🔥Movie of Metropolis READING ANSWERS WITH LOCATION - Đề thi thật IELTS READING (IELTS Reading Recent Actual Test) - Làm bài online format computer-based, , kèm đáp án, dịch & giải thích từ vựng

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🔥Movie of Metropolis READING ANSWERS WITH LOCATION - Đề thi thật IELTS READING (IELTS Reading Recent Actual Test) - Làm bài online format computer-based, , kèm đáp án, dịch & giải thích từ vựng - cấu trúc ngữ pháp khó

February 16, 2025

Bên cạnh PHÂN TÍCH ĐỀ THI THẬT TASK 2 (dạng advantages & disadvantages) Some students work while studying. Discuss the advantages and disadvantages of this trend and give your opinion?NGÀY 04/8/2020 IELTS WRITING GENERAL MÁY TÍNH (kèm bài được sửa hs đi thi), IELTS TUTOR cung cấp 🔥Movie of Metropolis: Đề thi thật IELTS READING (IELTS Reading Recent Actual Test) - Làm bài online format computer-based, , kèm đáp án, dịch & giải thích từ vựng - cấu trúc ngữ pháp khó

I. Kiến thức liên quan

IELTS TUTOR lưu ý:

II. Làm bài online (kéo xuống cuối bài blog để xem giải thích từ vựng & cấu trúc cụ thể hơn)

III. Movie of Metropolis: Đề thi thật IELTS READING (IELTS Reading Recent Actual Test)

Movie of Metropolis

…being the science-fiction film that is steadily becoming a fact

When German director Fritz Lang visited the United States in 1924, his first glimpse of the country was a night-time view of the New York skyline from the deck of an ocean liner. This, he later recalled, was the direct inspiration for what is still probably the most innovative and influential science-fiction film ever made – Metropolis.

Metropolis is a bleak vision of the early twenty-first century that is at once both chilling and exhilarating. This spectacular city of the future is a technological marvel of high-rise buildings connected by elevated railways and airships. It’s also a world of extreme inequality and social division. The workers live below ground and exist as machines working in an endless routine of mind-numbing 10-hour shifts while the city’s elite lead lives of luxury high above. Presiding over them all is the Master of Metropolis, John Fredersen, whose sole satisfaction seems to lie in the exercise of power.

Lang’s graphic depiction of the future is conceived in almost totally abstract terms. The function of the individual machines is never defined. Instead, this mass of dials, levers and gauges symbolically stands for all machines and all industry, with the workers as slave-like extensions of the equipment they have to operate. Lang emphasizes this idea in the famous shift-change sequence at the start of the movie when the workers walk in zombie-like geometric ranks, all dressed in the same dark overalls and all exhibiting the same bowed head and dead-eyed stare. An extraordinary fantasy sequence sees one machine transformed into a huge open-jawed statue which then literally swallows them up.

On one level, the machines and the exploited workers simply provide the wealth and services which allow the elite to live their lives of leisure, but on a more profound level, the purpose of all this demented industry is to serve itself. Power, control and the continuance of the system from one 10-hour shift to the next is all that counts. The city consumes people and their labour and in the process becomes a perverse parody of a living being.

It is enlightening, I think, to relate the film to the modern global economy in which multinational corporations now routinely close their factories in one continent so that they can take advantage of cheap labour in another. Like the industry in Metropolis, these corporations’ goals of increased efficiency and profits have little to do with the welfare of the majority of their employees or that of the population at large. Instead, their aims are to sustain the momentum of their own growth and to increase the monetary rewards to a tiny elite – their executives and shareholders. Fredersen himself is the essence of the big company boss: Rupert Murdoch would probably feel perfectly at home in his huge skyscraper office with its panoramic view of the city below. And it is important that there is never any mention of government in Metropolis – the whole concept is by implication obsolete. The only people who have power are the supreme industrialist, Fredersen, and his magician/scientist cohort Rotwang.

So far so good: when the images are allowed to speak for themselves the film is impeccable both in its symbolism and in its cynicism. The problem with Metropolis is its sentimental story-line, which sees Freder, Fredersen’s son, instantly falling in love with the visionary Maria. Maria leads an underground pseudo-religious movement and preaches that the workers should not rebel but should await the arrival of a ‘Mediator’ between the ‘Head’ (capital) and the ‘Hands’ (labour). That mediator is the ‘Heart’ – love, as embodied, finally, by Freder’s love of Maria and his father’s love of him.

Lang wrote the screenplay in collaboration with his then-wife Thea von Harbou. In 1933 he fled from the Nazis (and continued a very successful career in Hollywood). She stayed in Germany and continued to make films under the Hitler regime. There is a constant tension within the film between the too-tidy platitudes of von Harbou’s script and the uncompromisingly caustic vigour of Lang’s imagery.

To my mind, both in Metropolis and in the real world, it’s not so much that the ‘Head’ and ‘Hands’ require a ‘Heart’ to mediate between them but that the ‘Hands’ need to develop their own ‘Head’, their own political consciousness, and act accordingly – through the ballot box, through buying power and through a sceptical resistance to the materialistic fantasies of the Fredersens.

All the same, Metropolis is probably more accurate now as a representation of industrial and social relations than it has been at any time since its original release. And Fredersen is certainly still the most potent movie symbol of the handful of elusive corporate figureheads who increasingly treat the world as a Metropolis-like global village.

Questions 27-30

Do the following statements agree with the claims of the writer in Reading Passage 3?

In boxes 27-30 on your answer sheet, write

YES if the statement is true

NO if the statement is false

NOT GIVEN if the information is not given in the passage

27 The inspiration of the movie-Metropolis-comes from the director’s visit in the USA in 1924.

28 The Master of Metropolis, John Fredersen, is portrayed from an industrialist that the director met in the US.

29 The start of the movie exhibits the workers working in full energy.

30 The director and his wife got divorced because his wife decided to stay in Germany.

Questions 31-36

Complete the summary below.

Using NO MORE THAN TWO WORDS from the Reading Passage for each answer.

Write your answers in boxes 31-36 on your answer sheet.

The director depicts a world of inequality and 31………………………. In the future, the mindless masses of workers living underground are treated as 32………………………. And the master of them is 33……………………….., who is in charge of the whole city. The writer claims that the director, Fritz Lang, presents the movie in an 34……………………….. term, where the 35……………………… of the individual machines is not defined. Besides the writer compares the film to the modern global economy in which multinational corporations concern more about the growing 36………………………….. and money.

Questions 37-40

Choose the correct letter, A, B, C or D.

Write your answers in boxes 37-40 on your answer sheet.

37 The first sentence in paragraph B indicates

A the author’s fear about technology

B the inspiration of the director

C the contradictory feelings towards future

D the city elite’s well management of the workers

38 Why the function of the individual machines is not defined?

A Because Lang sticks to theme in a symbolic way.

B Because workers are more important to exploit.

C Because the fantasy sequence is difficult to take.

D Because the focus of the movie is not about machines.

39 The writer’s purpose in paragraph five is to

A emphasize the multinational corporations’ profit-oriented goal.

B compare the movie with the reality in the modern global economy

C exploit the difference between fantasy and reality

D enlighten the undeveloped industry

40 What is the writer’s opinion about the movie?

A The movie’s story-line is excellent.

B The movie has a poor implication in symbolism.

C The movie is perfect in all aspects.

D The movie is good but could be better.

IV. Dịch bài đọc Movie of Metropolis

Metropolis – Bộ phim khoa học viễn tưởng đang dần trở thành hiện thực

A
Khi đạo diễn người Đức Fritz Lang đến Mỹ vào năm 1924, khung cảnh (scenery - panorama, view, landscape) đầu tiên ông nhìn thấy là thành phố New York lấp lánh (skyline - cityscape, horizon, silhouette) về đêm từ boong tàu. Sau này, ông kể lại rằng đây chính là nguồn cảm hứng trực tiếp (inspiration - motivation, influence, spark) cho bộ phim khoa học viễn tưởng đột phá (innovative - groundbreaking, pioneering, revolutionary) và có ảnh hưởng nhất mọi thời đại – Metropolis.

B
Metropolis phác họa (depiction - portrayal, illustration, representation) một viễn cảnh ảm đạm (bleak - grim, dismal, gloomy) về đầu thế kỷ XXI, vừa rùng rợn (chilling - terrifying, eerie, haunting) vừa kích thích (exhilarating - thrilling, exciting, invigorating). Thành phố tương lai này là kỳ quan công nghệ (technological marvel - engineering wonder, scientific feat) với những tòa nhà chọc trời, đường sắt trên cao và khinh khí cầu. Đó cũng là thế giới của bất bình đẳng (inequality - disparity, imbalance, inequity) và phân chia giai cấp (social division - class stratification, societal split). Công nhân sống dưới lòng đất, làm việc như cỗ máy (mind-numbing - tedious, monotonous, soul-crushing) trong ca làm 10 giờ, trong khi tầng lớp thượng lưu (elite - upper class, privileged, aristocracy) sống xa hoa trên cao. Người cai trị tối cao là John Fredersen – kẻ say mê quyền lực (exercise of power - wield authority, dominate, control).>> Form đăng kí giải đề thi thật IELTS 4 kĩ năng kèm bài giải bộ đề 100 đề PART 2 IELTS SPEAKING quý đang thi (update hàng tuần) từ IELTS TUTOR

C
Lang miêu tả trừu tượng (graphic depiction - visual portrayal, symbolic representation) về tương lai. Các cỗ máy không rõ chức năng, mà tượng trưng (symbolically - metaphorically, emblematically) cho toàn bộ nền công nghiệp, biến công nhân thành nô lệ (slave-like - subservient, oppressed, servile) của máy móc. Ông nhấn mạnh điều này qua cảnh thay ca (shift-change - rotation, transition) khi công nhân bước đi vô hồn (zombie-like - lifeless, robotic, automated) trong trang phục giống nhau, cúi đầu (bowed head - lowered, submissive) và ánh mắt vô hồn (dead-eyed stare - vacant gaze, empty look). Một cảnh kỳ ảo (fantasy sequence - surreal scene, imaginary vision) biến cỗ máy thành bức tượng há miệng (open-jawed statue - gaping monument, monstrous figure) nuốt chửng họ.

D
Máy móc và công nhân bóc lột (exploited - oppressed, misused) tạo ra của cải cho giới thượng lưu, nhưng sâu xa hơn, nền công nghiệp điên cuồng (demented industry - insane system, irrational mechanism) này chỉ để duy trì (continuance - perpetuation, prolongation) quyền lực và kiểm soát. Thành phố**i nuốt chửng (consumes - devours, engulfs) con người, trở thành sinh vật dị dạng (perverse parody - twisted imitation, grotesque mimicry) của sự sống.

E
Bộ phim phản ánh (enlightening - revealing, illuminating, insightful) nền kinh tế toàn cầu hiện đại, nơi các tập đoàn đa quốc gia (multinational corporations - global companies, international firms) đóng cửa nhà máy để tận dụng nhân công giá rẻ (cheap labour - low-cost workforce, underpaid workers). Giống Metropolis, mục tiêu của họ là lợi nhuận (profits - gains, earnings) và duy trì đà tăng trưởng (sustain momentum - maintain progress, continue acceleration), làm giàu cho tầng lớp tinh hoa (tiny elite - select few, privileged minority) như Fredersen – hiện thân (essence - embodiment, quintessence) của giới CEO quyền lực (ví dụ Rupert Murdoch). Chính phủ (government - authorities, administration) không tồn tại trong Metropolis; quyền lực thuộc về Fredersen và phù thủy khoa học (magician/scientist cohort - wizard-researcher ally) Rotwang.

F
Dù hình ảnh (imagery - visuals, symbolism) sắc sảo (caustic - biting, sharp, sarcastic), cốt truyện sến súa (sentimental - mawkish, melodramatic) về Freder (con trai Fredersen) yêu Maria – nhà tiên tri (visionary - prophet, seer) kêu gọi công nhân đợi Người Hòa Giải (Mediator - peacemaker, intermediary) giữa “Đầu” (tư bản) và “Tay” (lao động). “Trái tim” (Heart - compassion, empathy) chính là tình yêu của Freder và cha anh.

G
Kịch bản do Lang và vợ Thea von Harbou viết. Lang chạy trốn (fled - escaped, ran away) Đức quốc xã, còn von Harbou ở lại làm phim dưới chế độ Hitler. Phim giằng co (tension - conflict, friction) giữa lời thoại sáo rỗng (platitudes - clichés, banalities) của von Harbou và hình ảnh chua cay (uncompromisingly caustic - relentlessly harsh) của Lang.

H
Theo tôi, “Tay” cần ý thức chính trị (political consciousness - awareness, awakening) để hành động qua lá phiếu (ballot box - voting, elections), sức mua (buying power - purchasing influence), và kháng cự (sceptical resistance - doubtful opposition) trước ảo tưởng vật chất (materialistic fantasies - consumerist dreams) của giới Fredersen.

I
Metropolis ngày càng chính xác (accurate - precise, truthful) khi mô tả (representation - portrayal, depiction) quan hệ xã hội-công nghiệp. Fredersen là biểu tượng (symbol - emblem, icon) của giới lãnh đạo (corporate figureheads - executives, leaders) đang biến thế giới thành ngôi làng toàn cầu (global village - interconnected world).