电影综合.docx

电影综合.docx

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电影综合

ChapterOne

UnderstandingtheFilm

（了解电影）

Film,asoneofthemostinfluentialmassmedia（大众传播媒介）,hasstruggledtoachieveitsproperplaceasareputable（声誉极高的）artform.Itmergesalltheotherformsofart:

literature,painting,sculpture（雕塑）,music,architecture,drama,andadoptsthetechnicalachievementsinnaturalscienceandappliedsciencelikeacoustics（声学）,optics（光学）,electronics,mechanics,computer,etc.

Asaformofexpression,themotionpicturesissimilartootherartisticmedia,forthebasicpropertiesoftheseothermediaarewovenintoitsownrichfabric（肌体）.Filmemploysthecompositionalelementsofallthevisualarts;line,form,mass,volume,andtexture.Likepaintingandphotography,filmexploitsthesubtleinterplayoflightandshadow.Likesculpture,filmmanipulates（应用）three-dimensionalspace.But,likepantomime（哑剧）,filmfocusesonmovingimages,andlikethedance,thesemovingimageshaverhythm.Thecomplexrhythmsoffilmresemblesthoseofmusicandpoetry,andlikepoetryinparticular,filmcommunicatesthroughimagery（意象）,metaphor,andsymbol.Likethedrama,filmcommunicatesvisuallyandverbally（词语地）:

visually,throughactionandgesture;verballythroughdialogue.Finally,likethenovel,filmexpandsorcompressestimeandspace,travelingbackandforthfreelywithintheirwideborders.

Filmisunlimitednotonlyinitschoiceofsubjectmatterbutalsointhescopeofitsapproachtothatmaterial.Afilm'smoodandtreatmentcanrangeanywherebetweenthelyric（抒情的）andtheepic（史诗的）;inpointview,itcancoverthefullspectrum（范围）fromthepurelyobjectivetotheintenselysubjective;indepth,itcanfocusonthesurfacerealitiesandthepurelysensual,ordelveintotheintellectualandphilosophical.Afilmcanlooktotheremotepast,orprobethedistantfuture;itcanmakeafewsecondsseemlikehour,orcompressacenturyintominutes.Finally,filmcanrunthegamut（范围）offeelingfromthemostfragile,tender,andbeautifultothemostbrutal,violent,andrepulsive（可憎的）.

Thetechnologicalhistoryoffilmcaninfactbeviewedasanongoingevolutiontowardgreaterrealism,towarderasing（抹去）theborderbetweenartandnature.Themotionpicturehasprogressedstepbystepfromdrawings,tophotographs,toprojectedimages,tosound,tocolor,towidescreen,to3-D.Experimentshaveevenbeenconductedattemptingtoaddthesenseofsmelltothefilmexperiencebyreleasingfragrances（香气）throughoutthetheater.

Filmhasbeenexertingitspeculiarfascination（魅力）onpeopleforgenerationseversinceitcameintobeing,forithasstrikinglywonderfulfeatureswhichmakeituniqueanddifferentfromanyotherformsofart.ManseemstohaveenteredintoaneweracharacterizedwithIT,andpeopleenjoyhavingwideselectionsofentertainmentformsthankstotherapiddevelopmentofinformationtechnology,yetfilmstillhasitsartisticcharmandappealstopeopleofdifferentagesfromallwalksoflife.

1.FilmHistory（电影历史）

TheUSFilm（美国电影）

TheUSwasthefirstcountrytoturnfilmintoapopularformofentertainmentandanimportantindustry.EversincethemomentonDecember28th,1895whentheLumierebrothers（卢米埃尔兄弟）startedtheaterprojection,andstartedaswelltheover-a-century-longhistoryofmovies,thispopulararthasbeenaffectinglifeforgenerations.Nevertheless,givenAmericanmovie’sinfluenceandpositionintheworld,weshouldmentionThomasEdisonasanimportantelement,forheisstillconsideredtobethefatherofmotionpicturesduetohisextraordinarycontributionstothefieldincludinghisinventionoftheincandescentlamp（白炽灯）andthephonograph（留声机）.

Thefirstfull-length"story"filmwasTheGreatTrainRobbery（火车大劫案）of1903.From1911thecenteroftheUSfilmindustrywasHollywoodinCalifornia.GreatdevelopmentsinfilmtechniqueweremadebyD.W.Griffith（格里菲斯）.HisfamousBirthofNation（《一个国家的诞生》,1915）wasthefirstmajorfeaturefilm（故事片）madeintheUS.AtthesametimetheartoffilmcomedywastakingshapeatMackSennett’sKeystoneStudios,whereCharlieChaplin（查理斯·卓别林）madehisfirstshortsilentcomedies（无声喜剧片）.

TheUSwasfarfromthebattlefieldintheFirstWorldWaranditseconomygrewveryrapidlyduringandafterthewar.Duringthedecade1921—1931,somecalledthe"goldenperiodofsilentfilms",successfulstars,directorsandcameramenbegantobelured（被吸引）toHollywoodfromabroad,infusing（注入）Hollywoodwithnewtalentsanddifferentinsights.Movieswereattainingnewheightsinexpression.Innovations（革新）intechnique,contentandstructuralformswerebeingintroducedinfilmsfromGermany,FranceandRussia.WhiletheartofthefilmwasbeingdevelopedinHollywood,thebusinesssideofthefilmindustrywasconstantly（不断地）growing,andtheriseofthegreatstudiosformedandimportantpartoftheeconomicstructureasAmericansflocked（大量涌入）tothemoviesfortheirmassentertainment（大众娱乐）.EvenduringtheGreatDepression（大萧条）Americanscontinuedtofindsomecoinstoattendthelocalmoviehouseandbetransportedawayfromtheirtroublestothesoothingbalm（安慰剂）ofthesilverscreen.HenceHollywood'sfilmmakingculminated（达到顶点）forthefirsttimeduringthe1930sandthe1940s,andmanydistinguished（出色地）filmscameintobeing,suchasCitizenKane（《公民凯恩》）,GreatDictator（《大独裁者》）,WaterlooBridge,GonewiththeWind,Rebecca,Casablanca,etc.,provingtobetheclassicsinthehistoryofworldmovies.

Inthe1950sAmericanmoviesexperiencedanalltimelow.Thiswaspartlyduetothecompetitionoftelevision,butalsobecauseofthecollapse（溃败）offilm-makingmonopoly（垄断）andsimplyrepeatedfilmpatternswhichcouldnotcaterto（满足）thepublic'sdemand.Hi-tech（高科技）madenewwaysoffilm-makingandnewmarketexploration（市场开发）possible,buttherewasstillawaytogobeforereachingthecombinationofhi-techandfilm-making.

Inthe1960sHollywoodbegantoadjustherselftothecompetingsituationbycooperatingwithtelevision,producingmotionpicturesandotherthingsforTV.From1970son,HollywoodcombinedthenewtechnologyofvideotapeandDVD-withfilm-making,whichhelpedkeepitinthecompetitionofculturalconsumption（文化消费）.Meanwhile,Americanfilmartistsshotfilms,likeJaw（《大白鲨》）;StarWars（《星球大战》）;Superman（《超人》）;andwontheboxoffice（票房）andaudienceaswell.Sincethen,theAmericanfilm-makingindustryhaswelcomedanotherblooming（繁荣）period.

TheMostinfluentialrevisionofAmericanfilm-makingpolicywasthatHollywoodnolongertriedtoconquerandbuilduptheseller'smarket（卖方市场）butrathertoadaptherselfto（适应）thedemandofthebuyer'smarket（买方市场）,forexample,manyafilmhasbeenshottoreflectthecurrentissues（当前市场）ofAmericansociety.Sincepeoplestartedtomeditate（思考）ontraditionandmaterialism（唯物主义）,thelatterofwhichhasbeenexcessivelydeveloped,thesewereethicalfilms（伦理片）:

WallStreet（《华尔街》）,Philadelphia（《费城故事》）,BridgesofMadisonCounty（《廊桥遗梦》）;filmonpoliticalissues（政治片）:

JFK（《刺杀肯尼迪》）,OneFlewOvertheCuckoo’sNest（《飞越疯人院》）;war-themefilms（战争片）:

BornontheFourthofJuly（《出生在七月四日》）,Schindler’sList（《辛德勒的名单》）,SavingPrivateRyan（《拯救大兵瑞恩》）;recreationofAmericanimage（美国形象）:

Rookie（《洛奇》）,Patton（《巴顿将军》）,ForrestGump（《阿甘正传》）.

Withsocialdevelopment,humancuriositywasstimulated（M$Kgreedinessandfascination（被激发）withthealienworld（异己世界）.Directorslikedtopursuehightechnologytomakesupermovieswithlifelikeeffectsonsound,picture,color,etc.TheaudiencealsoenjoyedthevisualandpsychologicalstimulationfromthesciencefilmslikeStarWars,Alien（《外星人》）;horrorfilm（恐怖片）likeSilenceoftheLambs（《沉默的羔羊》）;ScreamTheOmen（《凶兆》）,anddisasterfilms（灾难片）likeTwister（《龙卷风》）,Volcano（《地火危城》）,Earthquake（《山崩地裂》）,etc.

Ayounggenerationofdirectors,whohasbeenwell-educatedattheuniversity,focusedonbothaesthetic（美学）andcommercialvalue.Theywerenotrestrictedtoplot-designing.Theywereinclinedtocreateprofoundthemes（深刻的主题）,lifelikedepictions（生活化的描述）,naturalcasting（自然的表演）andtotryoutnewtechnology.The1997’s270-million-dollar-costTitanic（《泰坦尼克》）,whichwon11academicawards,wasdirectedbyJamesCameronandsatisfiedtheaudience'sdemandforpsychologicalcomprehensionandsensualstimulation.

Anotherfactorcannotbeignored,theactingexcellenceoftheactorsandactresses,especiallythosemoderntypessuchasMarlonBrando（马龙·白兰度）,DustinHoffman（达斯廷·霍夫曼）,TomHanks（汤姆·汉克斯）,ArnoldSchwarzenegger（阿诺德·施瓦辛格）,TomCruise（汤姆·克鲁斯）,AlPacino（艾二·帕西诺）,BruceWillis（布卢斯·威利斯）,HarrisonFord（哈里森·福特）,MichaelDouglas（迈克尔·道格拉斯）,etc.

TheUKFilm（英国电影）

Europewasthebirthplaceoffilm,buttheearlyhistoryofBritishcinemaisnotdistinguished（出色）.ItwasbehindtheUSandevenFranceandItaly.Britishwasratherconservative（保守的）andlackedactivenessfollowingtheFirstWorldWar,becauseunliketheUS,itsustainedavastamountofdamage.ThisgavetheUSanopportunitytoexportitsownmoviestoBritain.WhenBritishactorsandactressesfoundnopromiseathome,theypouredintoHollywood;actorssuchasVictorMclaglen（维克多·麦克拉格伦）andGeorgeArthur（乔治·阿瑟）.ThiswasagreatlosstotheBritishfilm-makingindustry.TheonlydirectorofimportancetocomeforwardduringthesilentperiodwasAlfredHitchcock（阿尔弗莱德·希区柯克）,whodirectedhisfirstfilmin1923,andworkedinEnglanduntilthelate1930s.SomeactorsemergedasfilmstarsinBritaininthe30s:

theyincludeMichaelRedgrave（迈克尔·瑞德克利夫）andRalphRichardson（拉夫·瑞查森）.

Inthe1930saschoolofdocumentary-makingartistsappearedinGreatBritainandproducedaseriesoforiginaldocumentaries（纪录片）,whichcastanewlightonBritishfilms.JohnGrierson（约翰·克里森）andHumphreyJenningsdirectedmanyfinedocumentariesduringtheSecondWorldWar.Bothbeforeandafterthe1950s