电影起源英文

⑴ 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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⑵ 什么是电影

电影: diàn yǐng
1. movie
2. film
一种综合艺术，用强灯光把拍摄的形象连续放映在银幕上，看起来像实在活动的形象。

从有声电影到现在 已经发展到了科技的时代 运用大量的电脑特级 制作出来的电影 受广大中年以下的朋友欢迎

电影起源
电影资料库
“电影的史前史几乎和它的历史一样长”作为现代科学技术的产物，电影的诞生，确实经历了欧洲国家中许多的科学家、发明家，甚至模仿者的漫长的实验过程。他们在对运动的光学幻觉所进行的科学探索与实验，在时间上，可以追溯到19世纪初。但人类对于“光影理论”的认识与应用，便可以从2000多年前的中国讲起。据文字记载公元前五世纪，墨子关于“光至景（影）亡”的学说，则是人类对“光学理论”的最早、最科学的贡献。而产生于汉武帝时期，并在唐宋以后广为流传的“灯影戏”，则是对“光学理论”的最初、最朴素的应用与实践。13世纪“灯影戏”传入中东、欧洲、东南亚等地，这便产生了以后的“幻灯”“走马灯”等形象的、运动的视游戏。电影正是起源于这些视学娱乐游戏之中。至于电影的发明所依据的科学技术、物理学原理，则主要有以下三个方面。

《大英网络全书•电影史部分》，开篇第一句话。

一百年前人们这样看电影

让我们穿越时光，回到一个世纪前的中国电影院。那是些狭小的茶馆、茅亭、布篷，简易的银幕上，影像犹如大雨落下般摇曳不定……

■电影来到中国，第一个亮相处是雅致的徐园

电影出生不久，便漂洋过海来到中国。第一个落脚地是上海，在上海的第一个亮相处则是徐园。1896年8月10日到14日，《申报》连续刊登了徐园的电影广告：“西洋影戏客串戏法，定造新样奇巧电光焰火……陈设各种古玩，异果奇花，群芳谱曲，以助雅兴。”
徐园到底是何模样？电影在上海着胎的第一驿到底是何般景致？在清宣统元年（1909年）出版的《图画日报》上，笔者找到了一段对于徐园的介绍：“徐园又名双清别墅，为浙丝商徐棣三君之别业。初在老闸唐家弄，虽地只三亩有奇，而花木扶疏，亭台曲折……今迁新闸义袋角康脑脱路五号，布置悉乃其旧。而园址已宽至五亩有余。园主刻为棣三先生之喆嗣贯云凌云二君，精书画娴吟咏……洋场十里中有此一园，殊足扑去俗尘三斗也。”
电影除了在收费的诸如徐园这样的游艺场所里放映，也可以在临时搭盖的茅亭里找到踪影。当时人们把这样的夜游之地称为“夜花园”：“上海之有夜花园，非近岁始矣，溯自西人研究卫生，每当夏秋之交，禁止游人在各花园夜游后，知有利而不知有害者，乃纷纷在租界之界限附近搭盖茅亭数座，藉供暑夜游客憩息，并假以花园为名，除售茶酒之外，并雇滩簧影戏等一切玩意以广招徕。”
看来，在20世纪之初的上海仲夏夜，已经有露天电影的放映活动了。那时片子的内容“无非是一艘大轮船，自烟波浩渺中开来，越开越近。看到乘客的活动，熙熙攘攘，上上下下……又有所谓滑稽片，也无非是一个闯祸者逃跑，人们和警察一起追，闯祸者在慌急中撞倒了行路人，撞翻了小贩的货摊等等。祸越闯越大，行人和小贩协助追拿。终于把这闯祸者抓到，这闯祸者做出许多丑怪怜相，观众为之哈哈大笑，认为很是滑稽，带着满意的心情离场而去，让第二场观众再来赏奇涉胜。”
电影还会在一种半流动的临时撑起的布篷里上演：“放映电影设在临时搭建的大布篷里，几条长板凳，观众纳几个铜元，即为入幕之宾。那些长凳，安置在泥砾地上，高低不平，坐着很不舒适。时间长一些是吃不消的。幸而都是短片。一下便完了。”

■藏污纳垢的青莲阁，影戏喧哗，热闹异常

电影放映地点还有茶楼，而最有代表性的是四马路的青莲阁。因为这里是电影大亨、西班牙人雷玛斯租下一间房、第一次放电影的地方，一个远近闻名的集赌场、妓院和帮会活动于一体的地方。
青莲阁原名华总会茶楼，分为上下两层。楼上是喝茶的地方，楼下则是各种游艺活动场所，而且不收入门费。“什么幻灯片，西洋镜，打弹子，珍禽异兽，高矮畸形人等，可谓五花八门，供人参观，生意很盛。”
这繁华之处便是电影放映商雷玛斯发家的地方，他慧眼独具，选中了这个地段热闹，人流量大，交通便利的茶楼作为营业地点。不过程步高在回忆录中对青莲阁的评价并不高尚：“青莲阁是流氓世界，青莲阁是人肉市场，青莲阁是个鬼地方，青莲阁是茶楼，是游乐场，其实是个藏污纳垢之处，是个罪恶的渊薮。九教三流，地痞流氓，帮会弟兄，巡捕暗探，互通声气，互争进账。”
据说，当年雷玛斯在这个地方放映电影自有一套经营策略：“他在青莲阁楼下租赁了一间小房作为放映室，挂起照片，贴出广告，又雇了几个印度人，穿着花花绿绿的衣服，在门口拿着喇叭、铜鼓大吹大擂。放映电影时，还不时地撩开放映室的门帘以招徕顾客。电影每场十五分钟，一部机器放映，换片要停几分钟。每天放映好几场，果然赚了大钱。”

电影原理

一、视觉滞留

“使一块燃烧着的木炭在被挥动时变成一条火带，这种现象曾被古时的人们发现过”但是，将这种视觉现象同电影的发明联系起来，却是19世纪的事情。1829年，比利时著名的物理学家约瑟夫·普拉托为了进一步考察人眼耐光的限度，以及对物象滞留的时间，他曾一次长时间对着强烈的日光凝目而视，结果双目失明。但他发现太阳的影子却深深地印在了他的眼睛里。他终于发现了“视觉滞留”的原理。即：当人们眼前的物体被移走之后，该物体反映在视网膜上的物象不会立即消失，会继续短暂滞留一段时间。实验证明，物象滞留的时间一般为0.1-0.4秒。与此同时，在欧洲的物理学教科书和物理实验室中，也开始采用“法拉第轮”的原理和图画“幻盘”旋转的视觉研究。它们向人类表明，人眼视觉的生理功能可以将一系列独立的画面组合起来，成为连续运动的视象。19世纪30年代，诡盘、走马盘、轮车盘、活动视镜和频闪观察器等视觉玩具相继出现。其基本原理大同小异，即在能够转动的活动视盘上画上一连串的图像，而当视盘转动起来时那些呆滞的、无生命的图象便运动起来，活灵活现。此后，奥地利人又将幻灯和活动视盘相结合，使绘制的静止的图画投影在银幕上，制作出活动幻灯，形成了早期动画。然而，到了本世纪60年代，电影理论家和教育家对“视觉滞留”的问题提出了新的疑义，他们发现银幕上的全部运动现象实际上是跳跃的、不连贯的，但观众却意识到那是一个统一、完整的动作连续。由此证明，真正起作用的不是“视觉滞留”，而是“心理认可”。

二、摄影术

摄影术同样产生于19世纪的欧洲。1839 年，法国人达盖尔根据文艺复兴以后在绘画上的小孔成像的原理，并使用化学方法，将形象永久地固定下来，“达盖尔照相法”产生。意识面前，已经不可能满足于静止的、精美的、单幅照片了，而是幻想着有一天能够将它们相互联系起来，忠实地复制形象动作和自然空间的物质实现。1872 年，最先将“照相法”运用于连续拍摄的，是摄影师爱德华·幕布里奇。他曾在 5年的时间里，多次运用多架照相机给一匹正在奔跑的马进行连续拍摄的实验，并于1878年获得成功。这位天才的摄影师将24架照相机排成一行，当马跑过的时候，照相机的快门就被打开，马蹄、腾空的瞬间姿态便被依次地拍摄下来。为此，爱德华•幕布里奇获得了“拍摄活动物体的方法及装置”的专利权。 1882年，法国人马莱利用左轮手枪的间歇原理，研制了一种可以进行连续拍摄的“摄影枪”。此后他又发明了“软片式连续摄影机”。终于以一架摄影机开始取代了幕布里奇用一组照相机拍摄活动物体的方法。在欧洲，这…时期许多国家中的科学家、发明家们也都研制了不同类型的摄影机。其中，美国的托马斯·爱迪生和他的机械师狄克为了使胶片在摄影机中以同样间隔进行移动，而发明了在胶片两边打上孔洞的牵引方法，解决了机械传动的技术问题。“活动照相”的“摄影术”得以完成。

三、放映术

1888年，法国人爱米尔·雷诺发明了“光学影戏机”，人们开始可以幕布上看到几分钟的活动影戏，比如《可怜的比埃》。
1895 年卢米埃兄弟向大众展现火车进站的画面时，观众被几乎是活生生的影像吓得惊惶四散。从此，由他们所启动的活动摄影（cinematogrphy）不只在人类纪实工具的发展史上展现了划时代的意义，火车进站的镜头也象征了电影技术发展的源起。

电影发明

你若问美国电影界的人，他们会异口同声地回答：“是爱迪生发明的。”但你如果去问法国人，他们则会说：“是卢米埃！”那么谁才是电影真正的发明者呢？答案：两个人都是！根据记载：在1888年，爱迪生开始研究活动照片，而当伊斯曼发明了连续底片后，爱迪生立刻将连续底片买回来，请威廉甘乃迪和罗利狄克生着手进行研究。到了第二年的十月，迪克生提出研究的结果，他将之拍摄成会活动的马，这就是电影史上最早摄影的成功。成功之后的迪克生，继续埋首更深的研究，一八九〇年，他用能活动的图片申请到专利，这些活动图片每秒钟能拍四十张，这就是现代影片的鼻祖。一八九一年，托马斯·阿尔瓦·爱迪生申请影像映出管和摄影装置的专利权，这是「西洋镜」电影的鼻祖。托马斯·阿尔瓦·爱迪生发明「西洋镜」电影的想法是，由于西洋镜一次只能由一个人去”窥看”，藉着人们的好奇心，如此便可以增加利益，于是这种电影在一时间非常流行。不久，托马斯·阿尔瓦·爱迪生又创造了世界最早的摄影棚，大有助于电影的发展。起初，在欧洲，也有人在对这些活动照片作研究。一八九五年，伦敦有两位名叫巴德艾卡和R.W.保罗的人，把初步的摄影棚改良后，在大庭广众之前举行表演。同时间，在法国有两位名叫路易卢米埃和奥古斯特卢米埃的兄弟，他们将照片映射在布幕上，因而吸引了大批好奇的观众。放映电影就此展开序幕。卢米埃兄弟接着巴黎工业奖励学会上试映了一部名叫「卢米埃工厂了大门」影片，同年十二月，在巴黎布辛奴街「大咖啡馆」的地下大厅，正式公开上映十二部影片，并出售门票。同年九月，在美国亚特兰大所举行的世界博览会，放映这种射映式影片时，也出售门票。如此可知，早在电影产生的同时，就已和营利结下了不解之缘。

电影放映形式

超大银幕电影：采用70毫米的电影放映技术，因其银幕巨大而称超大。其银幕高度为21米，宽度为30米，相当于七层楼的高度。银幕之大而成为世界之罕见。它具有画面稳定、清晰、色彩还原正常等特点，银幕上景物真实而恢宏的场面，给人以美的欣赏与动的感受，随着远近镜头的推拉，将把您带入富异国情调的美丽的大自然之中。

动感球幕电影：厅采用70毫米放映设备，半球形银幕趱直径达18米，观众观看电影时，整个画面布满球体，视而不银幕边缘，透射型的金属银幕，六声道的立体声效果，使观众享受变化万千，栩栩如生的万千气象。影厅内的动感平台，是集液压、电器自动化控制、计算机动画为一体的高科技系统工程，当您坐在平台载体上，整个载体能上下升降，左右倾斜，前后俯仰，即可摸拟航天器去邀游太空，也可摸拟潜水器，饱览海底世界的奇特景象，随着逼真的画面和平台载体的活动，让人不由自主的进入角色，造成十分真实和惊险刺激的特殊感觉，球幕动感电影填补了国内空白。

水幕电影：与一常规电影完全不同。它是利用高压水泵通过特制的喷头，将水自下而上喷出，使水雾化并形成扇面形银幕。此银幕与自然界的夜空连成一片，人物出入画面，忽而腾起飞向天空，忽而又从天而降，产生一种虚幻缥缈的感觉，似海市蜃楼。目前，水幕电影在我国还很少见。

环幕电影：环幕电影也称360度圆周电影，厅内呈圆形周边是由九块银幕组成一个环形银幕，由九台放映机同时放映，观众观摩时，站在圆周中心位置，前瞻后瞩，左顾右盼，目不暇接，画面景象壮观，气势磅礴，加上多声道立体声效果，一种身临其境的强烈感觉，将呈现在您的面前。

立体电影：是利用光学原理与人眼的视差相配合产生的一种奇特的空间影像和立体效果，当您戴上特制的偏光眼镜，就会感到银幕上的一切景物和大自然一样，存在着远近前后不同距离，有的景物近在眼前，似乎垂手可得，当某一物体朝你快速推进，你会感到物体猛地向头部袭来，使你大吃一惊。

p2p网络电影：随着互联网的发展，P2P作为一种新兴的网络电影播放形式，以其速度快，少缓冲，人越多越不卡的优点成为广大网友所喜欢的一些电影播放形势，网络中的电影播放形式又叫在线电影，让你足不出户就可以在网络的海洋里，看到你所想看到的电影。

电视剧

电视剧：[拼音：dianshiju] [英文：television play ]
一种专为在电视机荧屏上播映的演剧形式。它兼容电影、戏剧、文学、音乐、舞蹈、绘画、造型艺术等诸因素，是一门综合性很强的艺术。电视剧是一种适应电视广播特点、融合舞台和电影艺术的表现方法而形成的艺术样式。一般分单本剧和系列剧（电视影集）。

电视剧是随着电视广播事业的诞生而发展起来的。在这幕后有一定的推动作用致使一些电视剧网站孕育而生如 http://www.dobuo.com 比较典型的分类电视剧在线观看网站很受大众的喜爱！

电视剧类型
国内外有3种类型的电视剧：

① 电视戏剧。主要是按舞台剧的法则创作的电视剧，带有浓郁的戏剧艺术特色；
②电视电影（亦称电视影片）。基本上是按蒙太奇技巧摄制的电视剧；
③狭义的电视剧。主要是根据面对面交流的特点和“引戏员”的结构方式制作的电视剧。还有许多电视剧兼取几类之长，难以明显归入哪一类。 由于制作电视剧的物质材料（摄象机和录象磁带）、传播媒介（电视屏幕）以及欣赏方式（以家庭式为主）等方面的特殊性，使这种艺术样式具有以下的特性：①由于电视屏幕的面比电影银幕小得多，因而，在电视剧中一般都尽量少用全景和远景，大多采用中、近景和特写。特写镜头不但在电视剧中频繁出现，而且延续的时间幅度也大。它在电视剧中除有突出和强调作用外，还是叙述剧情的重要手段。②电视剧中语言因素占有重要地位。由于面对面交流的特点和特写的大量运用，使得对白和独白的作用大大加强，一些电视剧还经常采用第一人称的自叙方式，本身就像是一段长长的独白。电视剧的这种叙述方式，在家庭环境中显得亲切感人。③电视剧特别适于揭示人物的内心活动，展示人物内在思想感情的变化。有人认为，电视剧是对“生活的转播”。荧屏与观众之间的距离空前缩小，因而对演员的表演提出一些特殊的要求，如力求生活化、朴实而自然，切忌舞台表演中动作与声调的放大和夸张，需要较为本色的表演和即兴式的创作，才能给人以“生活自身形态”的感觉。又由于电视剧欣赏方式（家庭式）的特点，使它的篇幅灵活自由，可以有10多分钟的电视小品，也可以有长达几集甚至几十集的电视连续剧。 中国第一座电视台——北京电视台（中央电视台的前身）在 1958年5月1日开始播出，同年6月15日，即播放了中国第一部电视剧《一口菜饼子》。1958～1966年，仅北京电视台就播放了几十部直播电视剧。“文化大革命”使电视剧的发展陷于停顿。1976年后，中国电视剧取得长足的进步，1985年年产电视剧一千多部，其中有许多上乘之作，如单本剧《新岸》、《新闻启示录》、《走向远方》等，连续剧《武松》、《今夜有暴风雪》、《寻找回来的世界》、《四世同堂》等。

按地域分类

1套·热门电影
2套·韩国电视剧
3套·欧美电视剧
4套·台湾偶像剧
5套·香港电视剧
6套·日本电视剧
7套·国产电视剧
8套·动漫卡
9套·综艺文教
10套·海外电视剧
11套·MTV音乐

⑶ 电影的英文单词是什么

汉语解释：电影，是由活动照相术和幻灯放映术结合发展起来的一种连续的视频画面，是一门视觉和听觉的现代艺术，也是一门可以容纳悲喜剧与文学戏剧、摄影、绘画、音乐、舞蹈、文字、雕塑、建筑等多种艺术的现代科技与艺术的综合体。那么，你知道电影的 英语单词 是什么吗?

中文： 电影[diàn yǐng]

电影的英文 ：film; movie; cinema; motion picture; cine;

电影的英文例句：

今天晚上飞机上会放映电影吗?

Will you be showing a movie in flight this evening? 女生版声音 男生版声音

他们还举办展览会或放映电影。

They also set up exhibitions or showed films. 女生版声音 男生版声音

早期放映电影的地方

The early film showing venues 女生版声音 男生版声音

1. The criticisms will not stop people flocking to see the film. 批评的声音不会阻止人们涌到影院观看这部 电影 。

2. Originally released in 1957, the film was remade as "The Magnificent Seven". 这部 电影 最早在1957年上映，后被翻拍为《七侠荡寇志》。

3. She acted in her firstfilm when she was 13 years old. 13岁时她出演了她的 电影 处女作。

4. The movie sees Burton psychoanalysing Firth to cure him of his depression. 在 电影 中伯顿对弗思进行了精神分析，想要治愈他的抑郁症。

5. The film starts off realistically and then develops into a ridiculous fantasy. 电影 以写实开头，然后却发展成为荒诞的幻想。

6. Working with Ford closely, I fell in love with the cinema. 与福特的密切合作开始令我爱上了 电影 。

7. Contemporary African cinema has much to offer in its vitality and freshness. 当代非洲 电影 在活力和新颖性上颇足称道。

8. The film takes no position on the politics of Northern Ireland. 这部 电影 未在北爱尔兰政治问题上选择站边。

9. The scriptwriter helped him to adapt his novel for the screen. 编剧帮助他将其所著小说改编成 电影 。

10. You will wake to find film crews camped in your backyard. 一觉醒来，你会发现 电影 摄制组进驻了你家后院。

11. It's ideal for people who like a sloppy movie. 对于喜欢伤感 电影 的人来说，这部影片再合适不过了。

12. Was he going to show the film? Was it in colour? 他会放那部 电影 吗?是彩色的吗?

13. I didn't see that my career as a film-maker was going anywhere. 我发现我作为 电影 制片人的职业没有什么发展前途。

14. During the filming, Curtis fell in love with his co-star, Christine Kaufmann. 在 电影 摄制过程中，柯蒂斯爱上了同他联袂主演的明星克里斯汀·考夫曼。

15. Many cinema-goers were stunned by the film's violent and tragic end. 许多来看 电影 的人都被这部影片暴力而悲惨的结局所震惊。

16. There is no magic formula for procing winning procts. 获奖 电影 的制作没有捷径可取。

17. The film was shown to gasps of rapture at the Democratic Convention. 在民主党大会上放映的 电影 使人们十分欣喜。

18. Sadly, the film is let down by an excessively simple plot. 遗憾的是，过于简单的情节使得这部 电影 差强人意。

19. So far the films have grossed more than £590 million. 到目前为止，这些 电影 的票房总收入已超过了5.9亿英镑。

20. The woman was the wife of a film director. 这个女人是一个 电影 导演的妻子。

⑷ 用英语介绍电影的起源 跪求！！！ 请尽快！！！ 好的追加分！！ 一定是英语介绍

1893, TA Edison invented the movie mirrors and create a "Black Maria" studio, is considered the beginning of the history of American film. 1896, Victoria began the launch of the projector is too American film mass screenings.

Late 19th early 20th century, the U.S. instrial development and the lower middle class urban residents increased rapidly, the urban poor need to adapt the film to become a mass entertainment. It at first playground in the dance, and then into the theater, after the show screened in the repertoire.

Appeared in 1905 in Pittsburgh theater nickel (nickel tickets for 5 cents) for all cities and towns throughout the United States soon, to the weekly movie-goers in 1910 as many as 36 million people. At that time one of the film are single, the monthly output of 400, the main proction base in New York, like Edison, Biograph Company, and Victoria too Graf companies. 1903 E. S. Bolt's "life of an American Fireman" and "The Great Train Robbery," the film from a novel items can develop into an art. Use of film editing techniques, editing techniques Bolt became cross caused by the first drama director.

⑸ 电影英文怎么说

电影英文：Movie（美式） 或 Film（英式）。

电影是19世纪美国国家生活水平上升大众产生新需求的娱乐产物。电影根据视觉暂留原理，运用照相（以及录音）手段把外界事物的影像（以及声音）摄录在胶片上，通过放映（同时还原声音），用电的方式将活动影像投射到银幕上（以及同步声音）以表现一定内容的现代技术。

电影是一种视觉及听觉艺术，利用胶卷、录像带或数位媒体将影像和声音捕捉，再加上后期的编辑工作而成。

电影是一种综合的现代艺术，亦正如艺术本身，有着复杂而繁多的科系。电影有很多类型，也有多种分类方法。

电影从有声电影开始发展，目前已经到了电影的特技时代了。运用大量的电脑特技制作出来的电影，受广大中年以下的朋友欢迎。

国外电影广告在美国和英国的电影广告中，有这样八种标记：

（1）美国X——禁止未成年者观看的影片，G——所有观众可看片，R——十七岁以下禁止观看，PG——一般观众可看。

（2）英国U——内容正派片，A——一般观众可看片，X——18岁以下青少年禁看片，AA——少年儿童禁看的凶杀片。

(5)电影起源英文扩展阅读

中国最早放映的电影——1896年8月11日法国商人在上海徐园“又一村”茶楼内放映的“西洋影戏”。

中国第一部电影是戏曲片京剧《定军山》，内有《请缨》、《舞刀》等片断，1905年（清光绪三十一年），由北京丰泰照相馆摄制。无声片，长约半小时。

中国第一部短故事片是《难夫难妻》（又名《洞房花烛》），1913年在上海拍摄，无声片，郑正秋编剧，郑正秋和张石川联合导演。此片是由亚细亚影戏公司开张后的第一部作品，首开家庭伦理剧之先河。

中国第一部长故事片——1921年中国影戏研究社在上海拍摄第一部长故事片《阎瑞生》。

中国现存最早的一部可放映电影——1922年由张石川导演的《劳工之爱情》又名《掷果缘》，是现存尚可放映的最早的一部中国电影，也是中国现存最早的故事片。

中国第一部有声电影是《歌女红牡丹》，明星影片公司1931年摄制，该片采用的是蜡盘配音的技术。

中国第一部开创电影奇迹的影片《破舱》，是完全一个人摄制的、零成本、即兴创作（先拍摄后写剧本）的电影长片，2013年杨诚俊导演电影。

中国第一部获得国际大奖的影片是20世纪30年代由蔡楚生导演的《渔光曲》，它在1935年莫斯科国际电影节上获“荣誉奖”。

⑹ 世界电影的起源英文介绍

The world film "founded in 1952, formerly known as the motion picture arts clump of translation", is China film home association's hosting of the film professional bimonthly for years heavily influenced by the vast majority of the reader's love, known as stand up to test of time. Domestic comprehensive introced into the world film culture and the first issue of the study.

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