英语电影赏析.docx
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英语电影赏析.docx
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英语电影赏析
AppreciatingCinema
英语电影赏析
XiongXiaoman
WuhanUniversityofTechnology
Purposes
1.Togainaroughideaofwhathadhappenedinthelonghistoryoffilmsandwhatishappeningnow.
2.Toknowmoreaboutsomeoftherepresentativefilm-makers,actorsandtheirmasterpieces.
3.Toenjoysomeofthemasterpieces,nicefilmsandtheirwonderfulmusic.
4.Hopefully,trytouseeverythinglearnedinthecoursetogetabetterideaofthelanguageandtheculture.
History
Thehistoryoffilmissimplifiedbyitsshortness.
EarlyCinema
ClassicalHollywoodCinema
Post-ClassicalHollywoodCinema
Eachoftheseperiodsischaracterizedbycertaintechnologicaldevelopmentsandpatternsofindustrialorganization.Artistically,too,filmsfromagivenperiodoffilmhistorytendtodisplaycertaincharacteristicfeatures.
I.EarlyCinema
Technology
Developmentofcelluloid
Developmentofcamerasandprojectors
2.Industry
DominanceofEdisonandBiographcompanies
3.Aesthetics
“ActualityFilming”
“CinemaofAttractions”
D.W.Griffith:
FatherofFilm
DavidW.Griffith:
moresophisticatednarrative-basedmethodsofcinematicstory-telling
TheBirthofaNation一个国家的诞生(1915)
Intolerance党同伐异(1916)
II.ClassicalHollywoodCinema
Technology
Developmentofsound
DevelopmentofTechnicolor
2.Industry
“BigFive”and“LittleThree”
Verticalintegrationofproduction,distributionandexhibition
Narrative
3.Aesthetics
Continuityediting
Starsystem
Genres
III.Post-ClassicalHollywoodCinema
Technology
Developmentofotherexhibitionchannelsandmultimediaplatforms
2.Industry
CompetitionwithTV
Distributionwindowsondifferentmediaplatforms
3.Aesthetics
Flexibleuseofgenre
Rulesofcausalityandtemporallogicobservedlessstrictly
Foregroundingofstylisticdevices
Post-ClassicalHollywoodCinema
Twomajorsub-periods:
1.“NewHollywood”(or“renaissance”)period
弗朗西斯·科波拉FrancisFordCoppola
马丁·斯科西斯MartinScorsese
斯坦利·库布里克StanleyKubrick
阿瑟·佩恩ArthurPenn
乔治·卢卡斯GeorgeLucas
史蒂文·斯皮尔伯格StevenSpielberg
伍迪·艾伦WoodyAllen
奥利弗·斯通WilliamOliverStone
弗朗西斯·科波拉(1939——)
弗朗西斯·科波拉——“美国新浪潮”的旗手。
《痴呆症》
《教父》获45届奥斯卡最佳影片、最佳男主角、最佳改编剧本奖。
《教父续集》获47届奥斯卡最佳影片、最佳导演等6项大奖。
《教父第三集》
《对话》27届戛纳电影节金棕榈奖。
《现代启示录》32届戛纳电影节金棕榈奖。
马丁·斯科西斯(1942———)
《谁在敲我的门》《穷街陋巷》《艾丽丝不再住此》《纽约,纽约》《愤怒的公牛》《纯真年代》《金钱本色》《纽约黑帮》等。
代表作——《出租汽车司机》获1976年戛纳电影节金棕榈奖
斯坦利·库布里克(1928——1999)
《光荣之路》
《斯巴达克斯》
《奇爱博士》
《发条桔子》
《2001:
太空遨游》
《巴利·林顿》
《全金属铝外壳》
《洛丽塔》
《闪灵》
《紧闭双眼》(《大开眼界》)
乔治·卢卡斯(1945——)
斯皮尔伯格(1949——)
《大白鲨》《夺宝奇兵》(1、2、3)
《第三类接触》
《外星人》
《紫色》
《太阳帝国》
《胡克船长》
《侏罗纪公园》
《辛德勒的名单》
《失落的世界》
《拯救大兵瑞恩》
《慕尼黑》
Post-ClassicalHollywoodCinema
2.“independentfilmmaking”
在好莱坞制片厂体制之外制作的电影,它制作的目的在于表达演个人的思想观念而非追求票房上的成功。
索德伯格《性·谎言·录像带》获第42届戛纳电影节金棕榈奖,标志着独立电影时代的来临。
《卡夫卡》《盲点》《毒品网络》(《非法交易》)《永不妥协》
大卫·林奇《心中狂野》(1990)获43届戛纳电影节金棕榈奖。
昆汀·塔伦蒂诺《落水狗》(1992年)《低俗小说》(1994年)《杀死比尔》
Genres
Genresarethecategoriesintowhich,onthebasisofsharedcharacteristics,weplaceartistic,musical,literaryorcinematicworks;subgenresaresimilarbutmorelimitedandmorepreciselydefined.
It’sraretofindafilmthatbelongsexclusivelytoonegenre.
Genres
Genres
Genres
Socialdramasarefilmswhosecentralnarrativeconcernorconflictisasocialproblem—poverty,inequality,discrimination,racism,orexclusion(排外),tonamejustafewpossibilities.
ThegangsterfilmisrootedinthespecificsocialandculturalcontextoftwentiethcenturyAmerica.Thenarrativesareusuallybasedontheideaofthe“AmericanDream”andcanbeseenasaparticularAmericangenre.
VietnamwarwasanAmericanwar,andtheVietnamwarfilmsallowusacriticalperspectiveonthewar.
Genres
Actionfilmsbegantobecomepopularinthe1970sandareparticularlyprofitableinthecontemporaryglobalmarketplace.
The“blockbuster”wasbornon20June1975withthereleaseofJaws.Aproductofthepost-classicalperiod,itisconsideredtobeavery“American”genre.
Theconceptoffilmnoirfirstemergedin1940sFrance.Thegroupoffilmssharedacommonvisualstyleandamoodforcynicism,pessimism,anddarkness.
Character
Characterizationandperformancearetwooftheessentialaspectsofanycinematicwork.Charactersinfilmscanbedividedintothreebasic“functions”(orcategories):
maincharacters,secondarycharacters,andminorcharacters.Eachofthesefunctionshasacertainroletoplay.
i.Characterfunctions
Themaincharacteristhemostimportantcharacterinafilm,andthecharacterofgreatestinterest.Usuallythemaincharacterisalsothe‘‘protagonist",thecharacterwhoseactionstriggerthechainofcausesandeffectsthatdrivetheplotforward.Occasionally,however,theprotagonistisnotthemaincharacter.
Character
Secondarycharactersarethosewhointeractwiththeprotagonistandhavesignificantimpactonthedevelopmentofthenarrative.Theycanoftenbedividedintothreemainfunctionstheoppositioncharacter,themirrorcharacter,andtheromancecharacter.
Theoppositioncharacter(alsoknownasthe“antagonist反面主角”)isthecharacterwhoopposestheintentionsoftheprotagonist;antagonistsstandinthewayofprotagonistsandcreateobstaclesforthem.Theprotagonistisnotalwaysthehero/heroine,andtheantagonistisnotalwaysthevillain.
Character
Themirrorcharacter(alsoknownasthe“support”)isthecharactermostclearlyalignedwithandsupportiveof,theprotagonist.
Theromancecharacter(or‘'loveinterest”)isthecharacterwithwhomtheprotagonistis--orbecomes--romanticallyinvolved.
Character
iiChristopherVoglerarguesthattherearesevenbasiccharacterarchetypes:
Character
iiiHowever,filmcharactersarenotmerelystatic“types”or“functions”,butfiguresthataretransformedastheyprogressthroughthenarrative.Characterdevelopmentoccursgraduallyovertheentire“arc”ofthenarrativeandhasbeencalledthe“transformationalarc”,thekeyelementsofwhicharemotivationandconflict.
Character
TheLionKing
Narrative
Narrative,Story,andPlot
·NarrativeThewayinwhichastoryistold.
·StoryAlltheeventsthatweseeandhear.plusallthosethatweinferorassumetohaveoccurred,arrangedintheirpresumedcausalrelations,chronologicalorder,duration,frequency,andspatiallocations.
·PlotAlltheeventsthataredirectlypresentedtous.includingtheircausalrelations,chronologicalorder,duration,frequency,andspatiallocations.
Narrative
TheBasicStories
AchillesThe“Achilles”storyisthestoryoftheseeminglyinvulnerable(不会受伤的,无懈可击的)herowithafatalflaw.ClassicaltragedyisusuallyavariantoftheAchillesstory.(Example:
Superman)
CandideThestoryoftheinnocentabroad.thenaivelyoptimisticherowhotriumphscontrarytoallexpectations.(Examples:
ForrestGump,TheLordoftheRings,Mr.Bean,ABeautifulMind,IndianaJones(《印第安那·琼斯》)
CinderellaThestoryofthe“dreamcomestrue”:
Goodnessandvirtuearedespisedatthebeginningbutrecognizedatlast.TheprotagonistoftheCinderellastoryusuallybeginsinalowlypositionbut,throughhisgoodnature,convincesalldoubters(怀疑者)andisrewarded.(Example:
PrettyWoman(《漂亮女人》))
Narrative
TheBasicStories
CirceThe“chase”storyinwhichaninnocentvictimispursuedbythevillain,untilthevillainisdefeatedbythepotentialvictim.Oftenthisstorytakestheformofthetemptress(诱惑男人的女性)ensnaring(诱捕)thelove—struck(被爱情冲昏了火的)male;ithasoftenbeenvividlydescribedas“thespiderandthefly”.Itisthebasisofhorrorfilms,thrillers.andfilmnoir.(Examples:
FatalAttraction(《致命吸引力》)andtheAlienfilms)
FaustThestoryofanindividualwhosellshissoultothedevil,enjoysabriefperiodorpowerandprosperity,buteventuallyiscalledupontorepaythedebt.TheFauststorycanalsotaketheformofthedarksecretthatcanneverbecompletelysuppressed,orthepersonalhistorythatcannotbeevaded.(Example:
WallStreet(《华尔街》))
Narrative
TheBasicStories
OrpheusThestoryofthegiftthatistakenaway.Thegiftcouldbesomethingpersonal,alovedone,anabilityofsomekind,everythingvaluableinlife,orevenlifeitself.Thestorycanfocusonthetragedyofthelossitselforthesearchthatfollowstheloss.(Example:
BornontheFourthofJuly(《生于七月四日》))
RomeoandJulietTheclassic“star.crossedlovers(命运不佳的情侣)”storyinwhichamajorobstaclestandsinthewayoftruelove(Examples:
ShakespeareinLove,Titanic,Ghost(《人鬼情未了》))
TristanThelovetriangle:
Amanlovesawoman,butoneofthemisalreadyinvolvedwithsomeone(orsomething)else.The“thirdparty”intherelationshipisusuallyaperson,butitmaybesomethingmoreabstract(e.g.acause,amission,adestiny).(Example:
TheGraduate(《毕业生》))
TheWanderingJewThe“WanderingJew”isthestoryofthepersecutedofalienatedtravelerwhowillneverreturnhome.(Examples:
TheEnglishPatient,ApocalypseNow(((现代启示录》))
Narrative
TheClassicThree—ActLinearStructure
ThemajorityofHollywoodfilmsemploytheclassicthree—actlinearstructure(oravariationofit).Bynomeansa11filmswilladheretothisstructure.andthosethatdowilldosoflexibly.Nevertheless,mostHollywoodscriptwritersarefamiliarwiththestructureandacknowledgeitsimportance.
Narrative
ActI
Narrative
ActII
Theme
Statedsimply,thethemeofafilmisitsmainpoint,whatthescriptwriteranddirectorwantstotellus.
AnoverviewofsomeoftheformsinwhichthemeisexpressedinHollywoodfilms:
BroadHumanConcerns:
Themescommonlyreflectthemostbasicanduniversalhumanconcernssuchaslove,thenatureofhumanity,ethicalconcernsandthemeaningofhumanexistence.
LifePhilosophies
ReligiousandEthicalConcerns
HistoricalIssues
NationsandNationalCharacteristics
Social/Cultural/TechnologicalCha
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