2010年下半年BEC高级听力考试预测试题（5）
　　Part One
　　1. Executive Board
　　2. Executive Director
　　3. retire
　　4. Resolution of Appreciation
　　5. three-year program
　　6. technical aspects
　　7. vulnerability
　　8. sustainable manner
　　9. 1999
　　10. economy
　　11. macroeconomic stability
　　12. regime
　　Part Two
　　13. A 14. C 15. E 16. G 17. H 18. B19. E 20. G 21. F 22. H
　　Part Three
　　23. A 24. B 25. A 26. C 27. B 28. C29. A 30. B
　　Part One
　　Questions 1--12
　　You will hear the speech of the Managing Director of the International Monetary Fund at the press conference.
　　As you listen, for questions 1--12, complete the notes, using up to three words or a number.
　　You will hear the recording twice.
　　(10 seconds pause)
　　MR. ANJARIA: Good morning, ladies and gentlemen. I'd like to welcome you to the press conference of the Managing Director of the International Monetary Fund, Mr. Michel Camdessus; the First Deputy Managing Director,
Mr. Stanley Fischer; and to his right, Mrs.Teresa Ter-Minassian, Deputy Director of the Western Hemisphere Department, who has negotiated the program with Brazil.
　　I would like to thank you for coming on such short notice. We are in the middle of a very hectic work program, and the Managing Director will have to leave shortly to carry on an important meeting of the Executive Board. Then, we will continue the press conference with Mr. Fischer and Mrs. Ter-Minassian.
　　Managing Director, would you like to make some introductory remarks?
　　MR. CAMDESSUS.. Yes, thank you. Before I talk about this agreement with Brazil, I would like to tell you about another sad Brazilian event, namely, that Mr. Alex Kafka, who has been the Executive Director for Brazil for 32 years in this institution and who was the highly-respected dean of our Executive Board, has just this week decided to retire.
　　I wanted to tell you that, of course, this leaves us all saddened and admiring of what he has done. The Executive Board has taken the very exceptional step of adopting a Resolution of Appreciation for his service here, and you will
find this Resolution and the few words I pronounced in his honor on several occasions in the back of this room.
　　And now, let me tell you my pleasure in announcing that today, the Brazilian authorities and an IMF team have successfully concluded negotiations on a strong three-year program of economic and financial reform. I have said today,
but perhaps it was yesterday, because conversations were concluded sometime last night on technical aspects. But what matters is that this program first and foremost addresses the chief sources of Brazil ' s external vulnerability, namely, its chronic public sector deficit, which the country is now tackling in a serious and sustainable manner. Within the framework of structural reforms, Brazil's three-year fiscal program targets primary surpluses of 2.6 percent of GDP in 1999, 2.8 percent in 2000, and 3 percent in 2001. The Brazilian authorities are also committed to further opening up the economy, ensuring firm monetary discipline and macroeconomic stability, and maintaining the current exchange rate regime, while reinforcing the exchange reserves and improving the competitiveness of the economy. The way is now open for the international community to provide financial support to Brazil that will enhance market confidence in the government's economic policies and help ensure the success of the country' s program.
　　(10 seconds pause)
　　Part Two Questions 13—22
　　You will hear five people talking about their jobs.
　　For each extract there are two tasks. For Task One, choose problems from the list A--H. For Task Two, choose solutions from the list A--H.
　　You will hear the recording twice.
　　(10 seconds pause)
　　M: I've only been here a few months but I feel as if I've fitted in quite well so far. Everyone seems to have time to talk to me when I need help, which I really appreciate. It's just that by now, I feel I really should be getting up to speed. Only it's a relatively new position and nobody's really spelt out what the exact scope of the job is or what my responsibilities and
priorities should be. I think my line manager needs to give me a more concrete idea of what she expects me to achieve. She's back from holiday next week so maybe we should sit down to talk then.
　　F:I get the feeling that we're starting to fall a bit behind other companies. In the papers, you'll find a bit of a gap between ourselves and the current going rate. It's not that I'm unhappy here or anything. I really like my job--it's an interesting job and I think it's great that the job's so flexible. It's just that, at the end of the whole day's work, nobody likes to feel undervalued, do they? And in my position, it's not just myself I've got to think about. We need responsibilities outside work as well.
　　F: It's great to be part of a successful team. I don't think you could wish for hard-working or more dedicated colleagues. But I just sometimes think that our efforts aren't always rewarded. I know different managers have
different styles, but everyone likes to feel appreciated, don't they? I mean, in my last job, managers always made a point of praising us when we beat our targets. One manager even used to encourage us to clap and cheer
each other. And I must admit that I do miss that at times, I find praise here is sometimes a bit limited here. It's like there's a "that's what you're paid for" type of attitude.
　　M: I've got very little to complain about really. I get on with the rest of the team and that kind of thing. But there's one thing that's been on my mind for a while now. I just feel that, I've reached a stage where I'm capable of dealing with a lot more responsibility than I do at present. I just don't feel stretched any more. I don't feel as though I'm contributing as much as I could. It's almost as if I'm on autopilot. Things are beginning to feel a bit stale. What I need is a bit of variety, something to get my teeth into a challenge.
　　F: You're probably already aware that things aren't functioning too smoothly in Production at the moment. I don't know what other people have said but personally I think it's down to our procedures. There's no formal system for putting our ideas forward and in the past suggestions have just been ignored. I think management has to accept a lot of the responsibility. What we need to do is to schedule regular meetings, which will improve the flow of information in both directions. At the moment, I get more information through the shop floor grapevine than from my line manager.
　　(10 seconds pause)
　　Part Three
　　Questions 23--30
　　You will hear part of an interview between head of Leo Burnett Entertainment and an interviewer.
　　For each question 23--30, mark one letter A, B or C for the correct answer.
　　You will hear the recording twice.
　　(10 seconds pause)
　　F: What kind of finances can film producers expect by associating with brands?
　　M: Right now, companies are willing to pay amounts ranging between $120,000 and $1,200,000 for placing their brands in films, but it depends on the budget of the film. Big-budget films with big stars can expect more. The size of this advertising is expected to grow nearly 100 percent in the next two to five years as more and more companies get attracted
to this kind of advertising.
　　F: What are the advantages of in-film advertising to producers and advertisers?
　　M： Advertisers are able to get big stars at a fraction of the costs they would normally shell out for an exclusive tie-up. Films are not subject to surfing, zipping or muting (unlike in TV and other media). Films appeal to emotions and scenes in films catch people off-guard unlike an advertisement, which catches the audience in a cold-evaluating mood. Films transcend geography, class and cultural barriers and catch people in a receptive mood. And films are target-specific.
　　F: How can films and brands connect?
　　M： A film-viewer has a short attention span. The best way to deliver the message is to catch the viewer off-guard when his rational defence is down. Appealing to viewers' emotions is better than appealing to their rational thought. The
rational gate examines the advantages, benefits and features, and seeks value for money; the emotional gate is all about trust, love, identification and belief. Films operate at the emotional level. Placing a product in a film is catching the viewer at an emotional level when he can connect with the brand.
　　There can be synergies between brands and films. The successful integration of product placement within the film's storyline has a long history- the first example being the yellow Rajdhoot bike used in Raj Kapoor's Bobby. Hollywood also leveraged brands such as BMW (Bond movies), Jaguar, Ford, Ray Ban (Tom Cruise in Risky Business and Mission Impossible), Starbucks coffee, AOL and AT &T.
　　F： Song-and-dance sequences invariably feature an ad in the background but most people don't recall such scenes in detail. What is the advantage of the advertisement then?
　　M： It is true that ads have to be carefully placed in a film and one bad placement can do more damage than 10 good placements. Artistic integrity is crucial for successful brand placements and the operation has to be woven into the script. Sometimes, unreasonable clients demand more footage although research has shown that a two-minute clip can effectively deliver a message in a credible manner. The placement should be woven into the fabric of the film and shouldn't be contrived and unnatural. F： Do such placements result in tangible benefits to the products advertised?
　　M： In the recently placed ad for Castrol engine oil in film Chalte Chalte, the makers of the engine have reported tangibly increased sales of the oil after the film's release. The product seems to have connected on an emotional level with truck fleet drivers and owners. Ray Ban also benefited by its association with film Men in Black. 　　

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