Ⅰ 我要做一個英文的PPT誰能介紹一部【比較有深度的電影】
阿甘正傳 Forrest Gump
Forrest Gump is a 1994 American drama film based on the 1986 novel of the same name by Winston Groom and the name of the title character of both. The film was a huge commercial success, earning US$677 million worldwide ring its theatrical run making it the top grossing film in North America released that year. The film garnered a total of 13 Academy Award nominations, of which it won six, including Best Picture, Best Visual Effects, Best Director (Robert Zemeckis), and Best Actor (Tom Hanks).
The film tells the story of a man with an IQ of 75 and his epic journey through life, meeting historical figures, influencing popular culture and experiencing first-hand historic events while being largely unaware of their significance, e to his lower than average intelligence. The film differs substantially from the book on which it was based.
Plot
The film begins with a feather falling to the feet of Forrest Gump who is sitting at a bus stop in Savannah, Georgia. Forrest picks up the feather and puts it in the book Curious George, then tells the story of his life to a woman seated next to him. The listeners at the bus stop change regularly throughout his narration, each showing a different attitude ranging from disbelief and indifference to rapt veneration.
On his first day of school, his mother had sex with the principal to get him into the school despite his low I.Q., and he meets a girl named Jenny, whose life is followed in parallel to Forrest's at times. Having discarded his leg braces, his ability to run at lightning speed gets him into college on a football scholarship, where he plays for legendary Alabama head coach Paul "Bear" Bryant; ring this time, he was also chosen as a member of the All-American Football Team and he was invited to meet President Kennedy at the White House. After his college graation, he enlists in the army and is sent to Vietnam, where he makes fast friends with a man named Bubba, who convinces Forrest to go into the shrimping business with him when the war is over. After a ferocious Vietnamese attack, however, Forrest ends up saving much of his platoon from the Viet Cong, including his platoon leader, Lt. Dan Taylor, a career military officer who felt his destiny was to die in battle like his ancestors did who fought in every major war that America fought since the Revolution. Bubba is killed in action. Lt. Dan is unwillingly saved by Forrest but loses his legs. Forrest is awarded the Medal of Honor for his heroism by President Lyndon Johnson.
At an anti-war rally in Washington, D.C. Forrest reunites with Jenny, who has been living a hippie counterculture lifestyle.
While Forrest is in recovery for a bullet shot to his "butt-tox", he discovers his uncanny ability for ping-pong, eventually gaining popularity and rising to celebrity status, later playing ping-pong competitively against Chinese teams. He is later invited to the White House and is given an award from President Nixon. That evening he calls security when he sees flashlights in an office building across from his hotel room at the Watergate Hotel; this leads to the Watergate scandal and the subsequent resignation of Richard Nixon.
He appears on the Dick Cavett show in 1971 and inspires John Lennon to write the song "Imagine." After the broadcast, he briefly reunites with his old commanding officer Lieutenant Dan in New York. Dan, after losing both legs in war, has become extremely pessimistic, and has resorted to debauchery.
Returning home, Forrest endorses a company that makes ping-pong paddles, earning himself $25,000 which he uses to buy a shrimping boat, fulfilling his promise to Bubba. Eventually, Lieutenant Dan joins him. Though initially Forrest has little success, after finding his boat, the only surviving boat in the area after Hurricane Carmen in the fall of 1974, he begins to pull in huge amounts of shrimp and uses it to buy an entire fleet of shrimp boats. Lieutenant Dan invests the money in Apple Computer and Forrest is financially secure for the rest of his life. He returns home to see his mother's last days as she is dying of cancer circa 1975.
One day, Jenny returns to visit Forrest and he proposes marriage to her. She declines, though feels obliged to prove her love to him by sleeping with him. She leaves early the next morning. On a whim, Forrest elects to go for a run. Seemingly capricious at first, he decides to keep running across the country several times, over some three and a half years, becoming famous.
In the present-day (the early 1980s in the film), Forrest reveals that he is waiting at the bus stop because he received a letter from Jenny who, having seen him run on television, asks him to visit her. Once he is reunited with Jenny, Forrest discovers she has a young son, of whom Forrest is the father. Jenny tells Forrest she is suffering from a virus (probably HIV, though this is never definitively stated).[1][2][3] Together the three move back to Greenbow, Alabama. Jenny and Forrest finally marry. Jenny dies soon afterward.
The film ends with father and son waiting for the school bus on little Forrest's first day of school. Opening the book his son is taking to school, the white feather from the beginning of the movie is seen to fall from within the pages. As the bus pulls away, the white feather is caught on a breeze and drifts skyward.
[edit] Themes
Though superficially Gump might not seem to understand all that goes on around him, the viewer gets the sense that he knows enough, the rest being superfluous detail. Roger Ebert offers the example of Jenny telling Forrest, "You don't know what love is."[4]
Also explored in the film are the opposing ideas that in life we either follow a set plan, or that we float about randomly like a feather in the wind. Relevant to this idea is the now famous quotation from the film, "life is like a box of chocolates; you never know what you're gonna get."
It has been noted that while Forrest follows a very conservative lifestyle, Jenny's life is full of countercultural embrace, replete with drug usage and antiwar rallies, and that their eventual marriage might be a kind of tongue-in-cheek reconciliation. However, the nature of Jenny's death has lead others to conclude that the movie is looking down on counterculture lifestyles, considering them to be the wrong type of path to choose.
Other commentators believe that the film forecasted the 1994 Republican Revolution and used the image of Forrest Gump to promote traditional, conservative values adhered by Gump's character.[5]
[edit] Proction details
Ken Ralston and his team at Instrial Light & Magic were responsible for the film's visual effects. Using CGI-techniques it was possible to depict Gump meeting now-deceased presidents and shaking their hands.
Archival footage was used and with the help of techniques like chroma key, warping, morphing and rotoscoping, Tom Hanks was integrated into it. This feat was honored with an Oscar for Best Visual Effects.
The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint"-team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his "missing" legs are used for support.
Dick Cavett played himself in the 1970s with make-up applied to make it appear that he was much younger than the commentator was ring the filming. Consequently, Cavett is the only well-known figure in the film to actually play himself for the feature, rather than via archive footage.
Differences from novel
Forrest Gump is based on the 1986 novel by Winston Groom. Both center around the character of Forrest Gump. However, the film primarily focuses on the first eleven chapters of the novel, before skipping ahead to the end of the novel with the founding of Bubba Gump Shrimp and the meeting with Forrest Jr. In addition to skipping some parts of the novel, the film adds several aspects to Forrest's life that do not occur in the novel, such as his needing leg braces as a child and his run across the country.
Forrest's core character and personality are also changed from the novel, and it has been reported that Groom was annoyed by the changes.[6] For example, in the book Forrest is crude, curses regularly, joins a band with Jenny, has a prolonged sexual relationship with Jenny, smokes dope, becomes a professional wrestler, and an astronaut. What is impossible in the book is made plausible in the movie.
[edit] Reception
In Tom Hanks' words, "The film is non-political and thus non-judgmental". Nevertheless, in 1994, CNN's Crossfire debated whether the film had a left- or right-wing bias. Filmmaker Lloyd Kaufman has noted that Gump's successes result from doing what he is told by others, and never showing any initiative of his own, in contrast to Jenny's more forthright and independent character who is shown descending into drugs, prostitution, and death.[7]
The film received mostly positive critical reviews at the time of its release, with Roger Ebert saying, "The screenplay by Eric Roth has the complexity of modern fiction....[Hanks'] performance is a breathtaking balancing act between comedy and sadness, in a story rich in big laughs and quiet truths....what a magical movie."[8] The film received notable pans from several major reviewers, however, including The New Yorker and Entertainment Weekly, which said that the movie "reces the tumult of the last few decades to a virtual-reality theme park: a baby-boomer version of Disney's America."[9] As of June 2008, the film garners a 72% "Fresh" rating from critics on Rotten Tomatoes.[10]
However, the film is commonly seen as a polarizing one for audiences, with Entertainment Weekly writing in 2004, "Nearly a decade after it earned gazillions and swept the Oscars, Robert Zemeckis' ode to 20th-century America still represents one of cinema's most clearly drawn lines in the sand. One half of folks see it as an artificial piece of pop melodrama, while everyone else raves that it's sweet as a box of chocolates."[11] The film also came in at #76 on AFI's Top-100 American movies of all time list in 2007.
[edit] Cast
Actor Role
Tom Hanks Forrest Gump
Robin Wright Penn Jenny Curran
Gary Sinise Lieutenant Dan Taylor
Mykelti Williamson Benjamin Buford "Bubba" Blue
Sally Field Forrest's mother
Michael Conner Humphreys Young Forrest Gump
Hanna R. Hall Young Jenny Curran
Haley Joel Osment Forrest Gump Jr.
Sam Anderson Principal Hancock
Geoffrey Blake Wesley, SDS Organizer
David Brisbin Newscaster
Peter Dobson Elvis Presley
Siobhan Fallon Dorothy Harris, School Bus Driver
Osmar Olivo Drill Sergeant
Brett Rice High School Football Coach
Sonny Shroyer Coach Paul "Bear" Bryant
Kurt Russell Voice of Elvis Presley
Harold G. Herthum Doctor
Soundtrack
Main articles: Forrest Gump (soundtrack) and Forrest Gump - Original Motion Picture Score
The soundtrack from Forrest Gump had a variety of music from the 50s, 60s, 70s, and early 80s performed by American artists. It went on to sell 12 million copies, and is one of the top selling albums in the United States.
1994 Academy Awards (Oscars)
Won - Best Performance by an Actor in a Leading Role — Tom Hanks
Won - Best Director — Robert Zemeckis
Won - Best Film Editing — Arthur Schmidt
Won - Best Picture — Wendy Finerman, Steve Starkey, Steve Tisch
Won - Best Visual Effects — Ken Ralston, George Murphy, Stephen Rosenbaum, Allen Hall
Won - Best Adapted Screenplay — Eric Roth
Nominated - Best Performance by an Actor in a Supporting Role — Gary Sinise (as Lieutenant Dan Taylor)
Nominated - Best Achievement in Art Direction — Rick Carter, Nancy Haigh
Nominated - Best Achievement in Cinematography — Don Burgess
Nominated - Best Makeup — Daniel C. Striepeke, Hallie D'Amore
Nominated - Best Original Score — Alan Silvestri
Nominated - Best Sound Mixing — Randy Thom, Tom Johnson, Dennis S. Sands, William B. Kaplan
Nominated - Best Sound Editing — Gloria S. Borders, Randy Thom
1995 Academy of Science Fiction, Fantasy & Horror Films (Saturn Awards)
Won - Best Supporting Actor (Film) — Gary Sinise
Won - Best Fantasy Film
Nominated - Best Actor (Film) — Tom Hanks
Nominated - Best Music — Alan Silvestri
Nominated - Best Special Effects — Ken Ralston
Nominated - Best Writing — Eric Roth
1995 Amanda Awards
Won - Best Film (International)
1995 American Cinema Editors (Eddies)
Won - Best Edited Feature Film — Arthur Schmidt
1995 American Comedy Awards
Won - Funniest Actor in a Motion Picture (Leading Role) — Tom Hanks
1995 American Society of Cinematographers
Nominated - Outstanding Achievement in Cinematography in Theatrical Releases — Don Burgess
1995 BAFTA Film Awards
Won - Outstanding Achievement in Special Visual Effects — Ken Ralston, George Murphy, Stephen Rosenbaum, Doug Chiang, Allen Hall
Nominated - Best Actor in a Leading Role — Tom Hanks
Nominated - Best Actress in a Supporting Role — Sally Field
Nominated - Best Film — Wendy Finerman, Steve Tisch, Steve Starkey, Robert Zemeckis
Nominated - Best Cinematography — Don Burgess
Nominated - David Lean Award for Direction — Robert Zemeckis
Nominated - Best Editing — Aurthur Schmidt
Nominated - Best Adapted Screenplay — Eric Roth
1995 Casting Society of America (Artios)
Nominated - Best Casting for Feature Film, Drama — Ellen Lewis
1995 Chicago Film Critics Association Awards
Won - Best Actor — Tom Hanks
1995 Directors Guild of America
Won - Outstanding Directorial Achievement in Motion Pictures — Robert Zemeckis, Charles Newirth, Bruce Moriarity, Cherylanne Martin, Dana J. Kuznetzkoff
1995 Golden Globe Awards
Won - Best Actor - Motion Picture Drama — Tom Hanks
Won - Best Director - Motion Picture — Robert Zemeckis
Won - Best Motion Picture - Drama
Nominated - Best Supporting Actor - Motion Picture — Gary Sinise
Nominated - Best Supporting Actress - Motion Picture — Robin Wright Penn
Nominated - Best Original Score — Alan Silvestri
Nominated - Best Screenplay - Motion Picture — Eric Roth
1995 Heartland Film Festival
Won - Studio Crystal Heart Award — Winston Groom
1995 MTV Movie Awards
Nominated - Best Breakthrough Performance — Mykelti Williamson
Nominated - Best Male Performance — Tom Hanks
Nominated - Best Movie
1995 Motion Picture Sound Editors (Golden Reel Award)
Won - Best Sound Editing
1994 National Board of Review of Motion Pictures
Nominated - Best Actor — Tom Hanks
Nominated - Best Supporting Actor — Gary Sinise
Nominated - Best Picture
1995 PGA Golden Laurel Awards
Won - Motion Picture Procer of the Year Award — Wendy Finerman, Steve Tisch, Steve Starkey, Charles Newirth
1995 People's Choice Awards
Won - Favorite All-Around Motion Picture
Won - Favorite Dramatic Motion Picture
1995 Screen Actors Guild Awards
Won - Outstanding Performance by a Male Actor in a Leading Role — Tom Hanks
Nominated - Outstanding Performance by a Male Actor in a Supporting Role — Gary Sinise
Nominated - Outstanding Performance by a Female Actor in a Supporting Role — Sally Field & Robin Wright Penn
1995 Writers Guild of America Awards
Won - Best Screenplay Adapted from Another Medium — Eric Roth
1995 Young Artist Awards
Won - Best Performance in a Feature Film - Young Actor 10 or Younger — Haley Joel Osment
Won - Best Performance in a Feature Film - Young Actress 10 or Younger — Hanna R. Hall
Nominated - Best Performance in a Feature Film - Young Actor Co-Starring — Michael Conner Humphreys
[edit] Sequel
A screenplay based on the original novel's sequel, Gump and Co., was written by Eric Roth in 2001. Due to a legal dispute between Winston Groom and Paramount Pictures over the first movie, the sequel was never put into proction. In March 2007, however, it was reported that the dispute has been resolved and that Paramount procers are now taking another look at the screenplay.
Ⅱ 求一篇600字左右英文的商業電影概念和起源、發展。
我找了下，商業電影是種電影分類，是以盈利性質來分的，沒有找到它自己的起源發展。只找到了商業電影的製作，貼過來看看吧。
The Three Stages of Commercial Film Proction
The methods that each indivial film procer uses may vary but in the end, for the most part, all commercial films are made by the same three stage process. Inevitably proction will be broken up into other sub-stages but in the end everything that is dome will fall into one of three categories.
The first stage of any commercial film proction will be the planning stage. It is ring this stage that a script is prepared and edited and any research that is required for the film topic takes place. It is important that this stage be completed thoroughly before the film procer advances to the next step of proction.
This would be the actual proction stage of the commercial film. However; this begins with designing and creating the set according to the budget that is allocated for the film. It is not hard to see that once proction begins, the first stage must be completed in its entirety to facilitate the actual problem free proction of the film.
Post proction is the third and final stage of a commercial film proction. This is the stage when the film is edited and any special effects are added. Also, quite often sound work will take place ring this third and final stage.
Shooting a commercial film is a risky financial proposition at best, so therefor it is crucial that everything be completely organized properly to proce optimal results. Attempting a commercial film proction in any other manner will almost virtually guarantee that the end result is a financial failure.
關於概念的闡述，只找到了中文的，一起拿來參考下：（注意，不是上文的翻譯）
商業電影
為營利而製作的影片，相對於藝術電影。
為盈利而製作的電影，相對於藝術電影。商業電影專指票房，從編劇到導演及演員均為此角度考慮
商業電影 Commeredia film
相為於藝術電影一詞，一般指為營利而製作的影片。私人的電影工業大都以營利為主，因此生產的影片大都屬於商業影片。在西方則以美國好萊塢為商業影片的大本營，重娛樂而不重現實。電影需要大量的觀眾，且觀眾也需要透過商業管道才能看到電影，但是這種商品性與商業電影的本質並非一致的，商業電影並非都是商業電影，而娛樂強的商業電影中具有社會性與藝術性的也不少。因此商業電影與電影的商品性被非一致。
文學藝術片本意為文學作品改編成的電影，現在已經是專門針對商業電影而言的一個定義。商業電影是相對於藝術電影，或者說文藝片而言的。顧名思義，藝術電影追求的是影片的藝術內涵，以行業認可為目標；商業電影追求的是票房及其衍生物的市場價值，以消費者認可為目標。所以我們所看到的所謂藝術電影的主題都是探求哲理、挖掘人性之類的深奧題材，拍攝手法不拘一格；而商業電影往往為了迎合廣大觀眾的欣賞口味，拍攝手法以視聽感官的刺激為方向，於是這個導演看見那個導演的方法受歡迎就拿來借鑒，日久天長就難免落入俗套。但事實上，在高度物質化的現代社會，即使是一部藝術電影也必須或多或少的考慮到自身的商業化效果，當然一部商業電影也或多或少帶有藝術成分。完全的商業和完全的藝術幾乎不存在。其實按照通俗標准來說，商業電影就是為了盈利而專門拍的電影，藝術電影則反之，不為了盈利，僅僅為了藝術、理論、宣傳教育等而拍攝，但是市場經濟以後，純藝術電影喪失了生存和發展的環境和空間，於是我們現在經常看見所謂的文藝電影也在爭奪影院票房，而許多商業大片為了追求更高的境界，同時也是提升其商業競爭力，而在一些技巧上借鑒藝術電影的視角或者手法，往往也獲得票房和影評的雙贏。所以說，嚴格的商業電影和藝術電影現在不僅沒有狠嚴格的界限，而且十分模糊，甚至已經嚴重交叉，我們一般還是通過習慣性判斷，和電影表達的內涵以及導演的執導思想來確定一部電影的大致方向。
Ⅲ 美國科幻電影發展歷史
一、19世紀末到1920年代：好萊塢科幻片的成長期。
19世紀末，帶有科幻色彩的影片幾乎和娛樂電影同時在法國誕生，比如1895年的《機器屠夫》，1897年的《一位20世紀的外科醫生》等。
但這些影片也許更像是在使用電影技術變魔術。
直到1902年法國人梅里埃推出《月球旅行記》（Le Voyage dans la Lune），才標志著第一部真正意義上的科幻電影出現。
1910年代，歐洲國家，尤其是法國和英國，似乎在拍攝關於外星人和未來戰爭的題材的科幻片上一馬當先。
不過隨著好萊塢製片廠制度的出現和發展，美國在科幻電影製作上奮起直追，生產了《科學怪人》（Frankenstein，1910）、《化身博士》（Dr. Jekyll and Mr. Hyde，1913）等影片，更值得一提的是於1916年生產的一部長達105分鍾的《海底兩萬里》（20,000 Leagues Under the Sea），它開創了水下攝影的先河。
到了1920年代，美國科幻片開始和歐洲分道揚鑣。
和德國《大都會》（Metropolis，1927）等歐洲科幻片相比，好萊塢科幻片更注重傳奇的情節、快捷的節奏、驚險的動作和高超的特技。
這一時期好萊塢科幻片代表作有《失落的世界》（The Lost World，1925）和《神秘島》（The Mysterious Island，1929）等。
二、1930年代和1940年代：好萊塢科幻片的成熟期。
從1930年代開始，好萊塢科幻片開始偏愛帶有恐怖、悲觀和浪漫色彩的瘋狂科學家主題，並且開始連篇累牘地拍攝科幻電影系列片。
比如，這一時期出品了《科學怪人》（1931）、《科學怪人的新娘》（The Bride of Frankenstein，1935）和《科學怪人的兒子》（The Son of Frankenstein，1939），類似的還有《化身博士》系列和《飛俠哥頓》系列（Flash Gordon）。
而《隱身人》（The Invisible Man，1933）和《金剛》（King Kong，1933）都是當時產生的名作，它們延續並發展了好萊塢電影在特技運用和情節安排上的長處，並已經產生了獨特的程式。
到了1940年代，由於二戰的影響，好萊塢科幻片處於一個止步不前但卻相對穩定的狀態，在這個十年中生產的科幻碧唯片幾乎都是從前題材的「後續系列」，比如《隱身女人》（The Invisible Woman，1940）、《隱身人歸來》（The Invisible Man Returns，1940）和《隱身人復仇記》（The Invisible Man』s Revenge，1944）。
不過，這也同時鞏固了好萊塢科幻片的敘事模式。
在1943年上映的《蝙蝠俠》（The Batman）中，日本科學家成為了邪惡的敵人，將好萊塢科幻片和戰爭宣傳結合在了一起，這也是這一時期的特點。
三、1950年代和1960年代：好萊塢科幻片的繁榮期。
1950年代，也許是冷戰籠罩在人們心理上的恐懼陰影加強了人們的想像力，好萊塢在此期間產生了大量科幻片佳作，它們常以外星人、怪獸或核戰爭為主題，睜慧拍也更加依賴特技的運用。
比如《地球停轉之日》（The Day the Earth Stood Still，1951）、《X放射線》（Them!，1953）、《兩萬英尋下的怪獸》（The Beast from 20,000 Fathoms，1953）、《火星人入侵》（Invaders From Mars，1953）、《外星人大戰地球》（The War of the Worlds，1953）悉羨、《盜屍者入侵》（Invasion of the Body Snatchers，1956）、《惑星歷險》（Forbidden Pla，1956）、《蒼蠅》（The Fly，1958）和講述核戰爭的《海濱》（On the Beach，1959）等。
冷戰對好萊塢科幻片的影響持續到了1960年代，比如1968年的《太空登月記》（Countdown）就以美蘇軍備競賽為想像的源泉。
但正是在1960年代，產生了科幻片歷史上的經典之作《2001太空漫遊》（2001: A Space Odyssey，1968）。
這部美英合拍的影片無論在故事情節、思想內涵還是特技效果上都達到了相當的高度。
四、1970年代和1980年代：好萊塢科幻片在特技和故事之間保持平衡的時代。
特技的使用對好萊塢科幻片而言從來都是舉足輕重的，而隨著視覺效果技術的發展，特技和故事之間的張力逐漸開始加大。
究竟應該怎樣將兩者完美地結合起來？很多導演做出了他們的嘗試。
喬治·魯卡斯（Gee Lucas）的《THX1138》（THX1138，1971）和《星球大戰》（Star Wars，1977）、伍迪·艾倫（Woody Allen）的《傻瓜大鬧科學城》（Sleeper，1973）、史蒂文·斯皮爾伯格（Steven Spielberg）的《第三類接觸》（Close Encounters of the Third Kind，1977）以及雷德利·斯科特的《異形》（Alien，1979）無疑是70年代幾個成功的範例。
到了80年代初和80年代中期，好萊塢科幻片的特技效果製作給觀眾帶來了前所未有的神奇體驗，而同時這些科幻電影又能提供給他們一個值得品味的故事。
比如喬治·魯卡斯在80年和83年相繼推出氣勢宏大的《星戰之帝國反擊戰》（Star Wars: The Empire Strikes Back）和《星戰之傑迪歸來》（Star Wars: Return of the Jedy），史蒂文·斯皮爾伯格溫情脈脈的《ET外星人》（E.T. the Extra-Terrestrial，1982），詹姆斯·卡梅隆（James Cameron）的《終結者》（The Terminator，1984）以及羅伯特·澤米基斯（Robert Zemeckis）的《回到未來》（Back to the Future，1985）等。
五、1990年至今：好萊塢科幻片在高科技中探索前進
隨著計算機技術的應用，好萊塢科幻片開始大量倚賴電腦合成影像（CGI），並將其發揮至極，但在同時卻忽視了故事本身的重要性。
90年代以後的好萊塢科幻片在故事上乏善可陳，在視覺效果則上富有極大的沖擊力，畫面也更加精 *** 真。
《獨立日》，《侏羅紀公園》系列，《星戰前傳》第一部(Star Wars: Episode I-The Phantom Menace，1999)和第二部（Star Wars: Episode II- Attack of the Clones，2002）等影片將觀眾培養得對那些花費高昂的特技大場面甚至開始司空見慣起來。
當令人眼花繚亂的電腦特技在銀幕上趨向於飽和的時候，好萊塢科幻片也同時開始迷失了方向。
隨著科技的進步，好萊塢科幻片開始探索新的主題，比如克隆技術和智能機器人對人類社會的深遠影響。
Ⅳ 幫忙找電影發展史的英語版本，萬分感謝
History of Motion Pictures
I INTRODUCTION
History of Motion Pictures, historical development of the visual medium known as motion pictures, film, cinema, or the movies. This article covers the medium』s history as a technology, as a business, as an art form, and as a means of delivering entertainment and information to audiences in theaters and at home. It discusses major filmmakers and their films, principal fiction and nonfiction genres, and film instries in the United States and throughout the world. For more information on the technical aspects involved in creating a film, see Motion Picture.
II ORIGINS
In the early 19th century scientists took note of a visual phenomenon: A sequence of indivial still pictures, when set in motion, can give the illusion of movement. These scientists attributed this experience to what they called persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. The eye』s retention of a visual image, now known as positive afterimage, has long been considered a founding principle of motion pictures, even though its relationship to the perception of motion is still not well understood.
A Early Experiments
The persistence of vision concept stimulated experimentation with motion-picture devices throughout the 19th century. Among the first such devices was a slotted disk with a sequence of drawings around its perimeter. When a person spun the disk in front of a mirror and looked through the slots, the drawings appeared to move. The zoetrope, a device developed in the 1830s, was a hollow drum with a strip of pictures around its inner surface. When spun, it proced the same effect. In the 1870s French inventor Émile Reynaud improved on this idea by placing mirrors at the center of the drum. A few years later he developed a projecting version, using a reflector and a lens to enlarge the moving images. In 1892 he began holding public screenings in Paris at his Théâtre Optique, with hundreds of drawings on a reel that he wound through his apparatus to construct moving images that continued for 15 minutes.
Inventors began to conceive of combining the principles of these moving-image devices with the photographic recording of actual movement soon after the development of still photography in the 1830s. The most famous experiment occurred in the 1870s in California, where railroad tycoon Leland Stanford hired British photographer Eadweard Muybridge to settle a bet on whether a galloping horse ever had all four feet off the ground. Muybridge set up 12 cameras along a racetrack and spread threads across the track with a contact to each camera』s shutter. Moving along the track, the horse broke the threads and caused a sequence of photographs to be taken. The photos showed the horse with all four feet off the ground, and Muybridge went on a lecture tour showing his photographs on a moving-image device he called the zoopraxiscope.
Muybridge』s endeavors stimulated French scientist Étienne-Jules Marey to devise equipment for recording and analyzing animal and human movement. He built what he called a chronophotographic camera that could take multiple images superimposed on one another. His work was aided in turn by developments in photographic materials. In 1885 American inventor George Eastman introced sensitized paper roll 「film」 in place of the indivial glass plates then in use. In 1889 Eastman replaced the paper roll with celluloid, a synthetic plastic material coated with a gelatin emulsion.
B Thomas Alva Edison and William K. L. Dickson
Legendary American inventor Thomas Alva Edison drew upon the work of Muybridge, Marey, and Eastman when he turned his attention to motion pictures in the late 1880s. In his laboratories in West Orange, New Jersey, Edison assigned to a British employee, William K. L. Dickson, the task of constructing a machine for recording actual movement on film and another machine for viewing the resulting images. By 1891 Dickson had proced a motion-picture camera, called the Kinetograph, and a viewing machine, bbed the Kinetoscope.
The Kinetograph was operated by an electric motor that moved the celluloid film roll past the camera lens. Motor-driven cameras, which were bulky and stationary, were soon replaced by movable hand-cranked cameras. Dickson』s key contribution was a sprocket mechanism linked to the camera』s shutter, which momentarily stopped the film roll for each exposure. These separate still photographic images came to be called frames. Early cameras used a number of different speeds for exposing frames, but by the advent of sound film in the late 1920s the standard had become 24 frames per second.
In early 1893 Edison constructed a motion-picture studio on his laboratory grounds, bbed the Black Maria by his staff who thought it resembled police patrol wagons known by that nickname. On May 9, 1893, he held the first public exhibition of films shot using the Kinetograph in the Black Maria. But only one person at a time could use his viewing machine, the Kinetoscope. This boxlike structure contained a motor-and-shutter mechanism similar to the camera』s. It ran a loop of positive film past an electric light source, illuminating a tiny image, which the viewer observed through a small window. Kinetoscope viewing parlors containing many machines for indivial viewing began to open in cities in 1894. Edison and Dickson apparently gave little thought to a single machine that could project moving images to a large audience, something Reynaud had achieved in his Théâtre Optique. Reynaud, however, had displayed drawings rather than images photographed by a motion-picture camera.
C The Lumière Brothers
In France, the brothers Auguste and Louis Lumière, who ran a factory in Lyons that manufactured photographic equipment, sought to improve on Edison』s accomplishment. By 1895 they developed a lightweight, hand-held camera that used a claw mechanism to advance the film roll. They named it the Cinématographe, and they soon discovered that it could also be used to show large images on a screen, when linked with projecting equipment. Throughout 1895 they shot films and projected them for select groups. Their first screening for the general public was held in Paris in December 1895.
Elsewhere other inventors were also busy. In Germany, the brothers Emil and Max Skladanowsky devised an apparatus and projected films in Berlin in November 1895. In Britain, a machine developed by Birt Acres and Robert W. Paul was used to project films in London in January 1896. In the United States, a projector called the Vitascope was constructed around the same time by Charles Francis Jenkins and Thomas Armat. Armat then entered into a commercial alliance with Edison to manufacture the Vitascope, and the device exhibited projected motion pictures in New York City in April 1896.
The Lumière brothers held a unique place among all these simultaneous efforts, since they were innovative filmmakers as well as inventors and manufacturers. The many films they made ring 1895 and 1896, though very short, are considered pivotal in the history of motion pictures. Arroseur et arrosé (Waterer and Watered, 1896), a brief comedy drawn from a newspaper cartoon, shows a gardener getting drenched with a hose as the result of a boy』s prank. La sortie de l』usine Lumière à Lyon (Workers Leaving the Lumiere Factory, 1895) and Arrivée d』un train en gare (Arrival of a Train at La Ciotat, 1896), which shows a train coming to a station and passengers getting off, were among the so-called actuality films—films that depicted actual events rather than a story told by actors—for which the Lumières became noted.
III ONE-REELERS
During the decade following the advent of projected motion pictures, films were shown as part of vaudeville or variety programs, at carnivals and fairgrounds, in lecture halls and churches, and graally in spaces converted for the exclusive exhibition of movies. Most films ran no longer than 10 to 12 minutes, which reflected the amount of film that could be wound on a standard reel for projection (hence the term one-reelers). Many were comedies or actualities, following the Lumière brothers』 example. Their purpose was spectacle—to show something astounding, unusual, titillating, or perhaps newsworthy. But filmmakers also struck out in new directions, especially toward fantasy and narrative.
French magician and filmmaker Georges Méliès was the outstanding creator of fantasy films in early cinema. Méliès exploited the new medium to enhance his magic acts through techniques such as stop-motion photography—interrupting the camera』s action and moving or substituting people and objects—so that, for example, a woman appeared to turn into a skeleton. He created elaborate backdrops with multiple scenes and costume changes for these so-called trick films that were widely emulated by other filmmakers. Of the hundreds of works he made between 1896 and 1912, perhaps the best-known is Le voyage dans la lune (A Trip to the Moon, 1902), which in one scene features the animated human face of the moon being struck in the eye by a rocket.
In the United States, a former projectionist and traveling exhibitor, Edwin S. Porter, took charge of motion-picture proction at Edison』s company in 1901 and began making longer films that told a story. As with Méliès』s films, these required multiple shots that could be edited into a narrative sequence. Porter』s most notable film—and the most famous work of early cinema—was The Great Train Robbery (1903), which is credited with establishing movies as a commercial entertainment medium. With its rapid shifts of location, including action on a moving train, this film offered spectators a breadth and immediacy of vision that became hallmarks of the cinema experience.
Spurred by The Great Train Robbery and subsequent story films, film exhibition greatly expanded in the United States around 1905. One phenomenon was the proliferation of nickelodeon theaters, converted storefronts in instrial cities that charged 5 cents for admission and attracted working-class audiences. Demand from these theaters increased the volume of film proction and the profits for procers, but it also brought forth criticism from reformers concerning unsanitary or unsafe conditions in theaters and immoral subject matter in films. In 1908 Edison took the lead in establishing the Motion Picture Patents Company (MPPC), a consortium of procers with common goals: controlling proction and distribution so as to eliminate cheap theaters, raising admission prices, cooperating with censorship bodies, and preventing film stock from getting into the hands of nonmember procers. However, the independent procers excluded from the MPPC continued to obtain materials and make the most popular films. They also led the way toward multireel, feature-length films. By 1915 the MPPC was under attack by the U.S. government as an illegal monopoly (although an ineffectual one), and the independents were combining into the companies that would dominate American filmmaking for decades to come.
IV SILENT MOVIES
With a few experimental exceptions, motion pictures from their earliest days until the late 1920s lacked synchronous sound (sound that matches the action). But silent movies were rarely silent. Early films almost always were projected with piano or organ accompaniment, and sometimes also with a narrator or live actors behind the screen. As feature-length films (four reels, with a running time of 40 to 50 minutes or more) became the norm in the 1910s, live orchestras began to play in larger theaters, frequently using music written specifically for the film.
Until World War I (1914-1918) European filmmakers dominated the world film market. France was considered the leading film-procing country, though Italy, Denmark, and other countries also played a significant role. However, the war, fought on European soil, disrupted commercial filmmaking there. With a sudden drop in European film exports, some regions, such as Latin America, experienced a brief surge in film proction. But U.S. companies soon took over markets overseas, using the same tactics of high-volume proction and lower prices that the Europeans had. By the 1920s some three-quarters of films screened around the world came from the United States.
A American Silent Movies
Even before the war, the United States had made its mark on the world filmmaking scene with epics and comedies. Moreover, U.S. moviemakers had begun to congregate in southern California in the Los Angeles suburb of Hollywood (see The Move to Hollywood, below), creating a film community apart from older urban centers of politics and the arts, and a magical new symbol for popular entertainment and glamour.
A1 D. W. Griffith
The work of D. W. Griffith exemplifies the transformation of motion pictures from the early days of one-reelers to an era of Hollywood』s worldwide dominance. Starting out as an actor in films directed by Edwin S. Porter, Griffith in 1908 became a director at the American Mutoscope and Biograph Company in New York City. He was initially responsible for turning out two one-reel films a week, and between 1908 and 1913 he directed nearly 500 films. Amidst this breakneck schele, he and his co-workers developed many of the cinema』s basic storytelling conventions: moving the camera close to the action, using many separate shots, and editing the shots to cut back and forth among different actions. All these techniques served to shape a narrative, rather than present a spectacle as earlier films had tended to do. Griffith also nurtured performers such as Mary Pickford and Lillian Gish and emphasized an intimate, restrained style of acting suitable for camera close-ups.
Leaving Biograph in 1913 to make full-length features, Griffith planned a historical epic of the American Civil War (1861-1865). The Birth of a Nation (1915), three hours in length, stunned audiences with its dazzling spectacle of a still-recent event and established motion pictures as an art form for cultured spectators. Yet the film』s racist presumptions—specifically, its defense of white supremacy to protect racial purity—was controversial in its own time and remains repugnant decades later. Griffith made another epic, Intolerance (1916), which intertwined four stories about victims of prejudice, and continued to work as an independent filmmaker into the 1920s. Eventually, financial pressures forced him to become a director at a Hollywood studio, and he made his last film in 1931.
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Ⅳ 100分求一關於英文經典電影的PPT（急用）
中文片名 勇敢的心
英文片名 Braveheart
影片類型 動作 / 劇情 / 戰爭 / 歷史 / 傳記
片長 177 min
國家 美國
對白語言 英語 法語 拉丁語
製作成本 25,000,000 (estimated)
票房成績 全美首映票房：$12,908,202.00 (單位:美元)
全美累計票房：$75,609,949.00 (單位:美元)
海外累計票房：$134,800,000.00 (單位:美元)
製作日期 1994年6月6日 - 1994年11月
攝影機 Panavision Cameras and Lenses
攝制格式 35 mm (Kodak)
洗印格式 35 mm
膠片長度 4750 m
演職員表
導演 梅爾·吉布森 Mel Gibson
編劇 Randall Wallace .....(written by)
演員
梅爾·吉布森 Mel Gibson .....William Wallac
蘇菲·瑪索 Sophie Marceau .....Princess Isabelle
詹姆斯·卡沙莫 James Cosmo .....Campbell
辛·麥金利 Sean McGinley .....MacClannough
布萊恩·考克斯 Brian Cox .....Argyle Wallace
安古斯·麥克菲登 Angus Macfadyen .....Robert the Bruce
艾倫·阿姆斯特朗 Alun Armstrong .....Mornay
凱瑟琳·麥克馬克 Catherine McCormack .....Murron MacClannough
布萊丹·格里森 Brendan Gleeson .....Hamish Campbell
湯米·弗拉納根 Tommy Flanagan .....Morrison
亞力克斯·諾頓 Alex Norton .....Bride's Father
彼得·穆蘭 Peter Mullan .....Veteran
製作人
梅爾·吉布森 Mel Gibson .....procer
艾倫·拉德二世 Alan Ladd Jr. .....procer
Bruce Davey .....procer
Dean Lopata .....associate procer
Stephen McEveety .....executive procer
Elisabeth Robinson .....associate procer
原創音樂
詹姆斯·霍納 James Horner
攝影
John Toll
剪輯
Steven Rosenblum
選角導演
Patsy Pollock
藝術指導
Thomas E. Sanders .....(as Tom Sanders)
美術設計
Ken Court
Nathan Crowley
John Lucas
Ned McLoughlin
布景師
Peter Howitt
服裝設計
Charles Knode
視覺特效
Michael L. Fink .....(as Michael Fink)
副導演/助理導演
Peter Agnew .....third assistant director: second unit
Paul Barnes .....third assistant director: second unit
Matt Earl Beesley .....second unit director
David Carrigan .....second assistant director
Paul Gray .....second assistant director
Kate Hazell .....second assistant director
Patrick Kinney .....second assistant director
Kieron Phipps .....first assistant director/first assistant director: second unit
Trevor Puckle .....second assistant director: second unit
Mic Rodgers .....second unit director
Charlotte Somers .....third assistant director: second unit
David Tomblin .....first assistant director
[編輯本段]〖製作發行〗
製作公司
20世紀福克斯公司 20th Century Fox [美國]
B.H. Finance C.V.
Icon Entertainment International
派拉蒙影業公司 Paramount Pictures [美國]
The Ladd Company [美國]
發行公司
20世紀福克斯家庭娛樂公司
Ⅵ 請幫忙！非常緊急！！！感激不盡！！關於電影發展
姓 名：呂克·貝松
出生日期：1959-03-18
出生地：法國巴黎
星 座：雙魚座
呂克·貝松被認為是歐洲的斯皮爾伯格，他的電影節奏明快，富於前沿時尚，風格詭異，幾乎每部影片都能激起人們的期待。代表作有：《地鐵》(1985年)、《碧海藍天》(1987年)、《尼基塔》(1989年)、《這個殺手不太冷》(1994年)、《第五元素》(1997年)、《聖女貞德》(1999年)。
進入21世紀以來，呂克·貝松完成了從導演向製作人和出品人的轉型，公眾的感覺是他一直致力於用大投資拍大片賺大錢，但他卻向媒體聲明，他是在打造一條電影生物鏈，用大製作養小製作，為年輕天才導演提供拍攝處女作的資金。尤其是近兩年，呂克·貝松更是被法國媒體冠以了「法國電影工業新大亨」或「影界法老」頭銜。從包裝國際明星，到成立超現代化的蒙太奇工作室「數字工廠」，還有在巴黎斥巨資1億歐元打造歐洲最大的55000平方米片場，呂克·貝松目的只有一個——叫板好萊塢。