The passive

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nbrichs2

Bildung Technologie

USES ,[object Object],[object Object],[object Object],[object Object]

FORM ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],SUBJECT + TO BE + PAST PARTICIPLE

[object Object],[object Object],[object Object],SUBJECT + TO BE + PAST PARTICIPLE subject verb object subject verb by agent

Past participle ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],built built build written wrote write thought thought think driven drove drive lost lost lose found found find sung sang sing drawn drew draw

SUBJECT + TO BE + PAST PARTICIPLE ,[object Object],[object Object],[object Object]

[object Object],[object Object],SUBJECT + TO BE + PAST PARTICIPLE

[object Object],[object Object],[object Object]

Can you make the questions in the passive form? ,[object Object],[object Object]

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Part 2 lecture transcript Yes. >> This meeting is being recorded. >> Jerry back, history of American animation on April eighth, UCLA. >> And we're going to begin shortly. We're just waiting for a few more students wander, and I hope they wander will start soon wet, regardless of that, and we will debate this may be one of the more fun ones in terms of what we're going to watch, which Looney Tunes and Warner Brothers cartoons, I hope. >> But our video goes through well, but as we said last week on the CCLE will have all the cartoons links to them. So you can see that a good, I mean, good running order the way you're supposed to see them. >> And I probably won't start to much later than now. >> Maybe it'll start in a minute and make it even. And I guess while we're starting, I'll see if I can start sharing screens and things like that. >> This is where we're going to begin. >> That guy, I like that guy, that guy because he wasn't really a harsh producer except for one incident that happened. >> He was, he was pretty loose and he let the animators do what they wanted. And that's kinda how cool things start. Leon's Schlesinger. You'll get to neatly on Schlesinger today if you haven't already met him somehow. >> Alright. >> I guess I should begin. Unless there's some objection. Unless a t any TA with audio has any objection. I'm going to start just rambling. >> Alright, because I can't see the chat thing while I do this. Ok, lapse or guaranteed today, I hope. Alright, let's talk about 100 cartoons. >> Let's also do what we usually do, but I usually do we recap a little bit because this is like I saying, sorry if I'm repeating myself, I do that this is like a continued story and that ultimately, by the end it along more sensitivity to see the bigger picture of things. >> The, I won't go over everything again. But last week, as you will recall, we when I say elastic, I mean monday, Sorry, I'm so used to doing this weekly. The we basically looked at the studios. >> We looked at Disney in the 19 thirties into the forties. >> We looked at the other studios that we're making cartoons in Hollywood during the 19 thirties, we looked at Fleisher cartoons. Max like New York City With his stereo optical three-dimensional backgrounds and characters like Betty boop and poppy that we're becoming. >> And we're the biggest characters of the 130s people who casually or into this, you know, we, you would think that, well, Mickey Mouse, Donald Duck, and they weren't, they were still, they were popular, but, but poppy and Betty were equal. The reason we have that impression, of course, why, you know, a laymen would think about Mickey Mouse, Donald Duck, and that's because the Disney empire now and Disneyland and what we've been raised with it. >> You know, sometimes that's the only cartoon characters that go back that far, that we know history and has not been kind to a lot of these pop culture things that happened during these periods. So that's part of what you're l ...

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The passive

1. THE PASSIVE VOICE Norma Brichs

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The passive

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