Ⅰ 我要做一个英文的PPT谁能介绍一部【比较有深度的电影】
阿甘正传 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字左右英文的商业电影概念和起源、发展。
我找了下，商业电影是种电影分类，是以盈利性质来分的，没有找到它自己的起源发展。只找到了商业电影的制作，贴过来看看吧。
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.
关于概念的阐述，只找到了中文的，一起拿来参考下：（注意，不是上文的翻译）
商业电影
为营利而制作的影片，相对于艺术电影。
为盈利而制作的电影，相对于艺术电影。商业电影专指票房，从编剧到导演及演员均为此角度考虑
商业电影 Commeredia film
相为于艺术电影一词，一般指为营利而制作的影片。私人的电影工业大都以营利为主，因此生产的影片大都属于商业影片。在西方则以美国好莱坞为商业影片的大本营，重娱乐而不重现实。电影需要大量的观众，且观众也需要透过商业管道才能看到电影，但是这种商品性与商业电影的本质并非一致的，商业电影并非都是商业电影，而娱乐强的商业电影中具有社会性与艺术性的也不少。因此商业电影与电影的商品性被非一致。
文学艺术片本意为文学作品改编成的电影，现在已经是专门针对商业电影而言的一个定义。商业电影是相对于艺术电影，或者说文艺片而言的。顾名思义，艺术电影追求的是影片的艺术内涵，以行业认可为目标；商业电影追求的是票房及其衍生物的市场价值，以消费者认可为目标。所以我们所看到的所谓艺术电影的主题都是探求哲理、挖掘人性之类的深奥题材，拍摄手法不拘一格；而商业电影往往为了迎合广大观众的欣赏口味，拍摄手法以视听感官的刺激为方向，于是这个导演看见那个导演的方法受欢迎就拿来借鉴，日久天长就难免落入俗套。但事实上，在高度物质化的现代社会，即使是一部艺术电影也必须或多或少的考虑到自身的商业化效果，当然一部商业电影也或多或少带有艺术成分。完全的商业和完全的艺术几乎不存在。其实按照通俗标准来说，商业电影就是为了盈利而专门拍的电影，艺术电影则反之，不为了盈利，仅仅为了艺术、理论、宣传教育等而拍摄，但是市场经济以后，纯艺术电影丧失了生存和发展的环境和空间，于是我们现在经常看见所谓的文艺电影也在争夺影院票房，而许多商业大片为了追求更高的境界，同时也是提升其商业竞争力，而在一些技巧上借鉴艺术电影的视角或者手法，往往也获得票房和影评的双赢。所以说，严格的商业电影和艺术电影现在不仅没有狠严格的界限，而且十分模糊，甚至已经严重交叉，我们一般还是通过习惯性判断，和电影表达的内涵以及导演的执导思想来确定一部电影的大致方向。
Ⅲ 美国科幻电影发展历史
一、19世纪末到1920年代：好莱坞科幻片的成长期。
19世纪末，带有科幻色彩的影片几乎和娱乐电影同时在法国诞生，比如1895年的《机器屠夫》，1897年的《一位20世纪的外科医生》等。
但这些影片也许更像是在使用电影技术变魔术。
直到1902年法国人梅里埃推出《月球旅行记》（Le Voyage dans la Lune），才标志着第一部真正意义上的科幻电影出现。
1910年代，欧洲国家，尤其是法国和英国，似乎在拍摄关于外星人和未来战争的题材的科幻片上一马当先。
不过随着好莱坞制片厂制度的出现和发展，美国在科幻电影制作上奋起直追，生产了《科学怪人》（Frankenstein，1910）、《化身博士》（Dr. Jekyll and Mr. Hyde，1913）等影片，更值得一提的是于1916年生产的一部长达105分钟的《海底两万里》（20,000 Leagues Under the Sea），它开创了水下摄影的先河。
到了1920年代，美国科幻片开始和欧洲分道扬镳。
和德国《大都会》（Metropolis，1927）等欧洲科幻片相比，好莱坞科幻片更注重传奇的情节、快捷的节奏、惊险的动作和高超的特技。
这一时期好莱坞科幻片代表作有《失落的世界》（The Lost World，1925）和《神秘岛》（The Mysterious Island，1929）等。
二、1930年代和1940年代：好莱坞科幻片的成熟期。
从1930年代开始，好莱坞科幻片开始偏爱带有恐怖、悲观和浪漫色彩的疯狂科学家主题，并且开始连篇累牍地拍摄科幻电影系列片。
比如，这一时期出品了《科学怪人》（1931）、《科学怪人的新娘》（The Bride of Frankenstein，1935）和《科学怪人的儿子》（The Son of Frankenstein，1939），类似的还有《化身博士》系列和《飞侠哥顿》系列（Flash Gordon）。
而《隐身人》（The Invisible Man，1933）和《金刚》（King Kong，1933）都是当时产生的名作，它们延续并发展了好莱坞电影在特技运用和情节安排上的长处，并已经产生了独特的程式。
到了1940年代，由于二战的影响，好莱坞科幻片处于一个止步不前但却相对稳定的状态，在这个十年中生产的科幻碧唯片几乎都是从前题材的“后续系列”，比如《隐身女人》（The Invisible Woman，1940）、《隐身人归来》（The Invisible Man Returns，1940）和《隐身人复仇记》（The Invisible Man’s Revenge，1944）。
不过，这也同时巩固了好莱坞科幻片的叙事模式。
在1943年上映的《蝙蝠侠》（The Batman）中，日本科学家成为了邪恶的敌人，将好莱坞科幻片和战争宣传结合在了一起，这也是这一时期的特点。
三、1950年代和1960年代：好莱坞科幻片的繁荣期。
1950年代，也许是冷战笼罩在人们心理上的恐惧阴影加强了人们的想象力，好莱坞在此期间产生了大量科幻片佳作，它们常以外星人、怪兽或核战争为主题，睁慧拍也更加依赖特技的运用。
比如《地球停转之日》（The Day the Earth Stood Still，1951）、《X放射线》（Them!，1953）、《两万英寻下的怪兽》（The Beast from 20,000 Fathoms，1953）、《火星人入侵》（Invaders From Mars，1953）、《外星人大战地球》（The War of the Worlds，1953）悉羡、《盗尸者入侵》（Invasion of the Body Snatchers，1956）、《惑星历险》（Forbidden Pla，1956）、《苍蝇》（The Fly，1958）和讲述核战争的《海滨》（On the Beach，1959）等。
冷战对好莱坞科幻片的影响持续到了1960年代，比如1968年的《太空登月记》（Countdown）就以美苏军备竞赛为想象的源泉。
但正是在1960年代，产生了科幻片历史上的经典之作《2001太空漫游》（2001: A Space Odyssey，1968）。
这部美英合拍的影片无论在故事情节、思想内涵还是特技效果上都达到了相当的高度。
四、1970年代和1980年代：好莱坞科幻片在特技和故事之间保持平衡的时代。
特技的使用对好莱坞科幻片而言从来都是举足轻重的，而随着视觉效果技术的发展，特技和故事之间的张力逐渐开始加大。
究竟应该怎样将两者完美地结合起来？很多导演做出了他们的尝试。
乔治·鲁卡斯（Gee Lucas）的《THX1138》（THX1138，1971）和《星球大战》（Star Wars，1977）、伍迪·艾伦（Woody Allen）的《傻瓜大闹科学城》（Sleeper，1973）、史蒂文·斯皮尔伯格（Steven Spielberg）的《第三类接触》（Close Encounters of the Third Kind，1977）以及雷德利·斯科特的《异形》（Alien，1979）无疑是70年代几个成功的范例。
到了80年代初和80年代中期，好莱坞科幻片的特技效果制作给观众带来了前所未有的神奇体验，而同时这些科幻电影又能提供给他们一个值得品味的故事。
比如乔治·鲁卡斯在80年和83年相继推出气势宏大的《星战之帝国反击战》（Star Wars: The Empire Strikes Back）和《星战之杰迪归来》（Star Wars: Return of the Jedy），史蒂文·斯皮尔伯格温情脉脉的《ET外星人》（E.T. the Extra-Terrestrial，1982），詹姆斯·卡梅隆（James Cameron）的《终结者》（The Terminator，1984）以及罗伯特·泽米基斯（Robert Zemeckis）的《回到未来》（Back to the Future，1985）等。
五、1990年至今：好莱坞科幻片在高科技中探索前进
随着计算机技术的应用，好莱坞科幻片开始大量倚赖电脑合成影像（CGI），并将其发挥至极，但在同时却忽视了故事本身的重要性。
90年代以后的好莱坞科幻片在故事上乏善可陈，在视觉效果则上富有极大的冲击力，画面也更加精 *** 真。
《独立日》，《侏罗纪公园》系列，《星战前传》第一部(Star Wars: Episode I-The Phantom Menace，1999)和第二部（Star Wars: Episode II- Attack of the Clones，2002）等影片将观众培养得对那些花费高昂的特技大场面甚至开始司空见惯起来。
当令人眼花缭乱的电脑特技在银幕上趋向于饱和的时候，好莱坞科幻片也同时开始迷失了方向。
随着科技的进步，好莱坞科幻片开始探索新的主题，比如克隆技术和智能机器人对人类社会的深远影响。
Ⅳ 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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Ⅳ 100分求一关于英文经典电影的PPT（急用）
中文片名 勇敢的心
英文片名 Braveheart
影片类型 动作 / 剧情 / 战争 / 历史 / 传记
片长 177 min
国家 美国
对白语言 英语 法语 拉丁语
制作成本 25,000,000 (estimated)
票房成绩 全美首映票房：$12,908,202.00 (单位:美元)
全美累计票房：$75,609,949.00 (单位:美元)
海外累计票房：$134,800,000.00 (单位:美元)
制作日期 1994年6月6日 - 1994年11月
摄影机 Panavision Cameras and Lenses
摄制格式 35 mm (Kodak)
洗印格式 35 mm
胶片长度 4750 m
演职员表
导演 梅尔·吉布森 Mel Gibson
编剧 Randall Wallace .....(written by)
演员
梅尔·吉布森 Mel Gibson .....William Wallac
苏菲·玛索 Sophie Marceau .....Princess Isabelle
詹姆斯·卡沙莫 James Cosmo .....Campbell
辛·麦金利 Sean McGinley .....MacClannough
布莱恩·考克斯 Brian Cox .....Argyle Wallace
安古斯·麦克菲登 Angus Macfadyen .....Robert the Bruce
艾伦·阿姆斯特朗 Alun Armstrong .....Mornay
凯瑟琳·麦克马克 Catherine McCormack .....Murron MacClannough
布莱丹·格里森 Brendan Gleeson .....Hamish Campbell
汤米·弗拉纳根 Tommy Flanagan .....Morrison
亚力克斯·诺顿 Alex Norton .....Bride's Father
彼得·穆兰 Peter Mullan .....Veteran
制作人
梅尔·吉布森 Mel Gibson .....procer
艾伦·拉德二世 Alan Ladd Jr. .....procer
Bruce Davey .....procer
Dean Lopata .....associate procer
Stephen McEveety .....executive procer
Elisabeth Robinson .....associate procer
原创音乐
詹姆斯·霍纳 James Horner
摄影
John Toll
剪辑
Steven Rosenblum
选角导演
Patsy Pollock
艺术指导
Thomas E. Sanders .....(as Tom Sanders)
美术设计
Ken Court
Nathan Crowley
John Lucas
Ned McLoughlin
布景师
Peter Howitt
服装设计
Charles Knode
视觉特效
Michael L. Fink .....(as Michael Fink)
副导演/助理导演
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
[编辑本段]〖制作发行〗
制作公司
20世纪福克斯公司 20th Century Fox [美国]
B.H. Finance C.V.
Icon Entertainment International
派拉蒙影业公司 Paramount Pictures [美国]
The Ladd Company [美国]
发行公司
20世纪福克斯家庭娱乐公司
Ⅵ 请帮忙！非常紧急！！！感激不尽！！关于电影发展
姓 名：吕克·贝松
出生日期：1959-03-18
出生地：法国巴黎
星 座：双鱼座
吕克·贝松被认为是欧洲的斯皮尔伯格，他的电影节奏明快，富于前沿时尚，风格诡异，几乎每部影片都能激起人们的期待。代表作有：《地铁》(1985年)、《碧海蓝天》(1987年)、《尼基塔》(1989年)、《这个杀手不太冷》(1994年)、《第五元素》(1997年)、《圣女贞德》(1999年)。
进入21世纪以来，吕克·贝松完成了从导演向制作人和出品人的转型，公众的感觉是他一直致力于用大投资拍大片赚大钱，但他却向媒体声明，他是在打造一条电影生物链，用大制作养小制作，为年轻天才导演提供拍摄处女作的资金。尤其是近两年，吕克·贝松更是被法国媒体冠以了“法国电影工业新大亨”或“影界法老”头衔。从包装国际明星，到成立超现代化的蒙太奇工作室“数字工厂”，还有在巴黎斥巨资1亿欧元打造欧洲最大的55000平方米片场，吕克·贝松目的只有一个——叫板好莱坞。