IELTS General Training Reading Practice Test 2 (Sections 1–3)｜全部題目＋答案＋詳解

Volunteers

Thank you for volunteering to work one-on-one with some of the students at our school who need extra help.

Smoking policy

Smoking is prohibited by law in the classrooms and anywhere on the school grounds.

Safety and Health

Volunteers are responsible for their own personal safety and should notify the school of any pre-existing medical conditions. Prescription and any other medications that you normally carry with you must be handed in to the school nurse on arrival and collected on departure. If you require them, the nurse will dispense them to you in her office.

Sign-in

A sign-in book is located at office reception. Please sign this register every time you come to the school. This is important for insurance purposes and emergency situations.

After signing the book, collect a Visitor’s badge from the office. This must be worn at all times when you are on school premises. Remember to return the badge afterwards.

Messages

Teachers will communicate with volunteers via telephone, email or messages left at the office. Always ask for messages. You may communicate with teachers in the same way – the preferred method is to leave a memo in the relevant teacher’s pigeonhole. These can be found at the end of the corridor in the staffroom block.

Work hours

We understand that your time commitment is entirely voluntary and therefore flexible. If your personal schedule should change and this affects your availability, please contact the Co-ordinator for Volunteers at the school on extension 402; alternatively, you could drop in to her office situated in F block.

Role of the Co-ordinator

The Co-ordinator is responsible for matching volunteer tutors with students, organising tutorial rooms, ensuring student attendance and overseeing volunteer tutor training. If you encounter any problems, contact her as above.

Camping in the Bush

Minimal impact bushwalking

Responsible campers observe minimal impact bushwalking practices. This is a code of ethics and behaviour aimed at preserving the natural beauty of bushwalking areas.

Planning

Good planning is the key to safe and successful camping trips. Obtaining a camping permit in advance of leaving to camp out overnight in a national park is obligatory. Bookings are also compulsory for some parks. There could be limits on group sizes in some parks. Occasionally campsites may be closed owing to bushfire danger or for other reasons. Always obtain permission from the owner prior to crossing private property.

Equipment

As well as your usual bushwalking gear, you will need the right equipment for camping.

A fuel stove and fuel for cooking is essential: not only is it safer, faster and cleaner; but it is easier to use in wet weather. It is recommended that you pitch a free-standing tent which requires few pegs and therefore has less ecological impact. Take a sleeping mat, if you have one, to put your sleeping bag on for a more comfortable night’s sleep. You will also need a hand trowel to bury human waste – for proper sanitation and hygiene.

Campfires

The traditional campfire actually causes a huge amount of environmental damage. If you gather firewood, you are removing the vital habitat of insects, reptiles, birds and small mammals. When campfires lead to bushfires, they create enormous danger to native bush inhabitants and bushwalkers alike and result in destruction of the environment. Under no circumstances should you light a fire in the bush.

Campsites

Erect your tent at an existing site if possible; otherwise try to find a spot where you won’t damage vegetation. Never cut branches or move rocks or disturb the soil unnecessarily. Aim to leave your campsite as you found it or even cleaner.

Rubbish

Remove all rubbish – carry it out with you. Don’t attempt to burn or bury rubbish because this creates a fire hazard and/or disturbs the soil. Animals can dig up buried rubbish and scatter it about. Never feed the local wildlife – carry out all food scraps as these disturb the natural nutrient balance and can create weed problems.

Walk safely

Keep on the track. Wear footwear suitable for the terrain. Take a map.

Conditions of employment

Weekly hours of work – 40 hours per week at the ordinary hourly rate of pay for most full-time employees, plus reasonable additional hours (penalty rates apply). Part-time employees work a regular number of hours and days each week, but fewer hours than full-time workers. Casual employees are employed on an hourly or daily basis.

Entitlements (full-time employees):

Parental leave – up to 12 months’ unpaid leave for maternity, paternity and adoption related leave.

Sick leave – up to 10 days’ paid sick leave per year; more than 4 continuous days requires a medical certificate.

Annual leave – 4 weeks’ paid leave per annum, plus an additional week for shift workers.

Public holidays – a paid day off on a public holiday, except where reasonably requested to work. Employees working on public holidays are entitled to 15% above their normal hourly rate.

Notice of termination – 2 weeks’ notice of termination (3 weeks if the employee is more than 55 years old and has at least 2 years of continuous service)

Note:

The entitlements you receive will depend on whether you are employed on a full-time, part-time or casual basis.

If you work part-time, you should receive all the entitlements of a full-time employee but on a pro-rata or proportional basis.

If you are a casual worker, you do not have rights to any of the above entitlements nor penalty payments. Casual workers have no guarantee of hours to be worked and they do not have to be given advance notice of termination.

Penalty rate = a higher rate of pay to compensate for working overtime or outside normal hours e.g. night-time or on public holidays.

Making the Cut

When we talk about how films convey meaning we tend to refer to acting, music, dialogue, props and narrative developments, but often forgotten is the visual essence of a film itself, which is the cutting together of moving images – “motion pictures” – each one carefully tailored to meet a particular need or purpose.

Most films and many important scenes within them open with an establishing shot. Typically this shot precedes our introduction to the main characters by presenting us with the locale in which the scene’s action or dialogue is about to occur. Occasionally, however, a director will use an establishing shot with another goal in mind. An opening view of a thousand soldiers parading in synchronized fashion might have little to reveal about the film’s geography, for example, but it does inform the audience that ideas about discipline and conformity are likely to arise in the material that follows. In this way, establishing shots can also introduce a film’s theme.

After an establishing shot, most directors choose a long shot in order to progress the narrative. This type of shot displays the entire human physique in relation to its surroundings, so it is ideal for bridging the narrative divide between location and individual activity. A long shot is therefore often used to centre on a pivotal character in the scene. A film might begin with an establishing shot of bleak, snowy mountains and then cut to a long shot of a lone skier, for example, or a sweeping panorama of a bustling metropolis could segue into a street view of someone entering a building.

From here the door is wide open for directors to choose whichever shots will enhance the narration. Close-up shots are popular in suspense sequences – a handgun being loaded, a doorknob being turned, the startled expression of someone freshly roused from sleep. Confining the visual field in this way adds to the viewer’s apprehension. Dramatic films will probably want to emphasise character interaction. The third-person shot – in which a third of the frame consists of a rear view of a person’s upper torso and head – can be effectively utilised here. This shot encourages us to actually slip into the persona of that character, and vicariously live through their experiences.

A number of special-purpose shots are used quite rarely – once, if at all, in most films. One such type is the money shot. A money shot has no specific technical features or content, but is typically the most expensive element of a film’s production values and comes with a cost massively disproportionate to its screen time (which may be limited to just a brief glimpse). Because of its spectacular, extravagant nature, however, the money shot is a major revenue generator and is widely exploited for use in promotional materials. Money shots are most popular amongst – but not limited to – high visual-impact genres such as action, war, thriller and disaster films.

But more affordable shots can also add an interesting twist to the story. The Dutch tilt can depict a character in a state of psychological unease by shooting them from a jaunty angle. In this way they appear literally and metaphorically unbalanced. A trunk shot often shows a small group of characters peering into the trunk of a vehicle. It is filmed from a perspective within the trunk itself, although frequently to avoid camera damage directors will simply place a detached piece of trunk door in the corner of the frame. This shot was a favourite of Quentin Tarantino and has been used in many crime and gangster films, often as a first-person shot through the eyes of someone who is tied up and lying inside the vehicle. A shot that has gained traction in avant-garde circles is the extreme close-up. This is when a single detail of the subject fills up the entire frame. Alfred Hitchcock famously used an extreme close-up in ‘Psycho’, when he merged a shot of a shower drain into a view of a victim’s eye. It has also been used in Westerns to depict tension between duelling gunmen eyeing each other up before a shoot out.

Not all types of shots are used in order to enhance the narrative. Sometimes financial restrictions or technical limitations are a more pressing concern, especially for low-budget film makers. In the early murder mysteries of the 1920s and 1930s, the American shot – which acquired its name from French critics who referred to a “plan américain” – was used widely for its ability to present complex dialogue scenes without alterations in camera position. Using the American shot, directors have their cast assemble in single file while discussing key plot points. The result is an efficiently produced scene that conveys all relevant information, but the trade off is a natural tone. Because few people in real life would ever associate in such an awkward manner, American shots tend to result in a hammy, stiff feel to the production.