1. 帮忙找电影发展史的英语版本，万分感谢
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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An introction of the history of Chinese films in English.
中国电影发展史的英文介绍
3. 想知道中国悬疑电影的发展史。。。英语演讲要用。。。有英语的更好，还要当时的一些代表作。。。
中国有吗？ 不知道，你选的演讲的主题也太有挑战性了，素材太空乏了啊，怎么写
难啊，中国的悬疑电影到现在都是这种水平...你在网上搜搜香港的，合到一起，香港的电影发展比较好
4. 英文电影发展史
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片》中把电影的发展历史分为三部分:经济、政治社会、 艺术,另外还有媒介发展史,我认为这是非常合理的。...法国电影企业的发展是这方面最早的一例。 无在好莱 坞电影企业出现以前,查尔斯·百代就开始了一场控制这一...
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也就是法国的1897型75里面口径速射炮,法国人最引以为豪的一个骗局!辰天记得法国的这种速射炮算得上火炮发展史上的...免费电影小说漂亮mm来啊 插入书签 上一篇 下一篇 首页 => 历史 => 请叫我威廉三世 繁体 0.33659...
———贡布里西《艺术发展史》 我要到南方去找更强烈的光线和色彩。南方的小城凡度山、阿维庸、桔城、尼姆、阿尔勒...于是聊起蔡明亮的电影罗大佑的歌,颇为投机。他们说起因为假期预算有限,在法国期间只选择了三个城市:巴黎,阿维庸和...
这座最早由法国人建起,最后被美国人买去的城市,新奥尔良,位于密西西比河河口,它是爵士乐的起源地,它的历史几乎就是一部爵士乐的发展史。无论著名的红灯区storyville有怎样狂欢的夜晚,无论林肯南下后多少年,那些爵士歌手唱的都是密西西比河...
5. 英语介绍 香港电影发展史
VERY HARD```
6. 征求一篇关于我国电影发展史的英文稿
欣逢中国电影百年华诞，是我们这代人的幸运。值此承前启后的时光节点，我们很想做些实事，在下一个百年为拓展中国电影史研究尽绵薄之力。
目前我们能读到的最早的中国电影史著述有两种，
即1934年版《中国电影年鉴》刊载的谷剑尘著《中国电影发达史》和1936年版《近代中国艺术发展史》收入的郑君里著《现代中国电影史略》。两位著者在这一领域有筚路蓝缕之功，其目力笔力所及，止于中国电影初创时期的影事轶闻。
新中国成立后，在电影史方面产生重要影响的首推程季华主编两卷本《中国电影发展史》。该书“十年磨一剑”，于1950年开始酝酿，从全国各地搜寻有关中国电影的资料、报刊、说明书、剧照和海报，1958年正式立项投入写作，1962年修改定稿；有关领导为慎重起见，决定以“初稿”方式出版，1963年首次开印4200册销售一空。三位编著者当初面对中国电影史研究这片“尚未开垦的处女地”，四处搜集积微成著，整合资源殊为可观——正文里片名索引达1336部(次)，影人人名索引为985人（次），刊发图片、剧照819幅；附录里提供了1905年至1949年间出品的国产片目录，程季华称这部书稿为“第一次的、极为初步的关于中国电影历史情况的一份调查报告”。尽管从今天的眼光来看，《中国电影发展史》还存在不少偏颇，但让编著者引以为荣的是，在史料搜集这一点上赢得了海内外专业人士的认可，如1986年版《剑桥中国史·中国民国史》强调“这部两卷著作至今仍是研究中国电影的内容包罗最广的著作”。
On the occasion of the founding of the China Film century, our generation is lucky. On the occasion of the link between past and future nodes time, we want to do practical things in the next 100 years for China to expand study of the history of film to make modest. At present, we can read the earliest Chinese writing the history of film, there are two, that is, the 1934 edition of "China Film Year Book," published in the sword-st "the history of Chinese film developed" and the 1936 edition of "Modern Chinese History of the development of the arts," the income of Zheng Junli "Modern Chinese History of cinema."The two authors in this field have the arous work and vision of its total power as far as I can, beyond the start-up period of Chinese film about the impact of anecdotal things.
After new China was founded in film history have a major impact on most of the quarter-China editor-in-chief of the two-volume "History of the development of Chinese film." The book, "10-year Sword", began in 1950, from all over the country to search for information on China's film, newspapers, periodicals, brochures, posters and stills, officially approved in 1958 into writing, to amend the final version in 1962; about the leadership cautious for the Purposes, the decision to "first draft" of the press, opened for the first time in 1963 and India 4200 sold out.Bianzhu three who had the face of China's film study of the history of this "has not yet opened up the virgin land", to gather around the plot into a micro-book, for the integration of resources is significant - the body of the index reached title in 1336 (), film names index 985 to 000 (times), published photos, stills 819; provided in the appendix from 1905 to 1949 between the films proced catalog-quarter of China said that this manuscript as "the first time, very preliminary film on the history of China A survey report. "Although today's point of view, "the development of Chinese film history" there are still a lot of bias, but Bianzhu so proud of those who, in collecting historical data on this point at home and abroad to win professional recognition, such as the 1986 version of the "Cambridge Chinese History of Chinese history in "stress" of the two volumes of this book is still the study of Chinese film the widest coverage for the contents of the book. "
7. 美国电影史英文版
英译：For a long time, the United States only to the film as a means of entertainment to Hollywood as a story and fantasy proction factories, so first of all note that the movie business value. However, after 70 years, the American film has been great development in academic research. In 1967, both in Washington and Los Angeles have established the American Film Institute (AFI). Film Archive, throughout the United States, including important ones are the New York Museum of Modern Art, Rochester's Eastman Film Archive, the Library of Congress, Washington, Berkeley Pacific Film Archive. 8 large film company has disintegrated or converting 60 years after the
A large number of film and archives donated to the museum and the University Film Studies Center, the study of national film traditions, protect their heritage plays a significant role in the film.
By 1900, Hollywood has a post office, a newspaper, a hotel and two markets, its residents number 500. 100,000 population in Los Angeles in the city, 11 kilometers east. In Hollywood and Los Angeles have only a single-track tram. 1902 Hollywood hotel, now known as the first part of the opening. In 1903, here upgraded to the city's 177 voting residents of the right to vote unanimously endorsed by the "Hollywood," named after whom. That year under the two commands are: In addition to pharmacies in other stores outside the prohibition, and no amount of driving in the streets more than 200 cattle. 1904
A new so-called Hollywood Avenue streetcar opened, so that between the Hollywood and Los Angeles round-trip time significantly shortened. In 1910, Hollywood residents voted to join the Los Angeles. The reason is so that they can be in Los Angeles drinking water and access to adequate drainage facilities.
In 1907, director Francis Burgess led his crew arrived in Los Angeles, filming "Count of Monte Cristo." They found that, where beautiful natural scenery, plenty of light and suitable climate is the natural place for filming. The early 1910s, director David Griffith Biograph company was sent to the West Coast to make a film, he took Lillian Gish, Mary-bi g-fu and other actors came to Los Angeles. They were then looking for a new site, so proceed north, came a warm small town, and that is Hollywood. Biograph company found here in good condition
So back to New York before they filmed several movies. Graally many people in the instry know that invaluable piece of land, to the increasing number of Hollywood movie crew, the U.S. film instry moved to Hollywood's big movement started, Hollywood movies have to be forward.
October 1911, a group from New Jersey to film-makers on the ground that under the leadership of the photographer came to a small Inn called Bu Lang, they will rent the inn converted into a studio look. In this way, they created Hollywood's first film studio - Ernest Pictures.
Since then, many film companies settled in Hollywood, the famous film companies: MGM (Metro Goldwyn Mayer, called MGM), Paramount Pictures (Paramount Pictures, Inc.), Twentieth Century Fox (20th Century Fox), Warner Bros. (Warner Brothers), RKO (Radio Keith Orpheum, referred to as RKO), Universal (Universal), United Artists Corporation (United Artists), Columbia Pictures (Columbia Pictures).
【中文】
关于美国电影
长期以来，美国只把电影看作是娱乐手段，把好莱坞当成生产故事和幻想的工厂，因此首先注意影片的商业价值。但是，70年代前后，美国电影学术研究有了很大的发展。1967年，在华盛顿和洛杉矶两地成立了美国电影研究院（AFI）。电影资料馆遍布全美，其中重要的有纽约现代艺术博物馆、罗切斯特的伊斯曼电影数据馆、华盛顿国会图书馆、伯克利太平洋电影资料馆等。8大影片公司于60年代先后解体或转产之后，影片和档案大量捐赠给上述资料馆和各大学的电影研究中心，对研究本国电影传统、保护本国电影文物起着很大作用。
二十世纪的好莱坞：到1900年，好莱坞已经有一间邮局、一张报纸、一座旅馆和两个市场，其居民数为500人。10万人口的洛杉矶位于市东11公里处。在好莱坞和洛杉矶间只有一条单轨的有轨电车。1902年，今天著名的好莱坞酒店的第一部分开业。1903年，此地升格为市，参加投票的177位有选举权的居民一致赞同以“好莱坞”为之命名。当年下的两条命令是：除药店外其他商店禁酒，及不准在街上驱赶数量多于200的牛群。1904年，一条新的被称为好莱坞大街的有轨电车开业，使好莱坞与洛杉矶间的往返时间大大缩短。1910年，好莱坞的居民投票决定加入洛杉矶。原因是这样他们可以通过洛杉矶取得足够的饮水和获得排水设施。
1907年，导演弗朗西斯·伯格斯带领他的摄制组来到洛杉矶，拍摄《基督山伯爵》。他们发现，这里明媚的自然风光、充足的光线和适宜的气候是拍摄电影的天然场所。1910年代初，导演大卫·格里菲斯被Biograph公司派到西海岸来拍电影，他带着丽莲·吉许、玛丽·璧克馥等演员来到了洛杉矶。他们后来想寻找一块新的地盘，于是向北出发，来到了一个热情的小镇，那就是好莱坞。Biograph公司发现此地条件不错，于是在回纽约前又陆续拍了好几部电影。渐渐许多业内人士都知道了这块宝地，到好莱坞的电影剧组越来越多，美国电影业移师好莱坞的大转移开始，好莱坞向成为电影之都迈进。
1911年10月，一批从新泽西来的电影工作者在当地以为摄影师的带领下，来到一家叫布朗杜的小客栈，他们将租到的客栈改装成一家电影公司的样子。这样，他们创建了好莱坞的第一家电影制片厂——内斯特影片公司。
从那以后，许多电影公司在好莱坞落户，著名的电影公司有：米高梅电影公司（Metro Goldwyn Mayer，简称MGM）、派拉蒙影业公司（Paramount Pictures, Inc.）、二十世纪福克斯公司（20th Century Fox）、华纳兄弟公司（Warner Brothers）、雷电华公司（Radio Keith Orpheum，简称RKO）、环球公司（Universal）、联美公司（United Artists）、哥伦比亚影业公司（Columbia Pictures）。
8. 求电影发展历史的资料，一定要英文的啊
样才能学好数学呢？现介绍几种方法以供参考：
一、课内重视听讲，课后及时复习。
新知识的接受，数学能力的培养主要在课堂上进行，所以要特点重视课内的学习效率，寻求正确的学习方法。上课时要紧跟老师的思路，积极展开思维预测下面的步骤，比较自己的解题思路与教师所讲有哪些不同。特别要抓住基础知识和基本技能的学习，课后要及时复习不留疑点。首先要在做各种习题之前将老师所讲的知识点回忆一遍，正确掌握各类公式的推理过程，庆尽量回忆而不采用不清楚立即翻书之举。认真独立完成作业，勤于思考，从某种意义上讲，应不造成不懂即问的学习作风，对于有些题目由于自己的思路不清，一时难以解出，应让自己冷静下来认真分析题目，尽量自己解决。在每个阶段的学习中要进行整理和归纳总结，把知识的点、线、面结合起来交织成知识网络，纳入自己的知识体系。
二、适当多做题，养成良好的解题习惯。
要想学好数学，多做题目是难免的，熟悉掌握各种题型的解题思路。刚开始要从基础题入手，以课本上的习题为准，反复练习打好基础，再找一些课外的习题，以帮助开拓思路，提高自己的分析、解决能力，掌握一般的解题规律。对于一些易错题，可备有错题集，写出自己的解题思路和正确的解题过程两者一起比较找出自己的错误所在，以便及时更正。在平时要养成良好的解题习惯。让自己的精力高度集中，使大脑兴奋，思维敏捷，能够进入最佳状态，在考试中能运用自如。实践证明：越到关键时候，你所表现的解题习惯与平时练习无异。如果平时解题时随便、粗心、大意等，往往在大考中充分暴露，故在平时养成良好的解题习惯是非常重要的。
三、调整心态，正确对待考试。
首先，应把主要精力放在基础知识、基本技能、基本方法这三个方面上，因为每次考试占绝大部分的也是基础性的题目，而对于那些难题及综合性较强的题目作为调剂，认真思考，尽量让自己理出头绪，做完题后要总结归纳。调整好自己的心态，使自己在任何时候镇静，思路有条不紊，克服浮躁的情绪。特别是对自己要有信心，永远鼓励自己，除了自己，谁也不能把我打倒，要有自己不垮，谁也不能打垮我的自豪感。
在考试前要做好准备，练练常规题，把自己的思路展开，切忌考前去在保证正确率的前提下提高解题速度。对于一些容易的基础题要有十二分把握拿全分；对于一些难题，也要尽量拿分，考试中要学会尝试得分，使自己的水平正常甚至超常发挥。
由此可见，要把数学学好就得找到适合自己的学习方法，了解数学学科的特点，使自己进入数学的广阔天地中去。
如何学好数学2
高中生要学好数学，须解决好两个问题：第一是认识问题；第二是方法问题。
有的同学觉得学好教学是为了应付升学考试，因为数学分所占比重大；有的同学觉得学好数学是为将来进一步学习相关专业打好基础，这些认识都有道理，但不够全面。实际上学习教学更重要的目的是接受数学思想、数学精神的熏陶，提高自身的思维品质和科学素养，果能如此，将终生受益。曾有一位领导告诉我，他的文科专业出身的秘书为他草拟的工作报告，因为华而不实又缺乏逻辑性，不能令他满意，因此只得自己执笔起草。可见，即使将来从事文秘工作，也得要有较强的科学思维能力，而学习数学就是最好的思维体操。有些高一的同学觉得自己刚刚初中毕业，离下次毕业还有3年，可以先松一口气，待到高二、高三时再努力也不迟，甚至还以小学、初中就是这样“先松后紧”地混过来作为“成功”的经验。殊不知，第一，现在高中数学的教学安排是用两年的时间学完三年的课程，高三全年搞总复习，教学进度排得很紧；第二，高中数学最重要、也是最难的内容（如函数、立几）放在高一年级学，这些内容一旦没学好，整个高中数学就很难再学好，因此一开始就得抓紧，那怕在潜意识里稍有松懈的念头，都会削弱学习的毅力，影响学习效果。
至于学习方法的讲究，每位同学可根据自己的基础、学习习惯、智力特点选择适合自己的学习方法，我这里主要根据教材的特点提出几点供大家学习时参考。
l、要重视数学概念的理解。高一数学与初中数学最大的区别是概念多并且较抽象，学起来“味道”同以往很不一样，解题方法通常就来自概念本身。学习概念时，仅仅知道概念在字面上的含义是不够的，还须理解其隐含着的深层次的含义并掌握各种等价的表达方式。例如，为什么函数y=f(x)与y=f-1(x)的图象关于直线y＝x对称，而y=f(x）与x=f-1(y)却有相同的图象；又如，为什么当f（x－l）＝f（1-x)时，函数y=f(x)的图象关于y轴对称，而 y＝f（x－l）与 y＝f（1-x)的图象却关于直线 x＝1对称，不透彻理解一个图象的对称性与两个图象的对称关系的区别，两者很容易混淆。
2‘学习立体几何要有较好的空间想象能力，而培养空间想象能力的办法有二：一是勤画图；二是自制模型协助想象，如利用四直角三棱锥的模型对照习题多看，多想。但最终要达到不依赖模型也能想象的境界。
3、学习解析几何切忌把它学成代数、只计算不画图，正确的办法是边画图边计算，要能在画图中寻求计算途径。
4、在个人钻研的基础上，邀几个程度相当的同学一起讨论，这也是一种好的学习方法，这样做常可以把问题解决得更加透彻，对大家都有益。
9. 求一篇电影发展史的作文，大学的，150字左右，要英文的急求！
The history of film spans over 100 years, from the latter part of the 19th century to the present day. Motion pictures developed graally from a carnival novelty to one of the most important tools of communication and entertainment, and mass media in the 20th century and into the 21st century. Most films before 1930 were silent. Motion picture films have substantially affected the arts, technology, and politics.
The cinema was invented ring the 1890s, ring what is now called the instrial revolution. It was considered a cheaper, simpler way to provide entertainment to the masses. Movies would become the most popular visual art form of the late Victorian age. It was simpler because of the fact that before the cinema people would have to travel long distances to see major dioramas or amusement parks. With the advent of the cinema this changed. During the first decade of the cinema's existence, inventors worked to improve the machines for making and showing films. The cinema is a complicated medium, and before it could be invented, several technological requirements had to be met
10. 高分跪求美国科幻电影发展史英文介绍！急！急！只要回答出来悬赏好说！！
英文介绍：First, the 19th to in the 1920s, Hollywood sci-fi growth. 19 century, with the science fiction film of color film also almost and entertainment, was born in France, for example in 1895 "machine", the 1897 butcher "a 20th century surgeon", etc. But these movies, perhaps more like film technology in use of magic. Until 1902 French launched the trip to the moon meili ella record "(Le Voyage dans la Lune), just marked the first real sense of science fiction movie appear. In 1910, European countries, especially France and Britain, it seems that the filming of alien and future war theme befriends the lead on. But with Hollywood studios system's appearance and development, the United States in science fiction film proction, and proced on catching Frankenstein (Frankenstein, 1910, the incarnation Dr Jekyll and "(Dr. Mr. J, 1913) films Hyde, more remarkably in 1916 proction of a minister of 105 minutes of the seabed 20,000 miles" (20,000 Leagues Under the Sea), it heralds the beginning of underwater photography. Arrived in the 1920s, the United States and Europe separate. Start sci-fi And Germany "Metropolis" (Metropolis, 1927) and other European science fiction, compared to Hollywood legend of paying more attention to science fiction plot, fast rhythm, breathtaking action and superb stunts. This period Hollywood sci-fi inclue The Lost World "(The World Lost, 1925) and The Mysterious Island (The Mysterious Island, 1929), etc. Second, the 1930s and 1940s, Hollywood sci-fi mature. Start from the 1930s Hollywood science fiction begin with terror, pessimistic preference and romantic colorific mad scientist theme, and began to shoot science fiction movie endless series. For example, this period proced Frankenstein (1931), The scientific weirdo Bride "(The Bride of Frankenstein, 1935) and science screwball Son" (The companies of Frankenstein, 1939), as are The embodiment "series and The xia dr Gordon" series (Flash Gordon). But "The Invisible Man" (The Invisible Man, 1933) and "King Kong" (King Kong, 1933) are masterpieces proced at that time, they continue to develop Hollywood movies in special use and plot arrangement's strengths, and has proced unique program. Arrived in The 1940s, e to The effects of world war ii, Hollywood science fiction in a immobilized but relatively stable state, in this decade is almost always a proction befriends formerly, The theme of "following series", for instance, The stealth women "(The Invisible ', 1940)," The Invisible Man Returns "(The Invisible Man Returns, 1940) and" The Invisible Man Revenge record "(The Invisible Man 's Revenge, 1944). However, this also strengthened Hollywood befriends the narrative mode. In 1943, released on "Batman (The Batman), Japanese scientists become evil adversaries, Hollywood science fiction and war propaganda combine together, this also is this period characteristic. Third, the 1950s and 1960s: Hollywood befriends the boom. In the 1950s, perhaps is cold war shrouded in psychological fear shadows to strengthen people's imagination, Hollywood ring this period proce a lot of science fiction bestseller, they often in an alien, monster or wars as the theme, also more dependent on the use of stunts. Such as The Day The Earth Stood Still "(The Earth Stood Still, / The 1951), The X radiation" (- 1953), The!, The monster 20,000 Fathoms "(The Beast - 20,000 Fathoms, 1953), The Martian Invasion" (Invaders - Mars, 1953), The alien War Earth "(The court allows of The Worlds, 1953), The stolen corpse invade" (Invasion of The Body Snatchers, 1956), The planets adventure "(Forbidden invest, 1956)," flies "(The Fly, 1958) and tells The nuclear War" (On The seashore ok, 1959), etc. The influence of cold war on Hollywood sci-fi continued in the 1960s, such as in 1968 moon record "(" space with the Countdown) u.s.-soviet arms race for the source of imagination. But it is in the 1960s, proced in the history of science fiction classic 2001: A Space Odyssey (2001: A receiver by Odyssey, 1968). The British and American films had both in the story line and ideological content or special effects are achieved considerable height. Four, 1970s and 1980s: Hollywood stunt and in science fiction story balance between the age. Special use for Hollywood science fiction character never to be significant, and with the visual effect technology development, the stunt and stories of the tension between graally began to increase. What do will both perfectly combine? Many directors made their attempt. George Lucas (George Lucas) "THX1138" (THX1138, 1971) and Star Wars (1977), Star altogether, Woody Allen (Woody Allen's sport in the fool with science city "(Sleeper, 1973), Steven Spielberg (Steven Spielberg) Close Encounters of the Third Kind (Close Encounters of the Kind, 1977) and makkah Bradley Scott" aliens "(essential, 1979) is undoubtedly 1970s several successful examples. At the beginning of the 1980s and the 1980s, Hollywood sci-fi special effects for making brings undreamed-of magical experience, and at the same time these science fiction films and provide them a worthy of taste story. Such as George Lucas in 80 years and 83 launched baronial imposing manner of The Star Wars of The Empire Strikes Back, (Star altogether: The foundation trilogy "cross-face drivers) and The Star Wars of The Return of The jedi (Star altogether: pressing of The Jedy), Steven spielberg's smoldering" ET alien "(E.T. The Extra Terrestrial, 1982) -, James Cameron (James Cameron) of The Terminator (The Terminator, 1984), and Robert Zemeckis ze meters Keith (Robert)" Back to The Future "(Back to The Future, 1985), etc. Five, since 1990, Hollywood science fiction in high-tech exploring the way forward along with the computer technology, the application of Hollywood sci-fi started mass rely on computer synthesis images (CGI), and its play extremely, but at the same time ignores the story itself importance. After 1990s Hollywood in science fiction story fareed zakaria, visual effect is in the very great impact, the picture is more exquisite realistic. "Independence day", "Jurassic park" series, Star Wars prequel "first (Star altogether: Episode I - The Phantom through, 1999) and The second part (Star Episode II - STH altogether: of The Clones, 2002) films will cultivate right audience who expensive stunt big occasion even started commonplace to rise. When dizzying computer special effects on the screen tend to glut, Hollywood sci-fi also began to lose their orientation. With the progress of science and technology, Hollywood sci-fi began to explore new themes, such as cloning technology and intelligent robot on human society profound influence.