英语电影赏析课件

1、Appreciating Cinema英语电影赏析Xiong XiaomanWuhan University of TechnologyPurposes1. To gain a rough idea of what had happened in the long history of films and what is happening now.2. To know more about some of the representative film-makers, actors and their masterpieces.3. To enjoy some of the masterpi

2、eces, nice films and their wonderful music. 4. Hopefully, try to use everything learned in the course to get a better idea of the language and the culture.History The history of film is simplified by its shortness .Early CinemaClassical Hollywood CinemaPost - Classical Hollywood Cinema Each of these

3、 periods is characterized by certain technological developments and patterns of industrial organization. Artistically, too, films from a given period of film history tend to display certain characteristic features.I. Early Cinema Technology Development of celluloid Development of cameras and project

4、ors2. Industry Dominance of Edison and Biograph companies3. Aesthetics “Actuality Filming” “Cinema of Attractions”D. W. Griffith: Father of Film David W. Griffith: more sophisticated narrative-based methods of cinematic story-tellingThe Birth of a Nation 一个国家的诞生（1915）Intolerance 党同伐异（1916） II. Class

5、ical Hollywood Cinema Technology Development of sound Development of Technicolor2. Industry “Big Five” and “Little Three” Vertical integration of production, distribution and exhibition Narrative3. Aesthetics Continuity editing Star system GenresBig Five: Warner Brothers Loews MGM Fox Paramount RKO

6、雷电华Little Three: Columbia; Universal; United Artists联美Greta Garbo 葛丽泰嘉宝Ingrid Bergman英格丽褒曼Vivien Leigh费雯丽Audrey Hepburn奥黛丽赫本Elizabeth Taylor伊丽莎白泰勒Humphrey Bogart亨莱福鲍嘉 Marlon Brando马龙白兰度Clark Gable克拉克盖博Alain Delon阿兰德隆Laurence Olivier劳伦斯奥利弗Gregory Peck格里高利派克 Western The Great Train Robbery火车大劫案 (1903)

7、 Stagecoach关山飞渡(1939)关山飞度约翰福特铁骑搜索者原野奇侠太阳浴血记正午红河Comedy Mack Sennett 传送带生产式的制片方式 :“出主意者”提出一个原始点子，然后交由“剧本会议”设计人物和故事，成型后由“噱头部”负责添加滑稽场面和情景。 Charlie Chaplin查理卓别林 Buster Keaton勃斯特基顿 淘金记(1925)、城市之光(1931)、摩登时代(1936)、大独裁者(1940)、凡尔杜先生（1947)、舞台生涯(1952)、一个国王在纽约(1957)等。一夜风流天堂里的烦恼Musical百老汇旋律小凯撒疤脸大盗我是一个越狱犯Crime Ho

8、rrorHitchcock 蝴蝶梦后窗美人计煤气灯下深闺疑云三十九级台阶群鸟深闺疑云III. Post-Classical Hollywood Cinema Technology Development of other exhibition channels and multimedia platforms2. Industry Competition with TV Distribution windows on different media platforms3. Aesthetics Flexible use of genre Rules of causality and tempo

9、ral logic observed less strictly Foregrounding of stylistic devicesPost-Classical Hollywood CinemaTwo major sub-periods:1. “New Hollywood” (or “renaissance”) period弗朗西斯科波拉 Francis Ford Coppola马丁斯科西斯 Martin Scorsese斯坦利库布里克Stanley Kubrick 阿瑟佩恩 Arthur Penn乔治卢卡斯 George Lucas史蒂文斯皮尔伯格 Steven Spielberg伍迪艾伦

10、 Woody Allen 奥利弗斯通 William Oliver Stone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（19281999） 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

11、丽塔闪灵紧闭双眼（大开眼界）阿瑟佩恩 邦妮和克莱德（雌雄大盗）不仅标志着阿瑟佩恩个人创作的高峰，而且是新好莱坞崛起的标志。 本片的特殊之处：（1）首次出现反英雄的英雄形象。（2）融入了法国新浪潮的艺术观点 和技巧：时空的自由跳接。（3）突破了好莱坞严格的类型模式，体现了类型融合 的倾向：强盗片、喜剧片、爱情片等。乔治卢卡斯（1945） 1977：星球大战新希望 全球票房：7.754亿美元1980：星球大战帝国反击战 全球票房：5.4亿美元1983：星球大战绝地归来 全球票房：4.75亿美元1999：星球大战前传魅影危机 全球票房：9.43亿美元2002：星球大战前传克隆人的进攻 全球票房：6.

12、5亿美元2005：星球大战前传西斯的复仇 全球票房：8.5亿美元 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奥利弗斯通“越战反思三部曲”：野战排（获59届奥斯卡最佳影片、最佳导演等4项大奖）生于七月四日（获62届奥斯卡最佳导演奖）天与地两部总统片：刺杀肯尼迪尼克松天生杀人狂野战排生于七月四日天与地天生杀人狂尼克松刺杀肯尼迪Post-Classical Hollywood Cinema2.“independent filmmaking” 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

13、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 Genres are the categories into which, on the basis of shared characteristics, we place artistic, musical, literary or cinematic works; subgenres are similar but

14、 more limited and more precisely defined.Its rare to find a film that belongs exclusively to one genre.Genre Defining Criteria Differentiating Criteria Social DramaRomanceGangsterWar FilmScience FictionFantasy (奇幻片)WesternDisaster(灾难片)CrimeEpic Subject Matter Serious social topicRomantic relationshi

15、p between loversGangsters in urban AmericaSpecific military conflictsFuturistic technologiesfuture worldsImpossible worldsfantastical charactersAmerican WestNatural or manmade catastropheCriminal activities and investigationBiblical(有关圣经的)or ancient history Genres GenresGenreDefining CriteriaDiffere

16、ntiating Criteria ActionMusical Formal Criteria Presence of action setpiecesPresence of song and dance performances BlockbusterFilm Noir/Neo-Noir Style Spectacular eventsChiaroscuro (明暗对照法)lighting and dark mise-en-scene (场面调度) ComedyHorrorThriller Affective Response Intended to generate laughterInt

17、ended to horrifyIntended to thrill GenresSocial dramas are films whose central narrative concern or conflict is a social problempoverty, inequality, discrimination, racism, or exclusion(排外), to name just a few possibilities.The gangster film is rooted in the specific social and cultural context of t

18、wentieth century America. The narratives are usually based on the idea of the “American Dream” and can be seen as a particular American genre.Vietnam war was an American war, and the Vietnam war films allow us a critical perspective on the war.GenresAction films began to become popular in the 1970s

19、and are particularly profitable in the contemporary global marketplace.The “blockbuster” was born on 20 June 1975 with the release of Jaws. A product of the post-classical period, it is considered to be a very “American” genre.The concept of film noir first emerged in 1940s France. The group of film

20、s shared a common visual style and a mood for cynicism, pessimism, and darkness.Character Characterization and performance are two of the essential aspects of any cinematic work. Characters in films can be divided into three basic “functions” (or categories)：main characters，secondary characters，and

21、minor charactersEach of these functions has a certain role to play. i. Character functions The main character is the most important character in a film, and the character of greatest interestUsually the main character is also the protagonist, the character whose actions trigger the chain of causes a

22、nd effects that drive the plot forward. Occasionally，however，the protagonist is not the main character Character Secondary characters are those who interact with the protagonist and have significant impact on the development of the narrative. They can often be divided into three main functions the o

23、pposition character，the mirror character，and the romance character.The opposition character (also known as the “antagonist 反面主角”) is the character who opposes the intentions of the protagonist；antagonists stand in the way of protagonists and create obstacles for them. The protagonist is not always t

24、he hero/heroine, and the antagonist is not always the villain CharacterThe mirror character (also known as the “ support”) is the character most clearly aligned with and supportive of, the protagonistThe romance character (or love interest” ) is the character with whom the protagonist is - or become

25、s-romantically involved Characterii Christopher Vogler argues that there are seven basic character archetypes:ArchetypeCharacterFunction in The Lion KingheroSimbaProtagonist who embarks on the questmentorMufasa, RafikiOlder figures who give advicethreshold guardianHyenasAnimals who stop Simba on his

26、 wayheraldUnclearshape shifterScarScar masquerades as a caring uncleshadowScarScar is really the antagonisttricksterTimon&PumbaaFigures who provide comic reliefCharacteriii However, film characters are not merely static “types” or “functions”, but figures that are transformed as they progress throug

27、h the narrative. Character development occurs gradually over the entire “arc” of the narrative and has been called the “transformational arc”, the key elements of which are motivation and conflict.CharacterOuter motivationInner motivationWhat the character wants to achieveWhy the character wants to

28、achieve itOuter conflictInner conflictConflict against external forcesConflict against part of oneselfiii Motivation Conflict Character growth (as part of the “transformational arc”)Development of new abilities in the face of challengeCritical reconsideration of goalReflection and increased knowledg

29、e of self and worldThe Lion KingOuter motivationInner motivationSimba must recover his kingdomSimba must recover himselfOuter conflictInner conflictConflict with Scar: Scar seizes the kingdom and Simba must take it backConflict with himself due to self-doubt and unwillingness to confront difficultie

30、s from his own past Motivation Conflict Character growth (as part of the “transformational arc”)Self-confidence to challenge ScarThe goal is not just to rule, but to rule well as his father didKnowledge that his father lives on in himself; knowledge that ruling is a duty as well as a privilegeNarrat

31、ive Narrative，Story，and Plot Narrative The way in which a story is told.Story All the events that we see and hearplus all those that we infer or assume to have occurred，arranged in their presumed causal relations，chronological order，duration，frequency，and spatial locationsPlot All the events that ar

32、e directly presented to usincluding their causal relations，chronological order，duration，frequency，and spatial locationsNarrative The Basic StoriesAchilles The “Achilles” story is the story of the seemingly invulnerable (不会受伤的，无懈可击的) hero with a fatal flawClassical tragedy is usually a variant of the

33、 Achilles story(Example：Superman)Candide The story of the innocent abroadthe naively optimistic hero who triumphs contrary to all expectations(Examples：Forrest Gump，The Lord of the Rings, MrBean，A Beautiful Mind，Indiana Jones(印第安那琼斯)Cinderella The story of the “dream comes true”：Goodness and virtue

34、are despised at the beginning but recognized at lastThe protagonist of the Cinderella story usually begins in a lowly position but，through his good nature，convinces all doubters(怀疑者)and is rewarded(Example：Pretty Woman (漂亮女人)Narrative The Basic StoriesCirce The “chase” story in which an innocent vic

35、tim is pursued by the villain，until the villain is defeated by the potential victimOften this story takes the form of the temptress (诱惑男人的女性) ensnaring (诱捕) the lovestruck (被爱情冲昏了火的) male；it has often been vividly described as “the spider and the fly”It is the basis of horror films，thrillersand film

36、 noir(Examples：Fatal Attraction(致命吸引力)and the Alien films)Faust The story of an individual who sells his soul to the devil，enjoys a brief period or power and prosperity，but eventually is called upon to repay the debtThe Faust story can also take the form of the dark secret that can never be complete

37、ly suppressed，or the personal history that cannot be evaded(Example：Wall Street (华尔街)Narrative The Basic StoriesOrpheus The story of the gift that is taken awayThe gift could be something personal，a loved one，an ability of some kind，everything valuable in life，or even life itselfThe story can focus

38、on the tragedy of the loss itself or the search that follows the loss(Example：Born on the Fourth of July(生于七月四日)Romeo and Juliet The classic“starcrossed lovers(命运不佳的情侣)”story in which a major obstacle stands in the way of true love (Examples：Shakespeare in Love ，Titanic, Ghost(人鬼情未了)Tristan The love

39、 triangle：A man loves a woman，but one of them is already involved with someone (or something)elseThe“third party”in the relationship is usually a person，but it may be something more abstract (ega cause，a mission，a destiny)(Example：The Graduate(毕业生)The Wandering Jew The “Wandering Jew” is the story o

40、f the persecuted of alienated traveler who will never return home(Examples：The English Patient, Apocalypse Now (现代启示录)Narrative The Classic ThreeAct Linear StructureThe majority of Hollywood films employ the classic threeact linear structure (or a variation of it) By no means a11 films will adhere t

41、o this structureand those that do will do so flexiblyNevertheless, most Hollywood scriptwriters are familiar with the structure and acknowledge its importanceActTime Function Act I0-30 minsSet-upAct II30-90 minsDevelopment (Conflict and confrontation)Act III90-120 minsResolution and denouement(结局)Na

42、rrative Act IApproximate timeEvent Function 0-5 minsThe HookGrabs attention of audience2-5 minsThe Key LinePoses question to be explored15 minsInciting incidentIncident that disturbs life of protagonist30 minsTurning Point 1Crisis for protagonist(1st decisive action)NarrativeAct II60 minsPoint of no

43、 returnProtagonist becomes truly committed to goal90 minsTurning point 2Crisis for protagonistAct III105 minsClimaxPeak emotional moment: protagonist faces greatest challenge105-120 minsResolution / DenouementProtagonist evaluates what has happenedThemeStated simply, the theme of a film is its main

44、point, what the scriptwriter and director wants to tell us.An overview of some of the forms in which theme is expressed in Hollywood films:Broad Human Concerns: Themes commonly reflect the most basic and universal human concerns such as love, the nature of humanity, ethical concerns and the meaning

45、of human existence.Life PhilosophiesReligious and Ethical ConcernsHistorical IssuesNations and National Characteristics Social/Cultural/Technological Changes7. Social ProblemsFilm AwardsAcademy AwardsAcademy of Motion Picture Arts and Sciences 1. Costume Design 服装设计 2. Actor in a Supporting Role 男配角

46、 3. Make up 化妆 4. Art Direction 艺术指导 5. Live Action Short Film 纪实短片 Animated Short Film 动画短片 6. Sound Effects Editing 音响效果剪辑 7. Sound 音响 Film Awards 8. Actress in a Supporting Role 女配角 9. Cinematography 摄影 10. Film Editing 剪辑 11. Visual Effects 视觉效果 12. Documentary Short Subject 记录短片 Documentary Fea

47、ture 记录长片 13. Foreign Language Film 外语片 14. Lifetime Achievement 终身成就 Film Awards 15. Original Musical or Comedy Score 音乐（喜剧） Original Dramatic Score 音乐（戏剧） 16. Original Screenplay 原著剧本 Screenplay Adaptation 剧本改编 17. Original Song 歌曲 18. Director 导演 19. Actress in a leading Role 最佳女主角 20. Actor in a

48、 leading Role 最佳男主角 21. Picture 影片Film FestivalsInternational Film Festival of Cannes, France (Golden Palm)Berlin International Film Festival, Germany (Golden Bear)Venice Film Festival, Venice, Italy (Golden Lion) San Sebastian International Film Festival, Spain (Golden Shell) Tokyo International Fi

49、lm Festival, Japan Moscow International Film Festival , RussiaKarlovy Vary International Film Festival, Czechoslovakia CairoInternationalFilmFestival , EgyptShanghai International Film Festival, ChinaMontreal World Film Festival, CanadaMar del Plata International Film Festival , Argentina Chapter 3

50、Avant-garde Film Movement in EuropeAvant-garde means “advance guard” or “vanguard. The adjective form is used in English, to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics.Avant-garde represents a pushing of the boundaries of wha

51、t is accepted as the norm or the status quo, primarily in the cultural field. Many artists have aligned themselves with the avant-garde and still continue to do so.1. Background(1) As one form of mass media, films became something cannot be ignored. Meanwhile, Hollywood had been a great threat to th

52、e film market of Europe which made it almost stop developing.(2) The crisis caused by the world war I regarding to western social traditionsand spiritual civilization in a sense accelerated the development of modernismin literature. I. Impressionism Narration in France and Different Genres in the Tr

53、ends of Surrealism II. Aesthetic pursuit in Expressionism and Realism in Germany III. Theory and Practice of Montage School in Soviet IV. The Development of Documentary in 20S I. Impressionism Narration in France and Different Genres in the Trends of Surrealism Impressionism印象主义 was a 19th-century a

54、rt movement that began as a loose association of Paris-based artists exhibiting their art publicly in the 1860s. The name of the movement is derived from the title of a Claude Monets 克劳德莫奈work, Impression, Sunrise 日出 印象, which provoked one critic to coin the term in a satiric review. The emergence o

55、f Impressionism in the visual arts was soon followed by similar movements in other media which became known as Impressionist music and Impressionist literature.French Impressionist Cinema is a term applied to a loosely defined group of films and filmmakers in France from 1919-1929, although these ye

56、ars are debatable.Avant-garde film/experimental film 先锋派电影Surrealism 超现实主义is a cultural movement that began in the early-1920s, and is best known for the visual artworks and writings of the group members.Surrealist works feature the element of surprise, unexpected juxtapositions 并列 and non sequitur不

57、根据前提的推理;似乎无法合理答复的陈述 ; however many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Surrealism developed out of the Dada 达达主义activities of World War I and the most important center of the movement wa

58、s Paris. From the 1920s on, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music, of many countries and languages, as well as political thought and practice, and philosophy and social theory.Hyperrality 超现实In postmodern philosophy, the term hyperrea

59、lity characterizes the inability of consciousness to distinguish reality from fantasy, especially in technologically advanced postmodern cultures. Hyperreality is a means to characterize the way consciousness defines what is actually real in a world where a multitude of media can radically shape and

60、 filter the original event or experience being depicted. A vivid example:Disneyland with its settings such as Main Street and full sized houses has been created to look absolutely realistic, taking visitors imagination to a fantastic past.“ This false reality creates an illusion and makes it more de