英語影視欣賞課課件2市公開課一等獎(jiǎng)百校聯(lián)賽優(yōu)質(zhì)課金獎(jiǎng)名師賽課獲獎(jiǎng)?wù)n件

1.whenwasfilmborn?Dec.28th,1895,Lumiere2.Whatwastheearliestcontributiontothefilmsintheory?Mo-tse,5BC,thetheoryof“LightandShadow”

1/34WhatwerethemajorcontributionsofLumiereandMelies?Lumiere:(1).Longshot(2).Filmsshowedthedynamicoflife,natureandchangeswithinthem—re-currencism.(3).ForerunnerofdocumentariesMelies(1)stopmotion(2)studiowithglassceiling(3)shotfilmswithgorgeouscostumeandgrandscenes–expressionism(4)forerunnerofstoryfilm2/344.somemorefacts(1)thefirstsci-fifilm:ATriptotheMoon(2)whatisclose-upandmontage?(3)Brightonschool–thebudofrealism(4)ArtistsFilmsMovementMaxlinder—thefirstcomedystar楚科爾Hollywood3/34Chapter2DevelopmentofNarrativePatternsinFilms(America)I.EdwinS.Porterandhisfilm“TheGreatTrainRobbery”II.GriffithandhisConceptofNarrativePatternsIII.ComedyinSilentFilmsinAmericaIV.CharlesChaplinandhisComedies

4/34I.EdwinS.Porter埃德溫鮑特andhisfilm“TheGreatTrainRobbery”Born:April21,1870)PennsylvaniaDied:April30,1941NewYorkCityHeCombinedtheoutdoorscenes(proposedandpracticedbyLumiere)withartificialindoorones(byMelies)

5/34Representativework:TheGreatTrainRobbery:《火車大劫案》PortertookthearchetypalAmericanWesternstory,alreadyfamiliartoaudiencesfromdimenovelsandstagemelodrama情景劇,andmadeitanentirelynewvisualexperience.Theone-reelfilm,witharunningtimeoftwelveminutes,wasassembledintwentyseparateshots,alongwithastartlingclose-upofabanditfiringatthecamera.Itusedasmanyastendifferentindoorandoutdoorlocationsandwasgroundbreakinginitsuseof“cross-cutting交叉剪輯”ineditingtoshowsimultaneousactionindifferentplaces.Noearlierfilmhadcreatedsuchswiftmovementorvarietyofscene.Itwasenormouslypopular.ForseveralyearsittouredthroughouttheUnitedStates,andin1905itwasthepremierattractionatthefirstnickelodeon五分錢電影院.ItssuccessfirmlyestablishedmotionpicturesascommercialentertainmentintheUnitedStates.6/34Cross-cuttingisaneditingtechniqueusedinfilmstoestablishcontinuity.Inacross-cut,thecamerawillcutawayfromoneactiontoanotheraction.Becausetheshotsoccuroneafteranother,cross-cuttingisusedtosuggestsimultaneityofaction.However,itcanalsobeusedtolinksignificantactionsthatdonotoccursimultaneously.Therhythmof,orlengthoftimebetween,cross-cutscanalsosetthetoneofascene.Increasingtherapiditybetweentwodifferentactionsmayaddtensiontoascene,muchinthesamemannerofusingshort,declarativesentencesinaworkofliterature.ItwasmadefamousbyEdwinS.Porter's1903film,TheGreatTrainRobbery.7/34TheNickelodeon(AE:nickel=5分幣,Greek:Odeion=roofedovertheatre)wasanearly20thcenturyformofsmall,neighborhoodmovietheaters.Thename"Nickelodeon"wascoinedbyHarryDavisandJohnP.Harris,whoopenedtheirsmall,storefronttheatrewiththatnameonSmithfieldStreetinPittsburgh,PennsylvaniainJune1905.Thoughtheirswasnotthefirsttheatreintheworldtospecializeinpresentingmovies,DavisandHarrisfoundsuchgreatsuccesswiththeiroperationthattheirconceptofafivecenttheatrerunningmoviescontinuouslywassoonimitatedbyhundredsofambitiousentrepreneurs,aswasthenameofthetheatreitself.Nickelodeonsdeclinedascitiesgrewandindustryconsolidationledtolarger,morecomfortable,andbetter-appointed設(shè)備愈加完善（well-appointed）movietheaters.8/34(1)establishhisstatusinfilmsbothinAmericaandthewholeworld;(2)layfoundationforthewesternstobethedominantinAmerica(3)havegreatinfluenceonGriffithThefilmwasadoptedfromanovelwiththesametitlewrittenbyMichaelCrichton邁克爾·克萊頓whosebest-knownmasterpiecesshouldbeJurassicPark《侏羅紀(jì)公園》.(StevenSpielberg)9/34TheGreatTrainRobbery10/34II.D.W.Griffith格里菲斯andhisConceptofNarrativePatterns1.Backgroundandsignificance–twofights1.1Fightsaboutpatents(1)1908,America,therewasthefiercestrivingforthepatent,whichendedupwiththeestablishmentoftwotrusts:Edison’sCompanyandBiographStudios(比沃格拉夫企業(yè))Whatistrust托拉斯?anentitywithintenttocreateamonopoly11/34TheBiographCompany,wasamotionpicturecompanyfoundedin1895andactiveuntil1928.ItwasthefirstcompanyintheUnitedStatesdevotedentirelytofilmproductionandexhibition,andfortwodecadeswasoneofthemostprolific,releasingoverthreethousandshortfilmsandtwelvefeaturefilms.正片，故事片，長(zhǎng)片AnewcorporationwiththesamenamewasincorporatedinCaliforniain1991.12/341.2Fightsbetweentrustsandindependentfilm-making獨(dú)立制片--thebirthofHollywoodAnindependentfilm,orindiefilm,isafilmthatisproducedoutsideoftheHollywoodstudiosystem,aseriesofmonopolistic壟斷practicesbyseveralmajorAmericanfilmstudioswhichcontrolledtheproduction,distribution,andexhibitionoffilms.IndependentfilmstodayaregenerallydefinedasAmericanfilmsfinancedanddistributedbysourcesoutsidetoday'sBigSixanditssubsidiaries.13/34Today’sBigSixSony—SonyPicture(ColumbiaPictures)NewsCorporation–FoxFilmedEntertainment(20CenturyFox)TheWaltDisneyCompany–WaltDisneyMotionPictureGroupTimeWarner—WarnerBrosEntertainmentGroupViacom–ParamountMotionPictureGroupGeneralElectric/Vivendi–NBC/VivendiUniversal(Universal)14/34GriffithDavidLlewelynWarkGriffith

Born:January22,1875)Kentucky,UnitedStatesDied:July23,1948Hollywood,California,UnitedStates15/34In1907,Griffith,stillhavinggoalsforbecomingasuccessfulplaywright,movedtoCaliforniaandattemptedtosellascripttoEdisonproducerEdwinPorter.PorterrejectedGriffith'sscript,butallowedhimtobeanextrainhismovie.Findinghiswayintothemotionpicturebusiness,hesoonbegantodirectahugebodyofwork.In1908,GriffithacceptedanactingjobfortheBiographCompany比沃格拉夫企業(yè)inNewYorkCity.AtBiograph,Griffith'scareerinthefilmindustrywouldalsochangeforever.16/341.Representativeworks“TheBirthofaNation”,《一個(gè)國(guó)家誕生》Feb.8th,1915,thefilmwasshown,whichsymbolizedHollywoodbegantogoverntheworldinthefieldoffilmsItisconsideredimportantbyfilmhistoriansasoneofthefirstfeaturelengthAmericanfilms(mostpreviousfilmshadbeenlessthanonehourlong).17/34Subsequent:1916,Intolerance《黨同伐異》Thisfilmwastheself-defenseofGriffithinfaceofalltheprotestcausedbythefilm“TheBirthofaNation”becauseofracialdiscrimination.18/342.typicallythemesinhisfilmsGoodandevilinthereallifeFamilycomediesConflictsbetweentherichandthepoor19/343.ComparisonbetweenGriffithandPorter

Cross-cutting交叉剪輯ScenesarenotonlyforconnectingthefilmbutalsocanaffectthevisionPayattentiontotheemotionalpartofthescenewhichmakesthefilmmorecomplicated(thatisthereasonwhyGriffithiscalledanartistwhilehisworksarecalledworkofart.)Cuttingbetweenscenes場(chǎng)面間剪輯ScenesarefordevelopingthefilmPayattentiontothedevelopmentoftheplot20/344.Griffith’sNarration(1)narrativepattern:emphasizedthatplotandstructurewerethebaseofnarration,while,byusingmontagetodistinguishfilmsfromtraditionalarts.So,filmbecameanewnarrativeart.(2)narrativetime:combinedmaterialpicturesandabstractthoughtstogether,thusexpandingthepsychologicaltime(toomuch,toolengthy)(3)narrativespace:putthestudiooutdoors(4)narrativediscourse敘事語言:scenewasthebaseofmontage—close-ups+longshots;paidattentiontothechangingrhythmoffilm;emphasizedthefunctionofactors;andusedobjectstoexpressemotionalfeelings,especiallyniceones.--symbolicmeaning

21/34III.ComediesinSilentfilmsinAmerica1.theveryfirstcomedystar：MaxLinder麥克斯林戴(French)MaxLindercreatedwhatwasprobablythefirstidentifiablemotion-picturecharacterwhoappearedinsuccessivesituationcomedies.Lindermademorethanonehundredshortfilms短片portraying“Max,”awealthyanddapper短小精悍man-about-townfrequentlyinhotwaterbecauseofhispenchant興趣興趣forbeautifulwomenandthegoodlife.2.ItisAmericanartiststhatmakecomedydominantinsilentera.3.SilentEraisthetimeofcomediesandalsothegoldentimeofcomedy.22/344.Thefirstcomedy(traditionalone):Arroseurarrosé/TheSprinklerSprinkled,《水澆園丁》Director:Lumière在一個(gè)花園里，樹木和草叢都十分蔥郁，一位園丁拿起一根長(zhǎng)長(zhǎng)水管，開始給花草樹木澆水。這時(shí)一個(gè)小男孩走過來了，他出現(xiàn)在園丁身后，乘園丁不注意，用腳踩住水管。水?dāng)嗔髁?，園丁奇怪地低下頭檢驗(yàn)水管，他把水管口對(duì)準(zhǔn)自己眼睛看了又看也沒看出什么終究來，這時(shí)，男孩把腳縮了回去，水猛地噴射出來，全部沖到園丁臉上，園丁回頭看到了搞惡作劇男孩，生氣地扔下水管跑去追打他……23/345.MackSennett,麥克辛納(January17,1880–November5,1960)anAcademyAward-winningdirectorandwasknownastheinnovatorofslapstickcomedy低俗鬧劇infilm.Duringhislifetimehewasknownattimesasthe"KingofComedy."HediscoveredChaplin24/34KeystoneCops,《基斯東警察》theterm“KeystoneCops”hasbecomepartofthelanguage,describingincompetentbuffoons丑角withsupposedauthority.SomehistoriansevencreditSennett‘sfilmswithhavingbeenresponsibleformunicipalpoliceforcesacrossNorthAmericaalteringtheiruniformstoincludemilitarystyleofficers’capssincebythe1920stall,English-stylehatshadbecomesoindelibly不能磨滅associatedwithslapstickcomedy.25/346.1920,HaroldLloydandSnubPollard,哈羅德勞埃德，斯諾波拉德HighandDizzy《高危之處》“TheFreshmen”《大學(xué)新生》--Harold’sbestfilm26/347.1927，BusterKeaton，巴斯特基頓anAcademyAward-winningAmericancomicactorandfilmmaker.Bestknownforhissilentfilms,histrademarkwasphysicalcomedywithastoic,恬淡寡歡deadpan面無表情expressiononhisface,earninghimthenickname“TheGreatStoneFace”.Hehasalsobeencalled“TheMichelangeloofSilentComedy”.默片喜劇米開朗基羅27/345.FattyArbuckle胖子阿伯奇Realname:RoscoeConklingArbuckleAfterBritishactorCharlieChaplinjoinedKeystoneStudiosin1914,Arbucklementoredhim.Chaplin'smostfamouscharacter,"theTramp,"wascreatedafterChaplin"borrowed"Arbuckle'strademarkballoonpants,boots&tinyhat.

28/34FourComedystars:CharlesChaplin,BusterKeaton,HaroldLloyd,HarryLangdon

Fourbest-sellers:“TheFreshman”，HaroldLloyd《大學(xué)新生》“TheBirthofaNation”,Griffith《一個(gè)國(guó)家誕生》“TheGoldRush”,CharlesChaplin《淘金記》“TheBigParade”,RobertYoungson(羅伯特楊森)《大閱兵》29/3430/34atrampwiththerefinedmannersanddignityofagentleman.Thecharacterwearsatightcoat,oversizedtrousersandshoes,andaderby圓頂窄邊禮帽wornbyMaxLindar;carriesabamboocane竹杖;andhasasignaturetoothbrushmoustache唇上修剪得整整齊齊胡子.He"borrowed"Arbuckle'strade