英文电影赏析
随着经济的发展，技术的不断进步，影视已经成为了人们生活中不可或缺的一部分。电影极大地丰富了人们的生活，其中，英文电影成为了众多数人的首选。
从画面上看，英文电影的画面往往精致而且比较有节奏感。比如《海底总动员》，蓝色的海洋中，除了红色的小丑鱼尼莫、他的爸爸马林、有健忘症的深蓝色多莉之外，还点缀着紫色的、粉红的、绿色的、橙色的、银色的、黑色的、黄色的等各种各样的海洋生物，使大海因为色彩斑斓而更显神奇。由于西方国家的电脑技术的先进，在电影中加入不同的特效，使画面有较大的冲击力。《神奇四侠》里，场面壮观，尤其是美轮美奂的宇宙空间、强大的冲击波、恢弘庞大的爆炸场景，带给人强烈的视觉冲击。《金刚》中，“骷髅岛”的诡异莫测、类似半兽人的野蛮土着、疯狂张牙舞爪的霸王龙、“世界野兽之王”、有情有意的大金刚……令人叹为观止的场面和视觉效果比比皆是，一连串的视觉盛宴，让你的心脏几乎没有休息的机会，像坐过山车一样刺激。
拿国产电影和英文电影进行比较，不难发现，国产电影冗长含蓄令人费解。英文电影的情节显得更吸引人，衔接更为紧凑和巧妙，往往在不经意中埋下伏笔。比如说《加勒比海盗3》中，也叫杰克的猴子到土著女祭司蒂娅·达尔玛的住所时，威尔·特纳不经意瞥见的一双穿着靴子的脚，那竟然是刚在鬼门关走了一圈的不死海盗船长巴伯萨，整个情节显得那么合理又不唐突。又比如说《x战警》，该片的叙事有着恰到好处的内敛和冷静，戏剧性与幽默感被置于最平衡恰当的比例，很多情节紧张刺激又不失有趣，有些闪回的部分还带着适当而有效的煽情，整个故事的构架忠实于原著又不流于呆板，场面与气氛的掌控都处理得十分得当。英文电影和东方电影有两点很明显的不同。一点是台词。英文电影中的台词和东方区别很大，东方的比较紧凑，西方的看似慢无边际，却机智，之中透着美式幽默。
Jack Sparrow: Did no one come to save me just because they missed me?
[Everyone looks around. Finally Jack the Monkey raises his hand]
杰克·斯派洛：难道在你们这些人当中，没有一个只是因为想念我才救我的吗？
（每一个人都互相看了看，最后只有那只同样叫杰克的猴子举起了它的手）
Jack Sparrow: Why should I sail with any of you? Four of you have tried to kill me in the past.
[looks at Elizabeth]
Jack Sparrow: One of you succeeded.
杰克·斯派洛：我为什么应该告诉你们啊？要知道你们四个有一个算一个，过去都曾想过要杀我。
（看着伊丽莎白）
杰克·斯派洛：其中有一个还成功了。
Lord Cutler Beckett: [Jack has a cannon aimed at Beckett] You're mad!
Jack Sparrow: [grins] Thank goodness for that because if I wasn't, this'd probably never work.
卡特勒·贝凯特大人（看到杰克将大炮对准了他）：你疯了！
杰克·斯派洛（裂着嘴一笑）：感谢老天爷，因为如果我没有疯，可能永远都不会让你体验到被炮轰的恐惧。
Barbossa: [at a pirate gathering] There's not been a gathering like this in our lifetime.
Jack Sparrow: And I owe them all money.
巴伯萨（看着一名海盗在收钱）：在我有生之年，从没看过这种收钱方式。
杰克·斯派洛：可能是因为我欠他们每一个人钱。
Elizabeth Swann: It would never have worked out between us.
Jack Sparrow: Keep telling yourself that, darling.
伊丽莎白·斯万：咱们两个不会有结果的。
杰克·斯派洛：记得时刻提醒自己，亲爱的。
Barbossa: [Captain Barbossa and Captain Jack Sparrow are both trying to give orders] What are you doing?
Jack Sparrow: What are you doing?
Barbossa: No, what are you doing?
Jack Sparrow: What are you doing?
Barbossa: No, what are you doing?
Jack Sparrow: What are you doing? Hmm. Captain gives orders on the ship.
Barbossa: The Captain of this ship is giving orders!
Jack Sparrow: [thinking] My ship, makes me captain!
Barbossa: They be my charts!
Jack Sparrow: That makes you Chart-man!
Pintel: Stow it! The both of you! That's an order! Understand!
[They glare at him]
Pintel: Sorry, I just thought that with the Captain issue in doubt I'd just throw in my name for consideration. Sorry.
巴伯萨（杰克·斯派洛和巴伯萨都想当船长下达命令）：你干什么呢？
杰克·斯派洛：你干什么呢？
巴伯萨：不，你干什么呢？
杰克·斯派洛：你干什么呢？
巴伯萨：不，你干什么呢？
杰克·斯派洛：你干什么呢？嗯，船长有权在船上下达命令。
巴伯萨：只有这艘船上的船长才有权下达命令！
杰克·斯派洛（想了一下）：我的船，当然我是船长！
巴伯萨：但这些航海图是属于我的。
杰克·斯派洛：那只会让你成为一个画图表的人。
皮泰尔：别吵了，你们两个，这是命令！明白？
（他们对他怒目而视）
皮泰尔：对不起，我只是想既然拿不准谁来当这个船长，那么是不是可以把我的名字考虑进去，对不起。
Davy Jones: Do you feel dead?
Jack Sparrow: You have no idea.
戴维·琼斯：你感觉到死亡了吗？
杰克·斯派洛：你肯定感觉不到。
Jack Sparrow: [as he sees rock-like crabs] Now we're being followed by rocks. Never heard that before.
杰克·斯派洛（看到像岩石一样坚硬的螃蟹腿）：现在我们正被一群石头跟着，真是闻所未闻。
有些台词就显得很经典，比如《终结者》中，I'll be back我会回来的. I'm a terminator.我是一个终结者.《小鬼当家》中的鹦鹉，“两片，否则免谈”《小鸡快跑》中
One should love animals. They are so tasty. 每个人都应该热爱动物,因为它们很好吃."Your future depends on your dreams." So go to sleep.
"现在的梦想决定着你的将来",所以还是再睡一会吧.The more you learn, the more you know, The more you know, the more you forget. The more you forget, the less you know. So why bother to learn. 学的越多,知道的越多, 知道的越多,忘记的越多, 忘记的越多,知道的越少, 为什么学来着?等等。
还有一点就是鬼片的差别。他们的鬼片里多是吸血鬼及僵尸，并没有东方意义上的鬼魂，我们常说的鬼其实并不是一个真正的实体，是魂，是没有身体的灵魂，具有一定的法力，且多数不是什么好鬼，没有受过训练的普通人根本打不过它，只有任其蹂躏的份，所以人见人怕。西方的吸血鬼及僵尸是具有实体的，都是普通人或者尸体因为某种诅咒变成的，而且好象没有什么法力，和人一样拿着刀子棍棒乱舞，要说有什么可怕的话，可能是他们经常出现在意想不到的地方或者是总也打不死。不过他们大多数面目可憎，吸血鬼青面獠牙，僵尸口吐白沬，多数的僵尸甚至是腐尸，吓不吓得着你先恶心一下你。对于东方人来说恐怖不足，恶心有余。西方那种人和僵尸PK的场景，往往主人公一出场就阴风阵阵、鬼叫连连，众鬼在商量着是先吃头还是先吃脚的当儿，主人公还洋洋得意的啥也不知道，在得道高人没有出场之前，你的心就得这么一直悬着，鬼还没有出场已经让你捏着一把汗了。西方鬼片，几个五大三粗的主人公，一看见僵尸出现，虽然有点害怕但还是难掩内心的激动，个个跃跃欲试地想和僵尸们干上一把，于是几个人分头行动，拿刀子的拿刀子，拿棍子的拿棍子，一涌而上，在激战中，要么是主人公脑浆迸出，血流满地，要么是僵尸断手残臂、黑血横流，三分恐怖，七分恶心。像《群尸玩过界》就是一个很典型的例子。东方的鬼片讲究的是发自内心的恐惧，以离奇的情节、诡异的气氛取胜，西方的鬼片以视觉冲击取胜，怎么恶心就怎么拍，至于情节，要么是人打鬼，要么是鬼打人。
说到人物的刻画。不免要想到英文电影中的英雄人物。《超人》、《蝙蝠侠》、《蜘蛛侠》等等，影片的故事照例已经没有多少余地可以发挥了，这是所有超人英雄神话都会有的一个模式，从超人，蝙蝠侠，一直到蜘蛛侠，概莫能外，像《神奇四侠》里，好莱坞似乎觉得蝙蝠侠、蜘蛛侠、超胆侠等孤胆侠的故事已然不过瘾，所以一下子给了我们一个超人F4，外带一个反面超人。因太空站事故而生的五个超人，是非忠奸、好坏黑白一目了然,看起来倒也简明痛快。电影里没有诸如雪崩、沉船之类的大灾难，也没有死掉一个观众喜欢的主角，没有十恶不赦、费尽周折无法战胜的大坏蛋……这是一部轻松的片子，该有的都有了，幽默搞笑，英雄主义，身材曼妙的女主角，完美圆满的结局，神奇的超能力，但说到底无非是场善恶之争罢了。不过，这样的模式中的电影也不乏有好作品。《X-Men》花了很多的笔墨在人物刻画上，这是一部讲述偏见、异化、对未知的恐惧和被放逐的人们如何找回自我的电影，而这些相当人性化的主题在片中的不少人物身上找到了丰满的表达。这除了原著和编导的功劳外，演员的出色表演也不容忽视。特别是像休-杰克曼扮演的Logan就非常地传神，杰克曼演出了角色许多内在的东西，他的风趣、他的愤怒、他的玩世不恭和机智都表现得十分到位，Logan这个人物的丰富性使他在相当程度上充当了从观众角度来看待X世界的眼睛。
英雄形象中，值得一提的是《阿甘正传》中的阿甘形象，他成功地地塑造颠覆了正常世界中的英雄形象，与传统观念背道而驰，具有强烈的反传统、反主流性。又比如《加勒比海盗》中的杰克·斯派洛，杰克是一个真正的海盗，他的疯狂、冷漠、狡狯、自私、见风使舵，和所有的海盗一样，甚至有过之而无不及。而他独有的变态和神经质更是他独一无二的标签。他留着怪异的发型和搞笑的小胡子，扭着身子走路，说话阴阳怪气，甚至有点娘娘腔。他身上几乎集中了传统故事中反派角色的一切外形特征，他看上去病态、颓废、消极、丑陋、阴郁甚至邪恶，和传统的健康、向上、积极、帅气、阳光、正派的英雄概念毫不搭边。他的形象完全颠覆了
以往人们对于英雄的全部概念，悖逆于人们的心理期待。但恰恰就是这样一个躯壳之内，被放入了一颗真正的英雄的心。他和其他一切英雄一样，具有英雄的性格、英雄的信仰、走过了英雄才有的历程。再比如《海底总动员》中的马林，时时刻刻似惊弓之鸟，婆婆妈妈、唠唠叨叨、畏畏缩缩，但在他和尼莫两个互相寻找的冒险之旅中，父子两个都在成长，都学会了信任和勇敢。马林执着地寻找感动了整个海洋，所有的鱼都在谈论、寻找尼莫。另一方面，尼莫为了回到爸爸身边也在众人的帮助下，克服种种困难要从鱼缸中逃走。“小人物”成为“大英雄”在英文电影中也是屡见不鲜的。
在电影中，某些细节的背后暗含着传说，政治，文化意识。举些例子，像《超人》《变形金刚》等之类的大片，典型地宣传了美国的个人英雄主义，或含蓄或直接地告诉我们：只有美国人才能拯救地球。于是，我们在欣赏电影的同时其实也在遭受思想入侵。而像《阿甘正传》中的阿甘在这部影片里以一个头脑简单、纯真，而又缺乏主见的人物形象出现在银幕上，把影片中的各个角色看做是美国国民人性化的象征。阿甘就是美德的化身，诚实、守信、认真、勇敢而重视感情，对人只懂付出不求回报，也从不介意别人拒绝，他只是豁达、坦荡地面对生活。他把自己仅有的智慧、信念、勇气集中在一点，他什么都不顾，只知道凭着直觉在路上不停地跑，他跑过了儿时同学的歧视、跑过了大学的足球场、跑过了炮火纷飞的越战泥潭、跑过了乒乓外交的战场、跑遍了全美国，并且最终跑到了他的终点。在我看来，这部影片的独特之处在于：它重新肯定了旧的道德及社会主体文化，宣扬了60年代美国的主流意识形态，同时它又否定了其他前卫的新文化。
西方国家的技术和经济觉得了英文电影的精彩,英文电影的精彩也正是因为西方国家带来的顶尖的电脑技术和特定的文化.
Review of the Wreck-it Ralth Compared with the movies we have seen this semester，Wreck it Ralth is my favorite.It is the work of the Disney.we had a lot of fun in this film as well as moving. For this film, I want to write lots and lots, but feel my lack of language. Watched this movie ,Ithink that many people will have the feeling of fondly remembering. Exactly said, I am not a game fan, but it still aroused the memories of my childhood ,the street machine that in childhood played..In addition,I have never played Super Mario and PAC-man, and other classic games of figures I have just seen.But that's it, I still love this movie because it has put us in a game which always appears in a dream world. Therefore the angle of view of this movie gives people the fresh feeling At the beginning ,we all know that ralph is a good man but play a bad role.according to this,the story begins.In the hero duty,we knew the ralph's weakness.Fortunately，he overcomed his weakness and gain a sincere friendship. At the end of the film ,Ralth destroies the king with his huge fist,When he used the stone from the top of the volcano hit Coke fountain. his destruction has reached an extreme. And I am looking forward to this destruction, and adored this destruction,And my heart silently said: to make it ! Very humorous scene of the film, no matter how hard Felix tried,it only makethe Iron Prison firmer, and Ralth had become a savior. When your heart is full of love, the damage is also with personal happiness. The film is told in the usual frame of thinking, we have hidden things we can not see, such as the identity of the person,
Journey to the Center of the Earth（地心游记）2008 There is a part of me that will always have affection for a movie like "Journey to the Center of the Earth." It is a small part and steadily shrinking, but once I put on the 3-D glasses and settled in my seat, it started perking up. This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it. If I had seen it when I was 8, I would have remembered it with deep affection for all these years, until I saw it again and realized how little I really knew at that age. You are already familiar with the premise, that there is another land inside of our globe. You are familiar because the Jules Verne novel has inspired more than a dozen movies and countless TV productions, including a series, and has been ripped off by such as Edgar Rice Burroughs, who called it Pellucidar, and imagined that the Earth was hollow and there was another world on the inside surface. (You didn't ask, but yes, I own a copy of Tarzan at the Earth's Core with the original dust jacket.) In this version, Brendan Fraser stars as a geologist named Trevor, who defends the memory of his late brother, Max, who believed the center of the Earth could be reached through "volcanic tubes." Max disappeared on a mysterious expedition, which, if it involved volcanic tubes, should have been no surprise to him. Now Trevor has been asked to spend some time with his nephew, Max's son, who is named Sean (Josh Hutcherson). What with one thing and another, wouldn't you know they find themselves in Iceland, and peering down a volcanic tube. They are joined in this enterprise by Hannah (Anita Briem), who they find living in Max's former research headquarters near the volcano he was investigating. Now begins a series of adventures, in which the operative principle is: No matter how frequently or how far they fall, they will land without injury. They fall very frequently, and very far. The first drop lands them at the bottom of a deep cave, from which they cannot possibly climb, but they remain remarkably optimistic: "There must be a way out of here!" Sure enough, they find an abandoned mine shaft and climb aboard three cars of its miniature railway for a scene that will make you swear the filmmakers must have seen "Indiana Jones and the Temple of Doom." Just like in that movie, they hurtle down the tracks at breakneck speeds; they're in three cars, on three more or less parallel tracks, leading you to wonder why three parallel tracks were constructed at great expense and bother, but just when such questions are forming, they have to (1) leap a chasm, (2) jump from one car to another, and (3) crash. It's a funny thing about that little railway: After all these years, it still has lamps hanging over the rails, and the electricity is still on. The problem of lighting an unlit world is solved in the next cave they enter, which is inhabited by cute little birds that glow in the dark. One of them makes friends with Sean, and leads them on to the big attraction -- a world bounded by a great interior sea. This world must be a terrible place to inhabit; it has man-eating and man-strangling plants, its waters harbor giant-fanged fish and fearsome sea snakes that eat them, and on the further shore is a Tyrannosaurus rex. So do the characters despair? Would you despair, if you were trapped miles below the surface in a cave and being chased by its hungry inhabitants? Of course not. There isn't a moment in the movie when anyone seems frightened, not even during a fall straight down for thousands of feet, during which they link hands like sky-divers and carry on a conversation. Trevor gets the ball rolling: "We're still falling!" I mentioned 3-D glasses earlier in the review. Yes, the movie is available in 3-D in "selected theaters." Select those theaters to avoid. With a few exceptions (such as the authentic IMAX process), 3-D remains underwhelming to me -- a distraction, a disappointment and more often than not offering a dingy picture. I guess setting your story inside the Earth is one way to explain why it always seems to need more lighting. The movie is being shown in 2-D in most theaters, and that's how I wish I had seen it. Since there's that part of me with a certain weakness for movies like this, it's possible I would have liked it more. It would have looked brighter and clearer, and the photography wouldn't have been cluttered up with all the leaping and gnashing of teeth. Then I could have appreciated the work of the plucky actors, who do a lot of things right in this movie, of which the most heroic is keeping a straight face. 1
曾经和ing《经典英文电影赏析》由10个章节组成。每一章节包括电影背景、故事简介、主要演员阵容及导演介绍、精彩部分节选、对影片的评论及注释五大部分。相信许多读者会在观赏优美电影或阅读《经典英文电影赏析》的过程中重温自己过去的电影体验，获得新的感悟和理解。 英汉对照是《经典英文电影赏析》的一大特点。《经典英文电影赏析》既有英文原文，也提供了中文翻译，有助于英语爱好者能更好地理解书中的内容。同时，《经典英文电影赏析》还提供了注释，为读者的自学提供了参考。 ·查看全部>> 前言 在“信息爆炸”的今天，随着国际文化交流的不断深入和推进，英语作为世界通行语的优势越来越显示出她的“英语帝国”风貌。一方面中国正逐步地同世界接轨，日益频繁的国际交往，使国家和社会对大学生的英语综合应用能力尤其是听说技能提出了更高的要求。另一方面，目前全国大学英语教学改革正在各高校尝试并推广，基于计算机／网络+课堂教学的教学模式日渐普遍。 教育部2007年颁布了《大学英语课程教学要求》。为贯彻其原则和方针，遵循其提出的“加强听说能力，提倡自主型的个性化学习”要求，大学英语教学课时数在一定程度上进行了缩减，包括听力课课时。而全国大学英语四、六级考试在这一改革的背景下进行了很大程度的调整，加强了应用能力的考查，听力所占的比例也由原来的20％提高到了35％。大学英语教学也面临着新的挑战。 因此，如何在学时减少、对听说能力要求提高的情况下，加强对学生学习能力的训练，培养学生自主学习的新模式，也是大学教师应该探讨的新问题。 电影一直以来就是人类漫漫旅途中的精神伴侣。在电影中，人们可以获得心灵的安慰，得到情感的滋润，寻求生活的力量，体验人生的快乐。而英语电影不仅能把学习者带入到一个非常好的语境中培养语感，而且有利于学生熟悉国外的社会、文化、生活方式以及异国风情，为他们了解西方提供了一种影像解读的窗口。中国著名英语语言学教育专家刘润清曾说过，“电影是社会文化的浓缩，看一部电影胜似在国外生活一天”。 借此我们编写了《经典英文电影赏析》这部书。在对近几年英美国家上演的大片精挑细选的基础上，我们选择了既适合英语学习，又集知识性、趣味性、观赏性、时尚性、体验性为一体的10部电影。目的是通过提供真实的英语语言环境，让英语学习者和爱好者能直接了解英美人的思维方式、文化和生活习俗，锻炼和提高英语视、听、说、读、写、译的综合应用能力。这10部电影涉及不同的类型：爱情片、励志片、喜剧片、动作片、友情片、动画片等。
《经典英语影视赏析》课程教学大纲 课程名称（中文）：经典英语影视赏析 课程名称（英文）：Appreciation of English Classic Films and Television Plays 课程类型：历史与文化类适用范围：贵州大学各专业本科生 学时数：32 其中：实验/实践学时：课外学时：无 周学时：2 学分数： 2 考核方式：考查 制订单位：外国语学院制订日期：2014-07-10 执笔者：张涛 【课程性质】 本课程是各专业本科阶段的一门选修课程。 【教学目的】 本课程旨在提高学生对语言真实度的各类视听材料的理解能力和口头表达能力。以经典英语影视为对象，通过“视”、“听”、“说”、“写”的结合，以直观画面和情节内容为基础开展有针对性的口语训练，运用复述、总结、对话、口头概述等活动形式，提高学生的听力理解和口头表达能力，同时通过论文写作的形式，加深他们对英语国家的政治、经济、社会、文化等方面的认识和了解，从文化层面上更好的把握语言这门艺术。 【教学任务】 此课程教学旨在使学生在提高英语语言能力的同时对西方的电影和文化有更多的了解和认识。 【教学内容】 1.阐述当代原版电影的一般知识，即通俗地介绍电影的文化特征和艺术特征，同时比较完整地介绍英美电影的历史和特点。 2.精心挑选了在世界上具有广泛影响的影片作为读解素材，其中大部分影片曾获得过奥斯卡奖。在理解剧情的基础上，领略电影作品从独特的美学价值和文化性格所展现出不同民族的艺术风格。 3.介绍部分当代英美电影的著名导演和演员，了解各种电影手法和创作技巧。 【教学原则和方法】 教学原则： 英语影视课的教学既要注意结合各门课程所学内容，打好扎实的语言基本功，又要突出语言交际能力的培养，注重培养学生的跨文化交际能力。在教学中，要正确引导学生学习中西文化的差异，处理好欣赏和批判的关系以及如何正确接受西方文化的方法。 教学方法： 课堂教学采取学生为主体、教师为主导的教学模式。在教学中，利用音像环境所提供生动的英语语境训练听力和口语，分析英语经典影片，长、短片结合。多开展以任务为中心的、形式多样的教学活动，通过“视”、“听”、“说”的综合训练，提高学生的英语语言运用能力。 【先修课程要求】 以语音、语法、词汇、听力、口语等为基础的综合能力培养的大学英语课程。 【教材与主要参考书】 教材： Andrew Lynn Appreciating Cinema 《英语电影赏析》外语教学与研究出版社, 2005年参考书： 徐志英邓杉赵蓉英语电影视听说外语教学与研究出版社, 2009年
Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1
Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1
电影，也称映画（motion picture）:是由活动照相术幻灯放映术结合发展起来的一种现代艺术，是一门可以容纳文学、喜剧、摄影、绘画、音乐、舞蹈等多种艺术的综合艺术。 艺术界把电影称为是继文学、音乐、建筑、美术、雕塑、舞蹈之后的第七艺术。 西方电影经历了四个时期： 电影艺术萌发期（1895-1907）无声故事片创作时期（1908-1926） 有声故事片创作时期（1927-1945）电影艺术新发展时期（1945- ） （一）电影艺术萌发期 这一时期，存在着两种不同的摄影倾向;一种以卢米埃尔兄弟为代表，主要在现实中区捕捉生活现象，银幕上展现的就是人们身边的琐事；一种以梅里埃为代表，主要记载舞台上经过加工的虚构的生活图画。沿着这两种创作方式，发展呈后来的记录片和故事片两种片种。卢米埃尔兄弟的作品，均为纪实主义电影，银幕上展现的就是们身边的琐事。题材和内容大致可分为四个方面：劳动和工作的生活场景；家庭生活情趣的记录；政治、文化、新闻纪录；自然风光和街头实景。代表作品：《工厂的大门》《火车进站》《水浇园丁》《耶路撒冷教堂》《儿童吵架》《婴儿的早餐》。 1895年12月28日，卢米埃尔兄弟《火车进站》、《工厂大门》等标志着电影的诞生。 梅丽爱（1861-1938）对电影的贡献：1.把戏剧手法移植到电影中，完成了电影同戏剧首次“联姻”，丰富了电影表现力。2.自觉运用了人工布景，大摄影棚拍摄，重点虚构创造艺术效果。3.灵活运用停机拍摄，场面转换等拍摄技巧和方法。4.开创多种电影特技，如多次曝光、合成摄影、渐隐渐显、慢速摄影等。 （二）无声故事片创作时期： 这一时期的代表人物和电影流派包括：大卫·格里菲斯查理·卓别林德国表现主义电影法国印象主义电影超现实主义电影前苏联蒙太奇学派电影 大卫·格里菲斯:被誉为“现代电影观念的奠基者”。1.他将电影从依附于戏剧的形式中独立出来，采用文学观念进行创作，将电影从简单的记录层面提升到复杂点的叙事层面，使电影真正成为一门独立的艺术。2.他首创巨型片的先河，制作场面宏大，形式新颖，使用时空跳跃和蒙太奇对比手法，创造了世界电影史上著名的”最后一分钟营救发”，至今仍在电影创作中广泛使用。最著名的代表作品，包括：1915年《一个国家的诞生》（the birth of a nation）1916年的《党同伐异》（intolerance） 查理·卓别林：生平简介：英国电影演员，制片人，导演，不列颠帝国勋章佩戴者，1889年4月16日出生于伦敦，1977年12月25日卒于瑞士科西耶。代表作品：从1919年开始，卓别林独立制片，一生共拍摄80余部喜剧片，其中在电影史上著名的影片由《淘金记》《城市之光》《摩登时代》《大独裁者》《凡尔杜先生》《舞台生涯》等。创作特点：1.影片有着深刻而尖锐的现实主义批判精神，完全不同于以前的庸俗闹剧。2.卓别林的喜剧电影大都是带有悲剧色彩的喜剧，善于把一些对立的因素在艺术创作中有机的集合起来，这种对立关系的桥面处理发人深省，具有很强的艺术感染力，使悲喜交集达到高度的融合。3.卓别林用艺术夸张手法构成情节和人物动静的造型，构思巧、手法新，完全超脱了一般庸俗闹剧的旧模式，因而在创作上达到深刻的现实主义和卓越的浪漫主义想结合，从而使得卓别林的喜剧电影取得了很高的艺术成就。 德国表现主义电影：是20世纪一、二十年代在德国出现的把文学、戏剧、和绘画上的表现主义原则，运用于电影创作的电影流派，认为：“电影的画面应该像绘画作品一样”，创作者把本人的内心骚动，情绪外化于所免回的形象之中。创作特点：用荒诞离奇的手法，曲折而精确的反映出一战给德国人民带来的极度恐慌和惶惑的心情。银幕上呈现的是高度夸张、变形、主观化的世界。艺术特征:1.总体风格沉郁、灰暗、冷酷。2.内容倾向于黑暗题材的表现，人物往往具有象征含义。3.用变形、荒诞、失真、扭曲等手法反映现实。4.空间安排热衷舞
英文电影赏析活动 - 计划书及总结 策划人：邵光阳 2013年11月09日
山峰英语俱乐部英文电影赏析活动方案 活动目的：在通过对英文电影的赏析与理解提高学生的英语文化素质,锻炼学生的组织能力，协调能力以及独立完成任务的能力，并且通过该社团培养兴趣， 真正的提高自己的英语语言文化习得及口语表达能力。 活动名称：英文电影赏析 设备：电脑投影仪 活动策划承办单位：山峰英语俱乐部 人员：山峰英语俱乐部全体成员 时间与地点：待定 活动形式与内容： 1. 电影放映与赏析 电影的放映参考社团成员意见而形成最终意见。放映电影之前由宣组会成员 负责对新影片的背景知识、经典对白注意率先进行讲解，并提出观看问题让社员 带着问题看影片，找答案。问题设置以多样化、灵活化为基点，可有线索词寻找、 镜头手段、经典语句、主题挖掘、人物分析、画面效果、语言现象等进行揣摩分 析。 电影放映结束后，以小组自愿为原则、要求小组内分工合作，指派一人上台做成果汇报，可以回答宣组会一开始PPT中的问题，也可以结合小组智慧形成新的成果汇报，成果回报要求以PPT展示。宣组会将根据PPT效果、合作程度、内容价值、表达流畅性等角度进行评分。 活动要求 1、关于电影 要求在电影播放时提供所放电影中有经典对白及台词的中英文对照版。 电影放映前，负责同学提前20分钟到达指定地点，做好放映前的准备工作。 例如电脑及音响设备的检测，电影台词的发放，对观看电影的同学的统筹安排及 管理。电影放映结束后，负责打扫教室及其它善后工作。
英文电影赏析活动总结 校园中五彩缤纷的社团活动丰富了学生的业余生活，也为学生提供了展示自我的能力与发挥创造力的舞台，不但能开阔眼界，增加人生阅历，还能提高综合素质，适度的活动可以为我们的生活润滑，娱乐身心，放松心情，同时更重要的是增加知识与能力 这次英文电影赏析活动，活动前期做了充分的准备，在活动即将到来时，由于参加报名的人数比较少，所以，我们自己总结了一下，主要的原因是我们宣传的不到位。；另一个原因，我们刚刚接手社团，很多的事情并不是很熟悉，不知道该如何去做，现在想起这些事情，它不但锻炼了我个人的能力，也要求我的组织能力有所提高，对他们也要有明确的分工，只有让所有的人都参与进来,一起合作，才能办的更好！ 社团的活动不在多，而在于精。每一次活动都尽力办到最好，社团的发展不能全部依赖于举办活动，必须有自己可发展和延续的东西。我们社团在本学期举办的活动虽然不是很多，活动也没有办的特别好，但那也是一次次精神的洗礼，能力的提升，团结的供赢。我们将会齐心协力，继续努力，争取做得更好。
The Pursuit of Happiness（当幸福来敲门）2006 With a title like The Pursuit of Happiness, you expect the characters to get to the promised land. They do, but if the journey matters more than the destination, this is a movie to skip. The Pursuit of Happyness is long, dull, and depressing. It expands into two hours a story that could have been told more effectively in one. This is not the feel-good movie of the season unless you believe that a few moments of good cheer can redeem 110 minutes of gloom. Sitting through The Pursuit of Happiness is a chore. Downbeat movies aren't inherently bad (in fact, many are powerful), but this one provides artificial characters in contrived circumstances. How is it that movies "inspired by a real story" often feel more fake than those fully embedded in the realm of fiction? Will Smith has generated Oscar buzz for his portrayal of Chris Gardner, the real-life guy whose rags-to-riches story forms the basis of the movie. (Impoverished guy becomes capitalist poster boy.) While it's fair to say that this is one of the best straight performances of Smith's career, it didn't blow me away. In and of itself, the acting, while effective, is not Best Actor material, but it wouldn't surprise me if the movie's prestige factor and Smith's popularity earn him a nod. Meanwhile, his female co-star, Thandie Newton, isn't going to be considered for any award. Newton spends about 90% of her screen time doing an impersonation of a harpy: screeching, bitching, and contorting her face into unpleasant expressions. Smith's son, Jaden, is okay as the movie's child protagonist; it's unclear whether his occasional deficiencies are the result of his acting, Steven Conrad's writing, or Gabriele Muccino's direction, but there's not much personality behind the cute features and curly hair. Chris Gardner (Will Smith) is down on his luck. It's 1981 San Francisco and his self-employed business of selling portable bone density scanners isn't doing well. His wife, Linda (Thandie Newton), does nothing but yell at him and give him a cold shoulder, and the lack of domestic harmony is impacting the disposition of his beloved son, Christopher (Jaden Christopher Syre Smith). That's when Chris' life turns into a country song. His wife leaves. He is evicted from his home. He goes to jail, neither passing GO nor collecting a much-needed $200. He gets hit by a car. He is robbed. He makes his son cry. He alienates a friend over $14. He gets to spend a night in the cleanest public restroom in the history of public restrooms. But there's a bright spot, although you need a dark-adapted eye to find it. Despite having no experience, Chris applies to enter an internship program at Dean Witter. He would appear to have no chance to get in until he amazes the head of the program (Brian Howe) by solving the Rubik's Cube puzzle in the back of a taxi cab. It's a blessing that the movie doesn't use a stock villain to impede Chris' herky-jerky trip to the top, because that would have tipped the movie into the empire of the unwatchable. However, the lack of a strong conflict makes the two-hour running length seem very long. Thankfully, there's also not much in the way of overt melodrama, but that could be a byproduct of having characters who are not deeply realized and have narrow emotional ranges. It's tough to connect with Chris and his son. Although they are played by a real-life father and son, there's no chemistry between them. We're constantly told how desperately Chris loves Christopher, but it takes a long time before we begin to buy it. Most of the time, Christopher seems like an annoying piece of baggage that Chris drops off at daycare when he has other things to do. The film's most compelling scenes are those that show Chris struggling to enter the rat race. Granted, this is no Glengarry Glen Ross, but it shows the pressure these salesmen are under and how important the contact lists are. In the overall scheme of things, however, these sequences are background noise. They are neither plentiful nor lengthy. The movie spends more time following Chris on his futile sales rounds for the bone density scanner than it does accompanying him during his broker training. The moral of the story is as trite as they come: don't let anyone convince you to give up on your dreams. Disney animated films have been doing this better for decades. The Pursuit of Happyness concludes with a caption that tells us what happens to Chris after the end of the movie; it promises a better story than the one we have just watched. The film is also marred by a persistent (although not verbose) voiceover that adds nothing to the story while frequently jerking us out of the experience of watching it. I don't need Will Smith telling me: "This part of the story is called 'riding the bus.'" This is the English-language debut of Gabriele Muccino, who has made a name for himself in Italian cinema. The Pursuit of Happiness has the kind of slow, drab tone one occasionally associates with a director raised outside of the Hollywood system. What can be an asset in some circumstances is a detriment in this one. The Pursuit of Happiness isn't enjoyable, and its meager pleasures, including the eventual "payoff," aren't enough to justify the unrelenting misery. The Pursuit of Happiness is competently made and gets lots of the details right, but when it comes to the emotional core of the story, it loses the pursuit and misses the "happiness."