简述中国电影的发展史英文版

⑴ 中国电影的发展史简述

中国电影发展史简述：早期中国电影 (1931年以前)中国电影事业发端于20世纪初。

⑵ 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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⑶ 简述中国电影发展史作文1000字

写作思路：把中国电影的发展历程写下来，包括起源，发展，现况。

由1896年至20世纪20年代，虽然外商在中国电影市场占据了垄断地位，但亦阻止不了我国电影活动的开始。1903年，德国留学生林祝三携带影片和放映机回国，租借北京前门打磨厂天乐茶园放映电影。1905年，北京丰泰照相馆的任庆泰为了向著名京剧老生谭鑫培祝寿，拍摄了一段由他主演的京剧《定军山》。

中国电影一开始，就和中国传统的戏曲和说唱艺术结合起来，发展出一套独特的电影类型。但是最早尝试拍摄这种电影类型的丰泰照相馆只属小本经营，算不上是电影机构。

直至商务印书局“活动电影部”的出现，才真正代表中国制片业的开始。在这段期间，除了“商务”之外，先后出现的电影制片机构还包括由美商投资“亚细亚影戏公司”、“幻仙”、“中国”、“上海”、“新亚”等。

由于他们的成员多是来自戏剧舞台，所以当时的电影题材和内容大多源于中国戏曲和文明戏。此外，他们也开始拍摄剧情短片和长片，对电影这种艺术作最初步的探索和尝试。

中国电影诞生于1905年，历经了中国半封建、半殖民地时期，革命战争时期，新中国建设时期，文革时期，改革开放时期和全面建设小康社会新时期等各个历史阶段；经历了从无声到有声再到立体声，从黑白到彩色再到立体像（3D），从模拟到数字，从传统到现代的技术变革进程。

在不同的发展阶段，中国电影都留下了优秀的代表作：20世纪20年代拓荒时期，有《孤儿救祖记》等关注社会改造的进步电影；抗日救亡时期，有《狂流》《中华儿女》等鼓舞斗志、弘扬爱国主义的影片；抗战后，《八千里路云和月》《一江春水向东流》等又深刻揭示社会矛盾和本质，形成现实主义的创作潮流。

⑷ 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

⑸ 中国电影发展史的英文介绍

An introction of the history of Chinese films in English.
中国电影发展史的英文介绍

⑹ 用英文介绍一部中国电影

英文：＂In Mount Taihang" is crosses the river by the Chinese redarmy soldier, very before

the opposition to Japan , wards offestablishes the Mount Taihang base the movie, it has

very muchecates Italy .

中文：《太行山上》是一部以八路军东渡黄河，挺进抗日前线，开辟建立太行山根据地的影片，它很有教育意义。

中国电影主要特点

1、坚持和发展革命的现实主义道路，坚决执行双百方针，题材广泛，反映生活中各类矛盾有一定的深度和广度。如《天云山传奇》《喜盈门》《人到中年》《高山下的花环》《血，总是热的》《伤逝》《骆驼祥子》等影片。

2、尊重艺术的客观规律，创造出各种真实生动的银幕形象，塑造了各类不同的典型性格。如《南昌起义》《西安事变》《廖仲恺》等影片对革命领导人进行了多角度的刻画，对蒋介石等历史人物能实事求是地按照历史本来面目表现。

3、在风格与样式上趋于多样化。由于题材领域的扩展，使艺术家们可以自由地发挥自己的才能和特长，探索自己最适宜的风格、样式，表现最完美的内容。

尤其引人注目的是一批中青年编导拍摄了一批有一定实验意义的探索性影片，如《黄土地》、《青春祭》、《良家妇女》、《黑炮事件》、《猎场札撒》、《老井》、《红高粱》、《秋菊打官司》、《香魂女》、《霸王别姬》等。在电影创作繁荣的同时，电影理论研究也空前活跃，并在相当多的创作人员中发生影响。

⑺ 谁有中国电影发展史的英文介绍，简单的几百接

fer a sacrifice to t