Cambridge Lower Secondary Checkpoint

TIME PAPER 1

ENGLISH 0861/01
Paper 1 Non-fiction
1 hour 10 minutes

You must answer on the question paper.

You will need: Insert (enclosed)

INSTRUCTIONS
• Answer all questions.
• Use a black or dark blue pen.
• Write your name, centre number and candidate number in the boxes at the top of the page.
• Write your answer to each question in the space provided.
• Do not use an erasable pen or correction fluid.
• Do not write on any bar codes.

INFORMATION
• The total mark for this paper is 50.
• The number of marks for each question or part question is shown in brackets [ ].
• The insert contains the reading passages.
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Section A: Reading

Spend 30 minutes on this section.

Read Text A, in the insert, and then answer Questions 1–6.

1 Look at the first paragraph (lines 3–5).

(a) What type of sentence is the first sentence? Tick () one box.

a simple sentence

a complex sentence

a compound sentence

a compound-complex sentence

[1]

(b) The reader’s understanding of the second and third sentences relies on the first sentence.
How?

[1]

2 Look at the second paragraph (lines 6–9). The writer begins three of the sentences with a
prepositional phrase.
Explain the effect this has.

[2]

3 Look at the third paragraph (lines 10–13).

(a) Give one phrase that means ‘at the same time as’.

[1]

(b) What is the effect of the sequence of nouns walk ... canter... gallop?

[1]

(c) How does the writer engage the reader in this paragraph?

[1]
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4 Look at the fourth paragraph (lines 14–19).

(a) Why might the reader expect to see the fourth paragraph at the beginning of the text?

[1]

(b) Why has the writer chosen to insert the fourth paragraph at this point in the text?
Tick () one box.

The writer

thinks that the reader already knows what foley is.

is about to introduce the reader to a different technique.

wants to explain how sound effects in films are recorded.

has finished giving an example of what a foley artist does.

[1]

(c) One of the themes of the text is sound.

Give two onomatopoeic nouns that demonstrate this.
•

[2]

5 Look at the fifth paragraph (lines 20–27).

(a) The idea of lots of different footsteps (lines 17–18) is repeated in the fifth paragraph.
Give a phrase in the fifth paragraph that repeats that idea.

[1]

(b) The writer asks a question and answers it.

What is the writer’s opinion of the answer?

[1]

6 Why is Barnaby Smyth happy when an audience is unaware of his work?

[1]
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Read Text B, in the insert, and then answer Questions 7–12.

7 Look at the first paragraph (lines 4–5).

What does Ashley tell the reader about herself? Tick () one box.

She only screams when she is frightened.

She changed the way she screamed as an actor.

She screams automatically at some things.

She got her first job only because of her scream.

[1]

8 Ashley uses the phrase a quieter life.

Why does that phrase seem surprising?

[1]

9 What is Ashley referring to when she uses the word peak?

[1]

10 Look at the last paragraph (lines 18–20).

What does Ashley emphasise by using a simple sentence?

[1]

11 Look at Text A and Text B. Foley artists and scream artists both add sounds to films at the same
stage of production.
Explain two other things that a foley artist and a scream artist have in common.
•

[2]
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12 Look at the second, third and fourth paragraphs (lines 6–17).

(a) Complete the table below using information from these paragraphs.

The type of work Ashley used

to do

The work Ashley does now

At what point in the making of

a film Ashley does her job

Something Ashley needs to

know to do her job

One reason why Ashley’s job

is necessary

One example of Ashley’s

work

[3]

(b) Summarise what it means to be a scream artist, using information from the table. Use up to
50 words.

[2]
 6

Section B: Writing

Spend 30 minutes on this section.

13 You have been asked to write an article for your school magazine about a new skill that you have
been developing either in school or outside of school.

You should think about:

• what the skill is and how you have been developing it

• where and when you use the skill
• how you could develop the skill further in future.

Space for your plan:

Write your article on the next page. [25 marks]

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 Cambridge Lower Secondary Checkpoint

INFORMATION


• This insert contains the reading passages.

• You may annotate this insert and use the blank spaces for planning. Do not write your answers on
the insert.

This document has 4 pages. Any blank pages are indicated.

10_0861_01/RP
© UCLES 2023 [Turn over
 ENGLISH 0861/01
Paper 1 Non-fiction
INSERT 1 hour 10 minutes

Text A Inside the world of foley artists

It’s Monday morning and, in an ordinary-looking building that was previously a laundry, a man
named Barnaby Smyth is trying to sound like a horse. Trying and succeeding remarkably well.
Not neighing or whinnying, just making the sound of hooves on the ground. 5

On a big screen on the wall of a windowless room is the moving image of an armoured knight
astride a white warhorse. Barnaby squats in front of the screen, staring intently at it. In front of
him on the floor is a square of compacted earth with a microphone pointed at it. In each hand,
Barnaby holds a small metal rod wrapped in tape.

On the screen, the knight turns his white horse and moves off; Barnaby hits the earth with his 10
rods exactly in sync with the hooves, first at an accelerating walk, then a little stumble into a
canter before settling into a rhythmic gallop. If you were here, watching the screen and ignoring
Barnaby, you would believe you really were hearing a heavy horse galloping away.

Welcome to the weird and rather wonderful world of foley. Named after Jack Donovan Foley,
who pioneered many of the techniques in the 1920s, foley is the name given to the art of adding 15
everyday sound effects to film or television after filming – incidental sounds such as the squeak
of a chair, bottles chinking in a fridge door or the swish of clothes. And footsteps, lots of different
footsteps, both human and non-human. Foley ‘steers the narrative, where to look, how to feel,’
Smyth says.
The room is an odd mix: part hi-tech modern recording studio, part junk shop. There are trays 20
and trolleys of bottles and glasses for chinking and rattling, and there are shoes, shelf upon
shelf, hundreds of them. There are banks of drawers labelled ‘medical’, ‘belts’, ‘sports’, ‘police’,
‘bones’, ‘makeup’, ‘gloves’. Barnaby shows me how he makes the sound of a pigeon flying
away by flapping a pair of leather gloves together. There are crates filled with different kinds of
ground to walk on: leaves, bark, forest soil, mossy soil. Smyth shows me how to make the noise 25
of a boot on snow by twisting a pillowcase full of cornflour. You want scrunchier, more compact
snow? Just add salt.
As for the viewing public, they are mostly unaware that foley even exists; that there are people
like Barnaby Smyth out there. That’s okay with Smyth: ‘Not to be noticed is really the biggest
compliment we can have.’ 30

Text B My scream is famous

An actor called Ashley Peldon discusses her career.
If I see a bug, I will scream. I’ll shriek when I’m scared or startled. It’s just so natural, it comes
right out. This ability to scream played a huge part in getting my first acting jobs. 5

By my twenties, I’d done more than 40 films and TV series. In search of a quieter life, in the late
2000s I made a shift from being an on-camera performer to a post-production voiceover actor. I
was lucky to get parts where I was able to really use and play with my voice a lot, and
screaming became something that I was known for.
As a scream artist you have to know the subtle differences between screams and determine 10
whether they should peak at certain points or remain steady for a very long time. I have to think:
‘Okay, the character is scared here, but are they scared because their life is in danger or are
they just startled?’ Those screams will sound very different.
We are like stunt people, doing the hard stuff that could be damaging to an actor’s voice or is
out of their range. When the dinosaurs are attacking in the 2015 Jurassic World movie, my 15
screams are in that sequence. I saw that the characters were grabbing at their hair, falling and
then getting up, so I tried to match that and create all of the energy and movement in the sound.
Thanks to my unique career, I probably scream more on average than the normal person would.
There’s something really relaxing about it. When I’m not working, I take care of my voice, but I
did lose it once by getting a little too excited on the rides at an amusement park with my kids. 20