’s unusable.
JUDY: I see. Any idea of the price to repair it?
MICHAEL: No. Well, I don’t think it can be repaired. It will need a new one.   
JUDY: Okay. I’ll make a note of that and we’ll see what we can do. Now, what was the second item?
MICHAEL: The cabinet from the bathroom was damaged as well. It’s a lovely cabinet, we use it to keep our towels in.
JUDY: And what is the extent of the damage?
MICHAEL: Well, the back and the sides seem okay but the door has a huge hole in it. It can’t be repaired. I’m really not very happy about it.
JUDY: And how much do you think it will cost to replace it?
MICHAEL: Well, when I bought it last year I paid $125 for it. But the one I’ve seen here in Sydney is a bit more expensive, it’s $140. 
JUDY: Right, and what was the third item?
MICHAEL: My dining room table. It’s a lovely table from Indonesia. It must have been very hot inside the container because one leg has completely split down the middle. The top and the other three look okay thank goodness.
JUDY: Any idea of the price to repair it?
MICHAEL: Well, I had an estimate done on this actually because it is a very special table to us. They quoted us $200, which is really pricey so I hope the insurance will cover the total cost.
JUDY: I’m sure that will be fine. What was the last item, Mr Alexander?
MICHAEL: Well, we have a lovely set of china plates and dishes, you know, with matching cups, saucers, the lot. They were all in the one box which must have got dropped because some plates were broken - six actually.
JUDY: And can you tell me the replacement value of these?
MICHAEL: Well, it’s hard to say because they were part of a set but they can be up to $10 each as it’s such a good set.
JUDY: Okay, so that would be around $60 altogether?    
MICHAEL: Yes, that’s right.
JUDY: And is that all of the items?
MICHAEL: Yes. So what do I have to do now?

Complete the table below. Write ONE WORD AND/OR A NUMBER for each answer.
 
Item
Damage
Cost to repair/ replace
Television
The (1)………… needs to be replaced
not known
The (2)……… cabinet
The (3) ………… of the cabinet is damaged
$ (4)…………
Dining room table
A (5)……… is split
$200
Set of china
Six (6)……… were broken
about $ (7)………… in total
 
 
1.
leg bathroom screen 140 plates 60 door


(1)  
(2)  
(3)  
(4)  
(5)  
(6)  
(7)  


Section 2

Script:

Thank you all for coming to my talk this evening. It’s nice to see so many people in the audience. For those of you who don’t know very much about PS Camping, let me start by giving you some background information about the company.

 
The company started twenty-five years ago. It actually opened as a retail chain selling camping equipment, and then twenty years ago, it bought a small number of campsites in the UK, and began offering camping holidays. The company grew rapidly and has been providing holidays in continental Europe for the last fifteen years.
 
If you book a camping holiday with us, you’ll have a choice of over three hundred sites. In Italy we now have some 64 sites that we either own, or have exclusive use of. France is where we have the majority of sites, and we currently have a project to expand into Switzerland. We also have a number of sites in Northern Spain, particularly in the mountainous region of Picos de Europa. We’ve upgraded all these Spanish sites, and improved them considerably from their original three-star rating.
 
We believe our holidays offer superb facilities for the whole family. Parents who want their children to be fully occupied for all or part of the day can take advantage of our children’s activities. These are organised by our well-qualified and enthusiastic staff. Each day kicks off with a sports match, perhaps football, or volleyball, followed by an hour of drama for everyone. This may include singing or dancing, mime or other activities. In the afternoon, there’s a different art activity for each day of the week including a poster competition or model making. What’s more, our sites are truly child-friendly, and, with this in mind, we operate a no-noise rule in the evenings. Children’s evening activities usually finish at 9.30, or occasionally 10, and from 10.30 holiday-makers are expected to be quiet in the areas where there are tents.
 
We want nothing to go wrong on a PS Camping holiday, but if it does, we also want all customers to be insured. If you haven’t organised an annual insurance policy of your own you’ll need to take out the low-cost cover we offer and we require that you arrange this when you make your holiday reservation.
 
There are many advantages to choosing PS Camping, and to recommending it to others. As a regular customer, you’ll be kept informed of special offers, and your friends can benefit from ten per cent off their holiday, or book a luxury tent for the price of a standard one. In return, we’ll send you a thank-you present, which you can choose from a list of high-quality items.

Choose a correct answer choice for each question.
1. PS Camping has been organising holidays for
A. 25 years.
B. 15 years.
C. 20 years.
Explain:
2. The company has most camping sites in
A. France.
B. Switzerland.
C. Italy.
Explain:
3. Which organised activity can children do every day of the week?
A. model making
B. football
C. drama
Explain:
4. Some areas of the sites have a ‘no noise′ rule after
A. 9.30 p.m.
B. 10.00 p.m.
C. 10.30 p.m.
Explain:
5. The holiday insurance that is offered by PS Camping
A. is included in the price of the holiday.
B. can be charged on an annual basis.
C. must be taken out at the time of booking.
Explain:
6. Customers who recommend PS Camping to friends will receive
A. a free gift.
B. an upgrade to a luxury tent.
C. a discount.
Explain:

Script:

When it comes to our tents, these are equipped to the highest standard. We really do think of every essential detail, from an oven and cooking rings fuelled by bottled gas, to mirrors in the bedroom areas. If you don’t want to cook indoors, you can borrow a barbecue if you ask in advance for one to be made available, and there’s even a picnic blanket to sit on outside your tent. Inside, a box of games and toys can be found, and children’s tents can be hired if required. All tents have a fridge, and if you want to spend the day on the beach, for example, ask for a specially designed PS Camping cool box, which will keep your food and drinks chilled. There are excellent washing facilities at all our sites, with washing machines and clothes lines in the central areas, along with mops and buckets in case your tent needs cleaning during your stay. All sites have a café and/or a shop for those who’d rather ‘eat in’ than dine at a local restaurant.

What does the speaker say about the following items?
1. barbecues
A. They are provided in all tents.
B. They are available on request.
C. They are found in central areas of the campsite.
Explain:
2. Toys
A. They are found in central areas of the campsite.
B. They are available on request.
C. They are provided in all tents.
Explain:
3. cool boxes
A. They are provided in all tents.
B. They are found in central areas of the campsite.
C. They are available on request.
Explain:
4. mops and buckets
A. They are available on request.
B. They are found in central areas of the campsite.
C. They are provided in all tents.
Explain:
Section 3

Script:

 WOMAN:      I’ve been reading your personal statement, Paul. First, let’s talk about your work experience in South America. What took you there? Was it to gain more fluency in Spanish?

PAUL: Well, as I’m combining Spanish with Latin American studies, my main idea was to find out more about the way people lived there. My spoken Spanish was already pretty good in fact.

WOMAN:      So you weren’t too worried about language barriers?
PAUL: No. In fact, I ended up teaching English there, although that wasn’t my original choice of work.
WOMAN:      I see. How did you find out about all this?
PAUL: I found an agency that runs all kinds of voluntary projects in South America.
WOMAN:      What kind of work?
PAUL: Well, there were several possibilities.
WOMAN:      You mean construction? Engineering work?
PAUL: Yes, getting involved in building projects was an option. Then there was tourism - taking tourists for walks around the volcanoes - which I actually chose to do, and then there was work with local farmers.
WOMAN:      But you didn’t continue with that project. Why not?
PAUL: Because I never really knew whether I’d be needed or not. I’d thought it might be difficult physically, but I was certainly fit enough ... no, I wanted to do something that had more of a proper structure to it, I suppose. I get de-motivated otherwise.
WOMAN:      What do you think you learned from your experience? It must have been a great opportunity to examine community life.
PAUL: Yes, but it was difficult at first to be accepted by the locals. It was a very remote village and some of them were reluctant to speak to me - although they were always interested in my clothes and how much I’d had to pay for them.
WOMAN:      Well, that’s understandable.
PAUL: Yes, but things soon improved. What struck me was that when people became more comfortable with me and less suspicious, we really connected with each other in a meaningful way.
WOMAN:      You made good friends?
PAUL: Yes, with two of the families in particular.
WOMAN:      Good. What about management. Did you have a project manager?
PAUL: Yes and he gave me lots of advice and guidance. 
WOMAN:      And was he good at managing too?
PAUL: That wasn’t his strong point! I think he was often more interested in the academic side of things than filing reports. He was a bit of a dreamer.
WOMAN:      And did you have a contract?
PAUL: I had to stay for a minimum of three months. My parents were surprised when I asked to stay longer - six months in the end. I was so happy there.
WOMAN:      And did anything on the administration side of things surprise you? What was the food and lodging like?
PAUL: Simple ... but there was plenty to eat and I only paid seven dollars a day for that which was amazing really. And they gave me all the equipment I needed ... even a laptop. 
WOMAN:      You didn’t expect that then?
PAUL: No.
WOMAN:      Well, I’ll look forward to hearing more.

Choose the correct answer about “Latin American studies”
1. Paul decided to get work experience in South America because he wanted ................
A. to teach English there.
B. to learn about Latin American life.
C. to improve his Spanish.
Explain:
2. What project work did Paul originally intend to get involved in?
A. construction
B. tourism
C. agriculture
Explain:
3. Why did Paul change from one project to another?
A. He found doing the routine work very boring.
B. The work was too physically demanding.
C. His first job was not well organised.
Explain:
4. In the village community, he learnt how important it was to ................
A. respect family life.
B. develop trust.
C. use money wisely.
Explain:
5. What does Paul say about his project manager?
A. His plans were too ambitious.
B. He let Paul do most of the work.
C. He was very supportive of Paul.
Explain:
6. Paul was surprised to be given ................
A. an extension to his contract.
B. so little money to live on.
C. a computer to use.
Explain:

Script:

WOMAN:      But now let’s look at these modules. You’ll need to start thinking about which ones you’ll definitely want to study. The first one here is Gender Studies in Latin America.
PAUL:          Mmm...
WOMAN:      It looks at how gender analysis is reconfiguring civil society in Latin America. Women are increasingly occupying positions in government and in other elected leadership positions in Latin America. I think you’d find it interesting.
PAUL: If it was to do with people in the villages rather than those in the public sphere, I would.
WOMAN:      Okay. What about Second Language Acquisition?
PAUL: Do you think I’d find that useful?
WOMAN:      Well, you’ve had some practical experience in the field, I think it would be.
PAUL: I hadn’t thought about that. I’ll put that down as a definite, then.         
WOMAN:      Okay. What about Indigenous Women’s Lives. That sounds appropriate.
PAUL: I thought so too, but I looked at last year’s exam questions and that changed my mind.
WOMAN:      Don’t judge the value of the course on that. Maybe, talk to some other students first and we can talk about it again later.      
PAUL: Okay.
WOMAN:      Yes. And lastly, will you sign up for Portuguese lessons?
PAUL: My Spanish is good, so would I find that module easy?
WOMAN:      Not necessarily. Some people find that Spanish interferes with learning Portuguese ... getting the accent right too. It’s quite different in a lot of ways.
PAUL: Well, I’d much sooner do something else, then.   
WOMAN:      Alright. Now, what we need to do is...

What does Paul decide about each of the following modules?
1. Gender Studies in Latin America
A. He will do this.
B. He won't do this.
C. He might do this.
Explain:
2. Second Language Acquisition
A. He might do this.
B. He will do this.
C. He won't do this.
Explain:
3. Indigenous Women′s Lives
A. He will do this.
B. He might do this.
C. He won't do this.
Explain:
4. Portuguese Language Studies
A. He will do this.
B. He won't do this.
C. He might do this.
Explain:
Section 4

Script:

Lecturer: Now, we all take the wonders of the cinema very much for granted these days, but cinema really is a very recent phenomenon. It has moved from its origins in the simple still camera to the dazzling computer-generated graphics of today in little over a hundred years. Perhaps the real beginning of cinema was the Cinématographe, a moving camera invented by the Lumière brothers. As the excitement at the early screenings of short, simple moving pictures spread, competition developed rapidly and soon cameras such as the American Biograph were on the market. Advertisements asserted that the Biograph did not shake as much as the Cinématographe. Meanwhile, permits were required for outside filming, and import licences were difficult to obtain for equipment. And there were other difficulties for cameramen. When the Lumière brothers went to film the crowning of Czar Nicholas II in Russia in 1896, the camera's ticking noise led people to believe it was a bomb. Although this confusion was resolved, disaster struck at the ceremony when a stand of spectators collapsed and the huge crowd panicked. The cameramen kept filming. It was the first time such events had been filmed and this marked the beginning of a new concept of journalism. Well, the technology continued to develop rapidly - and often secretly. The thrill of invention and the prospect of riches to be made drove experimenters along. But historians of cinema face difficulties in establishing if an apparatus functioned in the way that its makers asserted. Everyone was keen to say that their machine was the best, of course. In some cases, however, we do have reliable records or evidence in the equipment itself, and then we can see the details of the evolution of the technology. By about 1890, for example, the Frenchman Marey had arrived at results of startling clarity in sequential images. He also had the idea of recording images on a long strip of paper that unrolled in front of the lens instead of on separate plates - but he found it impossible initially to ensure that this strip would have regular movement. As we step into the twentieth century, however, we see much progress has been made and there are many examples of what we would today recognise as films. Questions of the art form were now as important as questions of what was technologically possible, and film-makers searched around for ideas to draw on.
 
Comic strips were very popular at the time in newspapers, and their structure was applied to the planning of films, which were now being mapped in a series of picture panels. Different innovations were achieved by different types of film-maker, with a certain amount of rivalry between makers of documentaries and makers of fiction films. One area where documentaries led the way was in the use of travelling shots, although, of course, fiction films adopted this technique in due course. Various sources for stories were developing, and each would have an impact on the way the story was filmed. For example, film-makers started to use greater numbers of shots when chase films became popular, because they wanted to show the various stages of the policeman running after the bandit, and so on. And it wasn't just different kinds of story that were driving film-makers to think up new techniques. Other technology also played its part. The telephone was growing in use, and film-makers came up with the idea of splitting the screen image into two parts to show telephone conversations. All this growing sophistication in the shooting of films began to make the whole process of creating them more challenging. The very first films consisted of single shots, and were straightforward to take from shooting to showing them to audiences. However, as the filming developed into multiple shots, then editing emerged as an essential ingredient of the process. Cinema was growing up. Well, next I'd like to turn your attention to some of the issues that I believe were...

Complete the sentences below. Write NO MORE THAN TWO WORDS for each answer.
1.
functioned travelling structure chase regular movement bomb telephone conversations shake editing journalism


Rival cameras were claimed to   less than the Cinématographe.

In Russia, on one occasion, the Cinématographe was suspected of being a  .

Early filming in Russia led to the creation of a new approach to  .

One problem for historians is not knowing whether early equipment   as it was claimed.

Marey encountered difficulties achieving the   of strips of photographic paper.

The   of the comic strip influenced the way films were planned.

Documentaries used   shots before fiction films did.

The popularity of   films led to increased numbers of shots.

When filming  , the screen might be divided.

As films became more complex,   became an important part of film-making.


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