READING PASSAGE 1

You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.

A The Lumiere Brothers opened their Cinematographe, at 14 Boulevard des Capucines in Paris, to 100 paying customers over 100 years ago, on December 8, 1 895. Before the eyes of the stunned, thrilled audience, photographs came to life and moved across a flat screen.

B So ordinary and routine has this become to us that it takes a determined leap of the imagination to grasp the impact of those first moving images. But it is worth trying, for to understand the initial shock of those images is to understand the extraordinary power and magic of cinema, the unique, hypnotic quality that has made film the most dynamic, effective art form of the 20th century.

C One of the Lumiere Brothers’ earliest films was a 30-second piece which showed a section of a railway platform flooded with sunshine. A train appears and heads straight for the camera. And that is all that happens. Yet the Russian director Andrei Tarkovsky, one of the greatest of all film artists, described the film as a ‘work of genius’. ‘As the train approached,’ wrote Tarkovsky, panic started in the theatre: people jumped and ran away. That was the moment when cinema was born. The frightened audience could not accept that they were watching a mere picture. Pictures were still, only reality moved; this must, therefore, be reality. In confusion, they feared that a real train was about to crush them.’

D Early cinema audiences often experienced the same confusion. In time, the idea of film became familiar, the magic was accepted — but it never stopped being magic. Film has never lost its unique power to embrace its audiences and transport them to a different world. For Tarkovsky, the key to that magic was the way in which cinema created a dynamic image of the real flow of events. A still picture could only imply the existence of time, while time in a novel passed at the whim of the reader but in cinema, the real, objective flow of time was captured.

E One effect of this realism was to educate the world about itself. For cinema makes the world smaller. Long before people travelled to America or anywhere else, they knew what other places looked like; they knew how other people worked and lived. Overwhelmingly, the lives recorded – at least in film fiction – have been American. From the earliest days of the industry, Hollywood has dominated the world film market. American imagery – the cars, the cities, the cowboys – became the primary imagery of film. Film carried American life and values around the globe.

F And, thanks to film, future generations will know the 20th century more intimately than any other period. We can only imagine what life was like in the 14th century or in classical Greece. But the life of the modern world has been recorded on film in massive, encyclopedic detail. We shall be known better than any preceding generations.

G The ‘star’ was another natural consequence of cinema. The cinema star was effectively born in 1910. Film personalities have such an immediate presence that, inevitably, they become super-real. Because we watch them so closely and because everybody in the world seems to bow who they are, they appear more real to us than we do ourselves. The star as magnified human self is one of cinema’s most strange and enduring legacies.

H Cinema has also given a new lease of life to the idea of the story. When the Lumiere Brothers and other pioneers began showing off this new invention, it was by no means obvious how it would be used. All that mattered at first was the wonder of movement. Indeed, some said that, once this novelty had worn off, cinema would fade away. It was no more than a passing gimmick, a fairground attraction.

I Cinema might, for example, have become primarily a documentary form. Or it might have developed like television as a strange noisy transfer of music, information and narrative. But what happened was that it became, overwhelmingly, a medium for telling stories. Originally these were conceived as short stories – early producers doubted the ability of audiences to concentrate for more than the length of a re el. Then, in 1912, an Italian 2-hour film was hugely successful, and Hollywood settled upon the novel-length narrative that remains the dominant cinematic convention of today.

J And it has all happened so quickly. Almost unbelievably, it is a mere 100 years since that train arrived and the audience screamed and fled, convinced by the dangerous reality of what they saw, and, perhaps, suddenly aware that the world could never be the same again – that, maybe, it could be better, brighter, more astonishing, more real than reality.

READING PASSAGE 2

You should spend about 20 minutes on Questions 14-27, which are based on Reading Passage 2 below.

MOTIVATING EMPLOYEES UNDER ADVERSE CON<

THE CHALLENGE

It is a great deal easier to motivate employees in a growing organisation than a declining one. When organisations are expanding and adding personnel, promotional opportunities, pay rises, and the excitement of being associated with a dynamic organisation create Slings of optimism. Management is able to use the growth to entice and encourage employees. When an organisation is shrinking, the best and most mobile workers are prone to leave voluntarily. Unfortunately, they are the ones the organisation can least afford to lose- those with the highest skills and experience. The minor employees remain because their job options are limited.

Morale also suffers during decline. People fear they may be the next to be made redundant. Productivity often suffers, as employees spend their time sharing rumours and providing one another with moral support rather than focusing on their jobs. For those whose jobs are secure, pay increases are rarely possible. Pay cuts, unheard of during times of growth, may even be imposed. The challenge to management is how to motivate employees under such retrenchment conditions. The ways of meeting this challenge can be broadly divided into six Key Points, which are outlined below.

KEY POINT ONE

There is an abundance of evidence to support the motivational benefits that result from carefully matching people to jobs. For example, if the job is running a small business or an autonomous unit within a larger business, high achievers should be sought. However, if the job to be filled is a managerial post in a large bureaucratic organisation, a candidate who has a high need for power and a low need for affiliation should be selected. Accordingly, high achievers should not be put into jobs that are inconsistent with their needs. High achievers will do best when the job provides moderately challenging goals and where there is independence and feedback. However, it should be remembered that not everybody is motivated by jobs that are high in independence, variety and responsibility.

KEY POINT ONE

The literature on goal-setting theory suggests that managers should ensure that all employees have specific goals and receive comments on how well they are doing in those goals. For those with high achievement needs, typically a minority in any organisation, the existence of external goals is less important because high achievers are already internally motivated. The next factor to be determined is whether the goals should be assigned by a manager or collectively set in conjunction with the employees. The answer to that depends on perceptions the culture, however, goals should be assigned. If participation and the culture are incongruous, employees are likely to perceive the participation process as manipulative and be negatively affected by it.

KEY POINT THREE

Regardless of whether goals are achievable or well within management’s perceptions of the employee’s ability, if employees see them as unachievable they will reduce their effort. Managers must be sure, therefore, that employees feel confident that their efforts can lead to performance goals. For managers, this means that employees must have the capability of doing the job and must regard the appraisal process as valid.

KEY POINT FOUR

Since employees have different needs, what acts as a reinforcement for one may not for another. Managers could use their knowledge of each employee to personalise the rewards over which they have control. Some of the more obvious rewards that managers allocate include pay, promotions, autonomy, job scope and depth, and the opportunity to participate in goal-setting and decision-making.

KEY POINT FOUR

Managers need to make rewards contingent on performance. To reward factors other than performance will only reinforce those other factors. Key rewards such as pay increases and promotions or advancements should be allocated for the attainment of the employee’s specific goals. Consistent with maximising the impact of rewards, managers should look for ways to increase their visibility. Eliminating the secrecy surrounding pay by openly communicating everyone’s remuneration, publicising performance bonuses and allocating annual salary increases in a lump sum rather than spreading them out over an entire year are examples of actions that will make rewards more visible and potentially more motivating.

KEY POINT SIX

The way rewards are distributed should be transparent so that employees perceive that rewards or outcomes are equitable and equal to the inputs given. On a simplistic level, experience, abilities, effort and other obvious inputs should explain differences in pay, responsibility and other obvious outcomes. The problem, however, is complicated by the existence of dozens of inputs and outcomes and by the fact that employee groups place different degrees of importance on them. For instance, a study comparing clerical and production workers identified nearly twenty inputs and outcomes. The clerical workers considered factors such as quality of work performed and job knowledge near the top of their list, but these were at the bottom of the production workers’ list. Similarly, production workers thought that the most important inputs were intelligence and personal involvement with task accomplishment, two factors that were quite low in the importance ratings of the clerks. There were also important, though less dramatic, differences on the outcome side. For example, production workers rated advancement very highly, whereas clerical workers rated advancement in the lower third of their list. Such findings suggest that one person’s equity is another’s inequity, so an ideal should probably weigh different inputs and outcomes according to employee group.