Аракин 4 курс полностью

10. a) Below you will find some information on the work of a TV journalist and interview techniques: 
Most journalists have had considerable experience as interviewers before they come 
to television, but there is a vast difference between the casual questioning which takes 
place in the quiet comer of a pub or over the telephone and the paraphernalia of lighting, 
camera equipment and perspiring technicians.
The newspaper journalist is able to phrase questions in a conversational, informal 
manner, interjecting now and again to clarify a point, jotting down answers with pencil 
and notebook. Questions and answers need not be grammatical or even follow a logical 
pattern. The same ground may be gone over again and again. The printed page on which 
the interview appears does not communicate these facts to the reader. In television, 
journalistic judgement and writing ability alone are not enough.
It is undoubtedly true that a screen interview of any type, live, filmed or videotaped, 
makes considerably more demands on the person conducting it. The essential 
requirements include an ability to think quickly to follow up topics outside the originally 
planned structure of the interview, and a capacity to marshal thoughts in a way which 
builds up logical, step-by-step

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Практический курс английского языка. 4 курс под ред. В.Д. Аракина
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answers. Each interview, however brief, is capable of taking 01 a recognizable shape. 
Questions which are sprayed in all direc tions as topics are chosen at random only make 
the live inter view difficult to follow and the recorded one doubly hard tc edit 
intelligently. In any case "the office" would much prefer tc select a chunk of two or three 
questions and answers which follow a logical progression.
The actual phrasing of questions needs to be considered, Too many inexperienced 
reporters tend to make long, rambling statements barely recognisable as questions at all. 
At the other extreme are the brusque, two- or three-word interjections which do not 
register on the screen long enough if faithfully repeated as cutaways.
Next come the cliches, of which these are very useful examples:
How/What do you feel (about)... ? Just what/how much/ how serious... ? What of the 
future... ?
Then there is the tendency to preface virtually every question with some deferential 
phrase which is suitable for general conversation:
May I ask... ? Do you mind my asking... ? What would you say if I asked... ? Could 
you tell me... ? Might I put it like this... ? but each of which invites curt rejection in a TV 
interview. Without proper care, however, questions which are too direct are quite likely 
to produce a simple "yes" or "no", without further elaboration.
As for the general demeanour, every interviewer should be polite yet firm in pursuit of 
answers to legitimate questions, refusing to be overawed in the presence of the important 
or powerful, or overbearing when the subject of the interview is unused to television.
The reporter's real troubles begin, however, when he does not listen to the answers. 
The pressure on a questioner conducting a film interview can be almost as great as on the 
interviewee and it is all too easy to concentrate on mentally ticking off a list of prepared 
questions instead of listening, poised to follow up with an occasional supplementary. If 
the reporter lets this happen any number of obvious loose ends may remain untied.