(C) the poor quality of modern music
(D) the prices that are charged for CDs in shops
20. What does Mayes think is at the root of the survival problem facing the music industry?
(A) The unprecedented speed of technological development.
(B) Unrealistic legal advice and practice.
(C) Its failure to adopt an appropriate pricing strategy.
(D) The rapidly changing nature of contemporary music.
Questions 21-25
The basic story is very old indeed and familiar to most of us. The heroine, Cinderella, is
treated cruelly by her stepmother and mocked by her two ugly stepsisters. And even though her
father loves her, she can't tell him how unhappy she is because her stepmother has bewitched him.
One day Cinderella's stepmother and stepsisters are invited to a ball at the royal palace. Cinderella
is told she cannot go and is understandably very unhappy. However, her fairy godmother comes to
the rescue and, waving her magic wand, produces some beautiful clothes for Cinderella as well as
a carriage to convey her to the ball. There, she dances with the handsome prince, who falls in love
with her...
Just a sweet, pretty tale? Not in the view of Ellen Macintosh, who has written extensively
about fairy tales. 'This story features the stock, two-dimensional characters of most fairy tales, and
little character development is attempted,' she says. Indeed, although her comment does make one
wonder why simplicity of this sort should be out of place in a story for children. Be that as it may,
Ellen's main problem is with what the story implies. 'Instead of standing up to her cruel
stepmother and absurd stepsisters, Cinderella just waits for a fairy godmother to appear and solve
her problem. But wouldn't you want a daughter of yours to show more spirit?'
The story is enduring, whatever its shortcomings, and it doesn't take much in the way of
analytical skills to see its influence on a number of recent Hollywood productions, all aimed at
girls aged five to fifteen. In these versions for the silver screen, the Cinderella character no longer
has to clean the house and has no siblings to make her life a misery, though she persists in not
showing much backbone. The character of the rich and handsome stranger, however, is retained,
and in some cases really is a prince. The role of the fairy godmother is often played by
coincidence or sheer luck; we live in an enlightened age when even very young children might
reject the notion of fairies. The wicked stepmother may be transformed into a villain of some sort.
In the majority of film versions, the heroine has a profession and is even permitted to continue
working after marrying her prince—this is the twenty-first century, after all.
Doesn't the success of these films indicate that the story has relevance to children even today?
'Yes,' admits Ellen, who sees its message as being rooted in a fundamental childhood desire for
love and attention. 'Most children experience a sense of inner loneliness as they are growing up
and empathies with the protagonist who faces some sort of test or challenge. This can be seen in
the original story of Cinderella, where the fairy godmother tells the heroine that she must learn to
be gracious and confident if she is to go to the ball. She has to grow spiritually, and by maturing,
she becomes attractive to the prince, thus ensuring that the ending of the story will be happy. 'In
the later versions, this element is missing,' says Ellen, 'and the theme of the story is simply that a
girl's role in life is to be more beautiful than other little girls so that she can carry off the prize: the
handsome prince. Is this really what we want girls to grow up believing?'