the-godfather-pptPPT资料.ppt

the-godfather-pptPPT资料.ppt

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GangstermoiveisgangstersinurbanAmerica.Functions:

1.Asamyth,thegangsterfilmservesthefunctionofresolvingonanimaginativelevelcertainhumanandsocialcontradiction.itcouldgivetheaudienceanimagination.2.Also,thebasicenonomiclawisthemostimportantforafilm.GenreHowcanweknowitsagungsterfilm?

Inthisfilm,wecanseesomanysceneofplanning,assassination,chasing,gunplaying.TenseatmosphereWecanseethevividcharacteristicofthegangsterfilm.GenreTheGodfatherconformstothekeygenericconventionsofthegangsterfilm:

ThetragicnarrativeThepursuitoftheAmericandreamThemoralitytale（道德寓言）messageThedocumentarystyle（纪录片的形式）However,whatmakesTheGodfatherasignificantcontributiontothegenre,andtocinemaasawhole,istheoriginalityofitsapproach.Thetragicnarrative:

FrodoandMichaelsstoryThepursuitoftheAmericandream:

DonVitoCorleoneThemoralitytale（道德寓言道德寓言）message:

TheyareneverpurelyevilThedocumentarystyle（纪录片的形式纪录片的形式）:

ThewholelifeoftheDonCorleoneandMichaelGenreThecharacterandperformanceCharactersDonVitoCorleone:

theGodfather,acomplicatedganster.SonnyCorleone:

Donseldestson,hotheaded,violentandreckless（鲁莽的鲁莽的）,acombinationthatleadshimintoadeathtrapsetbyarivalfamily.FredoCorlenone:

Donssecondson,ineptandweak-willed,givenminorchores.CharactersMichaelCorleone:

Donsyoungestson,IvyLeagueeducated,whoistornbetweenfamilydevotionanddoubtsabouthisinheritanceofviolenceandpower.ConnieRizzi:

Vitosdaughter.AtthebeginningofthemovieshemarriesCarloRizzi,whoturnsouttobeanabusiveterror.CarloRizzi:

Conniesabusivehusband,whobetraystheCorleonefamily,tippingoffSonnyskillers,andiskilledbyMichaelforhistransgression（犯罪）.KayAdams:

Michaelssecondwife.MarlonBrandoasDonVitoCorleoneself-controlled:

DonVitoCorleoneInsistsnotinvolvedinthedrugbusiness,becausehedeeplyknowsitisdifferentfromgamblingandwenching,itsatemptationforpeopletodescendcompletely.AlPacinoSecentofaWomanAlPacinoasMichaelCorleoneCourageousandsagacious:

MichaelarrangesameetingwithSollozzoandthecorruptpolicechiefMcCluskey_themurdersofhisfather,andkillsthemboth.Cold-blooded:

WhenDonVitoCorleonedies,Michaelvowstoregaincontrol.Heorchestratesthemurdersoftheheadsofthefivefamilies,killsTessioforbeingatraitor,andCarloforhispartinSonnysmurder.Michaelstimehascome:

withthisconsolidationofpower,henowstandsaloneandhardenedasthenewGodfather.TheRevolutioninCharacterizationinTheGodfatherClassicGangsterCharactertheGangsterCharacterinTheGodfatherwithoutculture,manners,leisurebothcloselyattachedtotheSicilyculturelonely,melancholythelonelinessisalleviatedbyclosenessviolent,losecontrolself_controlledneversatisfiedlookforadaytogetoutofillegalorganizationandcrimedonotneedlovelovefamiliespoessionsarecentraltotheirbeingrejectostentation,definedbyresponsibilitiesMethodActingMarlonBrandosperformanceasDonCorleoneisaclassicexampleofMethodActinginaction.ItisanexemplaryMethodActingperformanceandcontributestotheDonsauraofgravityandunderstatedpower.HemetwithrealmembersoftheMafiainordertofindouttheirdistinctivespeechpatternsandmodeledDonCorlelonesgravellyvoiceonarecordingofoneofthem.Hedeliberatelylostweighttoplaythepartofthe46yearoldDoninthefirstsceneHemumbledtohimselfasanoldmanlikeDonCorleonemight.MethodActingBrandoexpressesnaturalytheDonssmallestandmostnaturalactions（strokingacat,scratchinghisface,feedingthefish,peelingfruit）;

hecapturesthehesitations,pauses,mumblings,andunfinishedlinesthatarethehallmarksofanoldmansspeech.BrandosDonCorlenoneisaliving,breathing,fullybelievableGodfather.NarrativeSystemnarrativesystemThegodfatherseriesmaybeconsideredastragicnarrative.buttheGodfather1972canbeseeninanewlightthatitisathree-actlinearstructurenarrativesystemTheGodfatherisgenerallyconsideredtobethegreatestgangstermovieofallthetime.Theusingoftheclassicthree-actlinearstructuremakesthefilmbeavividdepictionofgangsterandmafia.Act-ISet-upThehook:

thefilmopenswithmafiabossDonCorleonesittinginhisofficereceivingvisitorsandsupplicantsathisdaughtersweddingday.IncitingIncident:

DoncorleonerejectsSollozzossuggetiontodrugtraffickingTurningpoint1:

Doniss