Отборочный этап Ломоносов по Английскому языку 9-10 класс задания и ответы 13-20.11.2026

Олимпиада отборочного этапа Ломоносов по Английскому языку 9-10 класса задания и ответы: 13 по 20 ноября 2026. Полный доступ к ответам и разбору всероссийской олимпиады, проходящей на площадке olymp.msu.ru

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Олимпиада Ломоносов по Английскому языку 9-10 класс

Задание 1. Listening Comprehension
You are going to listen to an extract from an interview and complete the tasks. Choose the answer which fits best according to what you hear.
1. The director gives two facts about when he first saw Pinocchio that seem to conflict. Which explanation reconciles them?
A. He saw it first on TV alone and later in a cinema with his mother.
B. It was not the first film he ever saw, but it was his first Disney film.
C. He saw it twice, once with each parent.
D. He confused it with another Disney film.
2. Who said that?
saw the film with his mother
a. the interviewer
b. the director
c. Quentin Tarantino
was taken to the cinema by his father and left because he was frightened
a. the interviewer
b. the director
c. Quentin Tarantino
had to leave a screening of Bambi
a. the interviewer
b. the director
c. Quentin Tarantino
3. Do you remember the details? Write the numbers in words.
a) How old was the director when he saw Pinocchio? ____ years old.
b) How many weeks ago was he with Tarantino? about ____ weeks ago.
4. Which description of Bambi is NOT among the words reported from Tarantino?
A. the scariest
B. the goriest
C. the most violent
D. the saddest
5. According to the director, how are darkness and light related in Disney films?
A. Darkness appears only in the villains.
B. Light was added later to hide the darkness.
C. The light gradually replaced the darkness in his later films as he got older and wiser.
D. The darkness is a resource that also gives the films power over their brighter moments.
6. When people suggest that Disney films are sweet and harmless, the director’s reaction to this is that of
A. agreement
B. indifference
C. ironic challenge
D. embarrassment
7. Write ONE word.
The director says the father figure in Bambi seems almost ____.
8. According to the director, what do Pinocchio and Frankenstein’s creature have in common?
A.They are punished for disobeying their creators.
B. They are searching for their long lost mothers.
C. They are sent into life with all the proper support.
D. They are made by a father in a careless, unplanned way.
9. How does the director describe the difference between what adults taught him and what he learned from life?
A. He learned more from films than from life.
B. Adults told him the truth, but he refused to listen.
C. Life confirmed everything adults had taught him and he is grateful.
D. What they taught felt empty compared with what life was showing him.
10. Which expression does the director use to show his strong dislike?
A. It got under my skin.
B. It rubbed me the wrong way.
C. It stuck in my craw.
D. It drove me up the wall.
11. When the director speaks about “our Pinocchio,” he means:
A. the original Italian book
B. the version children imagine
C. the version he made with his team
D. the Disney version he saw as a child
12. Which claim does the director NOT make?
A. He felt like an outsider as a child.
B. Disney films are too frightening for young children.
C. A children’s film can show how dark childhood feels.
D. His film rejects obedience as the price of acceptance.
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Задание 2. Reading Comprehension
Read the extract from a review of an animation film.
For questions 1-15, choose the answer which you think fits best according to the review.
When I watched Hayao Miyazaki’s Spirited Away for the third time, I noticed something I had missed before. On earlier viewings, I had been amazed by the film’s imagination. This time, I was struck by the care Miyazaki gives to details that are not essential to the story.
Animation takes enormous effort, so filmmakers often simplify backgrounds or repeat movements. Miyazaki does the opposite. His backgrounds are full of detail, and even minor characters move naturally. In one scene, Chihiro, the young heroine, stands on a bridge outside a magical bathhouse. The story only requires us to watch her, but numerous figures appear in the windows and balconies. They move independently, making the bathhouse feel like a real place with a life of its own.
Another example is a living streetlamp that hops towards Chihiro and her companion, bows politely and guides them to a cottage. The story could continue perfectly well without it. Yet Miyazaki includes it as an unexpected gift to the audience.
Chihiro herself is unusual for an animated heroine. At first, she is impatient, stubborn and unhappy about moving to a new home. When her parents discover an apparently abandoned amusement park, they begin eating food that does not belong to them. Their greed transforms them into pigs. Chihiro then enters a mysterious bathhouse ruled by a witch called Yubaba, who takes away her name and calls her Sen. Unless she recovers her real name, she cannot return home.
As Chihiro struggles through this strange world, she does not suddenly become a cheerful, perfect child. Instead, her courage and determination gradually earn our affection.
Miyazaki made the film specifically for ten-year-old girls. Surprisingly, I believe this helps explain why adults find it so powerful. Films designed to please everybody often lack a clear identity. Spirited Away, however, creates a particular world and remains faithful to its characters rather than trying to satisfy every possible viewer.
When I met Miyazaki in 2002, we discussed another feature of his films: moments when characters pause, sigh or simply watch the world around them. Such moments do not advance the plot. Miyazaki explained that the Japanese word MA describes intentional emptiness or space between actions. Without these pauses, a film can become nothing more than constant activity.
He criticised filmmakers who fill every moment with action because they fear audiences will become bored. For Miyazaki, what matters most is maintaining the emotional connection with viewers. Joy, wonder and empathy can hold an audience’s attention without endless noise or violence.
This may explain why his films feel more absorbing than much fast-paced animation. Their richness comes not only from extraordinary creatures and fantastic events, but also from the quiet moments and seemingly unnecessary details that make their worlds believable.
Choose ONE answer (A, B, C or D) for each question.
1. What does the opening paragraph imply about the reviewer’s earlier viewings?
A. He disliked the film at first.
B. He watched without paying attention.
C. Its imagination distracted him from details.
D. He saw the details but thought them unimportant.
2. The reviewer’s praise in the second paragraph depends on which assumption?
A. Miyazaki chose not to simplify.
B. Simple animation is always poor filmmaking.
C. Most viewers consciously notice the background.
D. Detailed backgrounds make stories easier to follow.
3. The review describes Chihiro as “impatient, stubborn and unhappy” and her parents as greedy. What does the review suggest about the difference between these faults?
A. Both are punished equally.
B. Her faults are more serious.
C. Hers are ordinary; theirs starts the trouble.
D. The parents’ greed is caused by her mood.
4. Which interpretation of the bathhouse scene is most consistent with the reviewer’s argument?
A. The place makes Chihiro look lonely.
B. The place seems to go on without her.
C. The figures hint at who will help Chihiro later on.
D. The figures explain why Chihiro struggles in the bathhouse.
5. What does the living streetlamp contribute to the reviewer’s broader argument about animation?
A. It sets the rules of magic.
B. It prepares a later surprise.
C. It shows feeling without any words.
D. It delights without moving the plot forward.
6. When the reviewer calls Chihiro “unusual for an animated heroine,” what does he assume about most animated heroines?
A. They are lovable from the start.
B. They are usually older than Chihiro.
C. Their families rarely cause their problems.
D. They succeed through magic rather than courage.
7. What does the word “apparently” add to the description of the amusement park?
A. The parents knew the truth.
B. The park is dangerous to enter.
C. Things are not what they seem there.
D. The reviewer is not sure what he really saw.
8. A student argues that Chihiro’s central purpose is to rescue her parents. Which assessment best distinguishes the review’s explicit evidence from a possible interpretation?
A. The review proves this claim.
B. The review gives a different condition.
C. Her real aim is to challenge Yubaba’s power.
D. It follows from the way her determination grows.
9. According to the reviewer, how does Chihiro win the audience’s affection?
A. By obeying the spirits.
B. By becoming a typical heroine.
C. By merely reacting to events around her.
D. By growing braver without becoming flawless.
10. What broader principle about storytelling underlies the reviewer’s explanation of the film’s appeal to adults?
A. Breaking genre rules wins new fans.
B. Universal emotions widen any appeal.
C. A clear vision can reach beyond its target audience.
D. Childhood stories make adults remember their own past.
11. Which of the following interpretations is attributed to Miyazaki himself, rather than developed by the reviewer?
A. Specific audiences create wide appeal.
B. Feeling matters more than nonstop action.
C. Small details can enrich an imaginary world.
D. Busy background figures make a world convincing.
12. Which disagreement between Miyazaki and the filmmakers he criticises is most clearly established?
A. Action or emotion: which holds viewers?
B. Should characters or settings shape emotion?
C. Do realistic or magical details matter more?
D. Do the conventions of animation limit imagination?
13. A researcher uses the review to argue that deliberate pauses increase audience engagement. Which qualification is most necessary?
A. Pauses suit only animated films.
B. The review links pauses to no benefit.
C. Pauses help viewers remember the plot.
D. Their separate effect on viewers is not proven.
14. What principle connects the living streetlamp with Miyazaki’s use of ma?
A. Both hide unexplained links.
B. Neither exists just to serve the story.
C. Both change the rhythm to contrast fantasy.
D. Both make us rethink what the characters want.
15. Which interpretation best captures the relationship between imaginative invention and ordinary detail in the reviewer’s evaluation of Miyazaki?
A. Fantasy attracts; detail keeps events clear.
B. Fantasy builds the world; detail explains magic.
C. Fantasy brings wonder; detail makes it feel lived-in.
D. Fantasy makes it unusual; detail shows the studio’s skill.
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Задание 3. Grammar and Vocabulary
Read the following extract from an article and complete the task.
In questions 1-10, use these verbs in their new forms – finite (tense, mood, number, person,voice) and non-finite (infinitive, gerund, participle) – and complete the gaps.
carry · evacuate · lead · lose · poison · rename · restore · roof · survive · witness
In questions A-E, use these stems in new lexemes – with the help of prefixes, suffixes, compounding, conversion – and complete the gaps.
DESERT · HERO · MOTHER · RIDICULE · SPINE
IN A DARK, DARK FOREST …
Two children 1. __ deep into a forest and left there. Their mother, unable to feed the family, has abandoned them on purpose. 2. __ and starving, Hansel and Gretel stumble upon a cottage built of bread, 3. __ with cake and fitted with windows of clear sugar. They break off pieces and start eating at once. An old woman comes out, welcomes them inside and serves them a generous meal. The next morning, the truth is revealed: she is a witch who eats children. She shuts Hansel in a cage to fatten him up and makes Gretel cook, clean and carry water from dawn till dark. On the day the witch fires up the oven, Gretel pretends not to know how to check whether it is hot enough. When the witch leans in to show her, Gretel shoves her inside and slams the door. She frees her brother, and the children return home 4. __ the witch’s pearls and jewels.
The Brothers Grimm first published this tale in 1812, and it has frightened children ever since. In fact, later editions softened it: the cruel mother who abandons her children became a A. ____, perhaps because the original seemed too dark even for the nineteenth century. Yet the story survived precisely because of its darkness, not in spite of it.
Almost two hundred years later, in 2001, Hayao Miyazaki told a strikingly similar story in Spirited Away. In 2003, the film won the Academy Award for Best Animated Feature. In the animated film, ten-year-old Chihiro is travelling with her parents to their new home when her father takes a wrong turn and the family walks through a tunnel into what looks like an abandoned theme park. There the parents find a __ food stall loaded with dishes. Without waiting for permission, they begin to eat, and they keep eating until they turn into pigs. Chihiro falls into the power of Yubaba, a witch who runs a bathhouse for spirits. 5. __, she must sign a work contract, and Yubaba takes away her name, 6. __ her Sen. Chihiro scrubs floors and serves guests, helped by a mysterious boy called Haku. At the end, Yubaba sets her a final test: to pick out her parents from a crowd of pigs. Chihiro answers that none of them are her parents, and she is right. Her mother and father, 7. __ to human form, remember nothing of what happened.
Miyazaki’s characters are rarely simply good or evil. Even Yubaba, the frightening witch of Spirited Away, turns out to be a devoted, if C. ____, mother to her own enormous baby.
Between 1969 and 1970, under the pen name Saburō Akitsu, he published the People of the Desert, a manga about betrayal and cruelty, in a newspaper for young readers.
In Princess Mononoke (1997), Lady Eboshi cuts down the forest to make iron. In her town, she gives work and shelter to women bought from their masters and to people suffering from leprosy. In Howl’s Moving Castle (2004), the Witch of the Waste puts a curse on the young ____ Sophie, turning her into an old woman. Later, the witch loses her magic and becomes a frail old lady, and Sophie takes care of her.
In the Japanese town of Minamata, a chemical factory released mercury into the sea for decades. People who ate the contaminated fish developed a serious illness, first officially identified in 1956. Miyazaki has said that Minamata Bay helped to inspire Nausicaä of the Valley of the Wind, in which a young princess lives in a world 8. ____ by pollution and torn by war.
What did Miyazaki draw on for all this darkness? Miyazaki was born in Tokyo on 5 January 1941. During the Second World War, his family 9. __ to the countryside, and as a small boy he saw the city of Utsunomiya burning after an air raid. He later said that he had deliberately tried to forget much of what he 10. __. His father was a director of a family company that produced parts for military aircraft. His mother suffered from E. ____ tuberculosis and spent roughly eight years, from 1947 to 1955, in hospital or confined to bed at home. She is remembered as a strong-willed woman who questioned accepted ideas, and Miyazaki has said that Dola, the fierce leader of the sky pirates in Castle in the Sky, was partly based on her.
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Задание 4. Writing
Напишите комментарий-рассуждение.
Прочитайте утверждение.
Сказки и мультфильмы должны дарить детям радость и чувство безопасности, а не заставлять их переживать страх, одиночество и боль. Потеря близких, жестокость, несправедливость и сложные нравственные вопросы — темы для взрослых. Детям нужны добрые герои, понятные злодеи и счастливые концовки. Если история пугает ребёнка или заставляет его сомневаться в том, кто прав, а кто виноват, значит, она не подходит для детской аудитории.
Насколько Вы согласны или не согласны с этим мнением? Должны ли сказки и мультфильмы защищать детей от неприятных сторон жизни или помогать им осмысливать сложные и болезненные переживания?
Напишите комментарий объёмом 160–180 слов, ответив на все пункты плана.
Используйте конкретные факты и примеры из разделов Reading, Listening и Use of English нашей олимпиады, чтобы обосновать свою точку зрения.
Напишите ответ на английском языке в виде связного текста с чёткой логической структурой и соответствующими средствами логической связи.
План
1. Исследование. Изучите, почему создатели сказок и мультфильмов обращаются к таким темам, как страх, одиночество, утрата, несправедливость и человеческая жестокость. Как личный опыт авторов и реальные исторические события могут влиять на содержание произведений для детей? Приведите конкретные факты и примеры из материалов чтения, аудирования и лексико-грамматического теста нашей олимпиады.
2. Анализ. Проанализируйте приведённое утверждение. Действительно ли пугающие события и неоднозначные поступки персонажей делают сказку или мультфильм неподходящими для детей? Могут ли страх, переживание утраты и столкновение с несправедливостью помогать зрителям лучше понимать себя и окружающих? Сопоставьте примеры из изученных материалов и объясните, как они подтверждают или опровергают приведённое мнение. Где, по Вашему мнению, проходит граница между художественно оправданным изображением страдания и бессмысленным запугиванием зрителя?
3. Рефлексия. Вспомните сказку или мультфильм, которая/ый в детстве напугал/а, огорчил/а или заставил/а Вас задуматься о серьёзной проблеме. Где и с кем Вы впервые познакомились с этой историей? Какой персонаж или эпизод вызвал у Вас наиболее яркие эмоции? Изменилось ли Ваше отношение к произведению с возрастом? Объясните почему.
4. Заключение. Подведите итог, выразив своё отношение к приведённому утверждению. Завершите комментарий одним развёрнутым предложением, в котором сформулируйте, должны ли, по Вашему мнению, сказки и мультфильмы затрагивать болезненные и пугающие темы, и обоснуйте свою позицию.
При оценивании учитываются полнота раскрытия всех пунктов плана, точность и уместность фактов из трёх разделов олимпиады, самостоятельность и аргументированность суждений, глубина анализа, логичность и связность изложения, а также качество языкового оформления.
Примеры из Reading, Listening и Use of English должны использоваться для обоснования аргументов, а не просто перечисляться. Допускается любая точка зрения при условии её убедительного обоснования.
Внимание!
Заимствованный или сгенерированный текст будет снят с конкурса.
Работа провокационного характера, написанная с нарушением этических норм, будет снята с конкурса.
Напишите комментарий-рассуждение в пределах 160-180 слов.
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