英语影视欣赏课课件3

Review1.EdwinS.Porterspecialty:hecombinedtheoutdoorsceneswithartificialindoorones.Whatishisrepresentativework?TheGreatTrainRobberyGroundbreakingintheuseofcross-cuttingPremierattractionatthefirstnickelodeonEstablishedmotionpicturesascommercialentertainmentintheUnitedStatesLayfoundationforthewesterns2.D.W.Griffth

background—twofightspatents—twotrusts---Edison’sCompanyandBoigraphStudiosBetweentrustsandindependentfilm-making---thebirthofHollywood

Whatistrust?anentitywithintenttocreateamonopolyWhatisindiefilm?aseriesofmonopolistic垄断的practicesbyseveralmajorAmericanfilmstudioswhichcontrolledtheproduction,distribution,andexhibitionoffilms.Whataretoday’sbigsix?ColumbiaPictures,20CenturyFox,WaltDisneyMotionPictureGroup,ParamountMotionPictureGroup,UniversalGriffthTheBirthofaNation--oneofthefirstfeaturelengthfilmIntolerance3.ComediesinSilentFilmsSilentEraisthetimeofcomediesandalsothegoldentime.

(1)thefirstcomedystar:Maxlinder(2)thefirstcomedy:TheSprinklerSprinkled(3)MackSennett:discoveredChaplin;innovatorofslapstickcomedy;KeystoneCops(4)BusterKeaton–theMichelangeloofSilentComedy(5)FattyArbuckle:trademarkballoonpants,boots&tinyhat(6)CharlesChaplinHatfromMaxlinder;pantsandbootsfromArbuckleFourComedystars:CharlesChaplin,BusterKeaton,HaroldLloyd,HarryLangdon

Fourbest-sellers:“TheFreshman”，HaroldLloyd《大学新生》“TheBirthofaNation”,Griffith《一个国家的诞生》“TheGoldRush”,CharlesChaplin《淘金记》“TheBigParade”,RobertYoungson(罗伯特杨森)《大阅兵》4.GenresoffilmsShoot-outFilm警匪片MusicalFilms歌舞片ComedywithWittydialoguesChapter3Avant-gardeFilmMovementinEuropeAvant-gardemeans“advanceguard”or“vanguard".TheadjectiveformisusedinEnglish,torefertopeopleorworksthatareexperimentalorinnovative,particularlywithrespecttoart,culture,andpolitics.Avant-garderepresentsapushingoftheboundariesofwhatisacceptedasthenormorthestatusquo,primarilyintheculturalfield.Manyartistshavealignedthemselveswiththeavant-gardeandstillcontinuetodoso.1.Background(1)Asoneformofmassmedia,filmsbecamesomethingcannotbeignored.Meanwhile,HollywoodhadbeenagreatthreattothefilmmarketofEuropewhichmadeitalmoststopdeveloping.(2)ThecrisiscausedbytheworldwarIregardingtowesternsocialtraditionsandspiritualcivilizationinasenseacceleratedthedevelopmentofmodernisminliterature.

I.ImpressionismNarrationinFranceandDifferentGenresintheTrendsofSurrealismII.AestheticpursuitinExpressionismandRealisminGermanyIII.TheoryandPracticeofMontageSchoolinSovietIV.TheDevelopmentofDocumentaryin20S

I.ImpressionismNarrationinFranceandDifferentGenresintheTrendsofSurrealism

Impressionism印象主义

wasa19th-centuryartmovementthatbeganasalooseassociationofParis-basedartists

exhibitingtheirartpubliclyinthe1860s.ThenameofthemovementisderivedfromthetitleofaClaudeMonet’s克劳德莫奈work,Impression,Sunrise

日出印象,whichprovokedonecritictocointheterminasatiricreview.TheemergenceofImpressionisminthevisualartswassoonfollowedbysimilarmovementsinothermediawhichbecameknownasImpressionistmusicandImpressionistliterature.FrenchImpressionistCinemaisatermappliedtoalooselydefinedgroupoffilmsandfilmmakersinFrancefrom1919-1929,althoughtheseyearsaredebatable.Avant-gardefilm/experimentalfilm先锋派电影Surrealism超现实主义isaculturalmovementthatbeganintheearly-1920s,andisbestknownforthevisualartworksandwritingsofthegroupmembers.Surrealistworksfeaturetheelementofsurprise,unexpectedjuxtapositions并列andnonsequitur不根据前提的推理;似乎无法合理答复的陈述;howevermanySurrealistartistsandwritersregardtheirworkasanexpressionofthephilosophicalmovementfirstandforemost,withtheworksbeinganartifact.SurrealismdevelopedoutoftheDada

达达主义activitiesofWorldWarIandthemostimportantcenterofthemovementwasParis.Fromthe1920son,themovementspreadaroundtheglobe,eventuallyaffectingthevisualarts,literature,film,andmusic,ofmanycountriesandlanguages,aswellaspoliticalthoughtandpractice,andphilosophyandsocialtheory.Hyperrality超现实Inpostmodernphilosophy,thetermhyperrealitycharacterizestheinabilityofconsciousnesstodistinguishrealityfromfantasy,especiallyintechnologicallyadvancedpostmoderncultures.Hyperrealityisameanstocharacterizethewayconsciousnessdefineswhatisactually"real"inaworldwhereamultitudeofmediacanradicallyshapeandfiltertheoriginaleventorexperiencebeingdepicted.

Avividexample:DisneylandwithitssettingssuchasMainStreetandfullsizedhouseshasbeencreatedtolook"absolutelyrealistic,"takingvisitors'imaginationtoa"fantasticpast.“Thisfalserealitycreatesanillusionandmakesitmoredesirableforpeopletobuythisreality.Disneylandworksinasystemthatenablesvisitorstofeelthattechnologyandthecreatedatmosphere"cangiveusmorerealitythatnaturecan.“ThefakeanimalsareallavailabletopeopleinDisneylandandforeveryonetosee.The"fakenature"ofDisneylandsatisfiesourimaginationanddaydreamfantasiesinreallife.Therefore,theyseemmoreadmirableandattractive.WhenenteringDisneyland,consumersformintolinestogainaccesstoeachattraction.Thentheyareorderedbypeoplewithspecialuniformstofollowtherules,suchaswheretostandorwheretosit.Iftheconsumerfollowseachrulecorrectly,theycanenjoy"therealthing"andseethingsthatarenotavailabletothemoutsideofDisneyland'sdoors.1911,Canudo“LeSeptièmeart”卡努杜，《第七艺术宣言》Thefirsttoclaimthatfilmshouldbeanewformofart,whichinfluencedgreatlyintheaestheticexplorationofAvant-gardeinFrancein20S.1.ImpressionismNarrationinFrance(1917-1928)(1)centralcharacter:LouisDeluc

路易德吕克上镜头性：photogenic(2)Mutualfeaturesofalltheworksatthattime:Simplestory,complicatedpsychology&certainemotion

(3)characteristicsandcontributions

a.thecorepartofafilmwastheinneractivitiesofthepeople—enlargedandenrichedthesilentfilms.b.triedhardtomakenaturalmaterialsbeinaccordancewithmentalandemotionalfeelingsofpeople(thetrendofnaturalism)–madefilmsbecomeindependentofstages,actorsandtraditionalviewsabouttheplotandpeopleindramaandliterature,thencreatedanewanduniquevisuallanguageforfilms.c.establishednewphotographingtechniquestoshowthevisualexpressionofpeople’spsychologyandemotion.3newtechniques:Subjectivismtake,dollyphotographyandtrickphotography(主观摄影、移动摄影和特技摄影);dolly:移动式摄影车n/v

firstapplicationofhigh-speed/low-speedphotography(高速摄影和低速摄影）d.emphasizedtheimportanceofvisualrhythmanditsediting节奏的表现和剪辑---enhancedpoeticeffect.

2.DifferentGenresintheTrendsofsurrealismNB:Theirworksareworkswithitsindividualcharacteristicswhichareonlyforafewintellectsandprofessionals(1)deniedthenarrationoffilms,andclaimeditwouldbebetterifthereis“NoTheme”inthefilms.(2)indulgedinthetechniquesandwaysofshootingfilms.2.1PureCinema“纯电影”的美学实验AbstractArt（法国抽象主义电影）：deniedthefunctionofacquaintingandrepresentingthesociety,andclaimed“artwasforart’ssake”.为艺术而艺术Exponential:HenryHemed(Cinqminutesdecinemapur)倡导者－亨利希美特《纯电影的5分钟》GermaineDulac谢尔曼杜拉克therearesomeresemblancebetweenfilmsandmusic

2.2Dadaism+Irrationalism达达主义无理性的电影实验WhatisDada?Dadaisthegroundworktoabstractartandsoundpoetry,astartingpointforperformanceart,apreludetopostmodernism,aninfluenceonpopart,acelebrationofanti-arttobelaterembracedforanarcho-political(无政府主义的)usedinthe1960sandthemovementthatlaidthefoundationforSurrealism.――荒谬的第一次世界大战的产物，最终导致超现实主义电影的诞生。ThemostRepresentative--Duchamp,“ElleaEhaudauCul”杜桑《带胡须的蒙娜丽莎》Theveryfirst--ManRay,Retouràlaraison曼雷伊《回到理性》Themostoutstanding–RenéClairEntr'acte雷内克莱尔《幕间休息》2.3Absoluterealityinsurrealism–thefinalplaceofavant-garde超现实主义电影的绝对现实Theveryfirst---GermaineDulac,LaCoquilleetleclergyman杜拉克《贝克和僧侣》Themostrepresentative:LuisBunuel,UnChien

Andalou

布努艾尔《一条安达鲁狗》Theonlyrealitythatsurrealistscarearetheinnerrealitywhichbecomesthefoundationofmodernisminthelate50s.

II.AestheticPursuitinExpressionismandRealisminGermanyRealism

现实主义inthevisualartsandliteratureisthedepictionofsubjectsastheyappearineverydaylife,withoutembellishmentorinterpretation.Thetermisalsousedtodescribeworksofartwhich,inrevealingatruth,mayemphasizetheuglyorsordid.Thepopularityofrealismgrewwiththeintroductionofphotography-anewvisualsourcethatcreatedadesireforpeopletoproducethingsthatlook“objectivelyreal”.Realistspositionedthemselvesagainstromanticism,agenredominatingFrenchliteratureandartworkinthelate18thandearly19thcentury.Undistortedbypersonalbias,Realismbelievedintheideologyofobjectiverealityandrevoltedagainstexaggeratedemotionalism感情主义.TruthandaccuracybecamethegoalsofmanyRealists.1919,ErnstLubitsch恩斯特刘别谦《杜巴莱夫人》---openedthedoortotheinternationalfilmmarketforGermanyfilms.HewasaGerman-bornJewish

filmdirector.HisurbanecomediesofmannersgavehimthereputationofbeingHollywood'smostelegantandsophisticateddirector;ashisprestigegrew,hisfilmswerepromotedashaving"theLubitschtouch".刘别谦式触动Emphasizedthesociality社会性andseriousnessoftheworksanditsrealisticsignificance1、妙语连珠的、风趣的、迷人的、雅致的、讨人喜欢的、多变的、若无其事的、放肆的。刘别谦的气质里带着一种吊儿郎当的调侃，却绝不酸刻，有一种刚好挠到你心里痒痒的感觉。他用一种独特的细腻的幽默感，敏锐的捕捉人们交锋中最富有戏剧性的一刹那，因此即使将每一个镜头分开来看，也显得趣致盎然。当然，有趣之外，还隐隐约约有种东西，在打动你。

2、微妙的性挑逗。刘别谦这个名字同他的电影挺般配，带着一种貌似矜持的幽默，骨子里却狡猾得像只老狐狸。刘别谦曾说过，“美国观众只有十二岁孩子的思想”。上世纪二三十年代社会环境发生巨变，整个西方文明经过十九世纪的拘谨与道貌岸然，加上经济愈加发达，所谓“饱暖思淫欲”，西方人开始放纵性欲。但美国是清教徒国家，一时间不能适应这种风气。刘别谦精确地掌握了美国人的心理，将讽刺的主题锁定在两方面──性和金钱，30年代中期美国电检制度的严格也不得不让他的风格趋向于含蓄。为了不让人们找到破绽，镜头里最多也就拉个小手亲个小嘴，中国话称之为“点到为止”，刘别谦将故事背景设在国外，如巴黎、维也纳、布达佩斯等，或是一些神秘的小岛，但这些依然可让观众们(尤其是美国人)明显地发现他的意图——从中找到自己及周围熟悉的美国人身上不太光彩的行径、怪癖、缺点等等。但刘别谦并不是加以批判，而是以一种类似上帝的眼光宽容地看待这些缺点。

3、以某对象或小细节的画面作为戏剧上的转折，并以暗示慧黠、风趣或事实被揭露的诧异。以单一镜头或一短幕戏这种精简、浓缩的方式来呈现全剧讽刺的主题。比如：门是刘氏特别喜爱使用的道具，有人将刘别谦定义为“门的导演”。其实他是利用门来增加喜剧感，以省略方法挑引观众的想像力。（比较有代表性的是《天堂陷阱》）

4、时常使用某种微妙的对位法——在片中最欢乐的时刻付上一股淡淡的哀愁；这种雅致的风格看似不着边际，但妙趣横生，妙到言外有意。

1.PsychologicalWorldofExpressionismFilms(1)symbol:DasCabinetdesDrCaligar《卡里加里博士》Caligarism:anotherwayofsayingexpressionisminGermany(2)background:thelossofthewar,turbulenceinthesocietyanddiscontentmentwiththereality

2.Theexternalityinkammerspielfilms/chamberdrama(室内剧)andstreetfilms（街头电影）KammerspielwasaGermanfilmmovementofthe1920ssilentfilmperiodthatwasdevelopedaroundthesametimeasthemorecommonlyknownGermanExpressionismfilmmovement.Kammerspielwasknownasthe"ChamberDrama"filmforitsobviousinfluencefromchamberplaytheaterandiscategorizedbyitsfocusoncharacterpsychology,lackofintricatesetdesignanditsfrequentdepictionoftheworkingclass.AlsounlikeGermanExpressionismfilms,filmsoftheKammerspielmovementveryseldomusedintertitlestocreatespokendialogueornarratethefilm.ThesocialityinexpressionismfilmswasdevelopedtherewhichleadfilmsinGermanytothepursuitofnaturalismandmodernism.

2.1.Contributionsofkammerspielfilms(1)apply“thethree

unities”fromclassictragedies

三一律(一个情节,一个地点,一个时间)Der

LetzteMann《最卑贱的人》→zenithandclassicalone(2)movingphotograph(dollycamera移动摄影机)+POV(Point-of-view)shot主观镜头(3)studiowithrealscenes

2.2Neo-objectivism新客观派—RealityandsocialityfromstreetfilmsWhatinterestsneo-objectivistswerethesocialenvironmentaroundpeoplebutnottheirpsychologicalconditions.Sostudioanddollycameraswereusedtoshowthesocialreality.

Objectivism客观主义

holdsthatrealityexistsindependentfromconsciousness;thatindividualpersonsareincontactwiththisrealitythroughsensoryperception;thathumanbeingscangainobjectiveknowledgefromperceptionthroughtheprocessofconceptformation;thatthepropermoralpurposeofone‘slifeisthepursuitofone’sownhappinessthroughactinginone‘s“rationalself-interest”;thattheonlysocialsystemconsistentwiththismoralityisfullrespectforindividualrights,embodiedinpure,consensual得到共识的laissez-faire

放任自由的capitalism私有制度;andthattheroleofartinhumanlifeistotransformman’swidestmetaphysical超自然的ideas,byselectivereproductionofreality,intoaphysicalform—aworkofart—thatonecancomprehendandrespondto.Neo-ObjectiviststypicallyagreewithObjectivistsoncertaincorevalues.Theytypicallyemphasizetheimportanceofreasonandtheacceptanceofreality,andtheysupportindividualism个人主义,egoism本位主义,enlightened开明的self-interest利己主义,andcapitalism.However,Neo-Objectivistsalsodepartfromorthodox正统的Objectivistsonsomeissues.SomeNeo-ObjectivistsstickrelativelyclosetoObjectivism;SomeNeo-Objectiviststhinkthatspiritualityoracceptanceofthesupernaturaliscompatible兼容的withObjectivism.

III.TheoryandPracticeofMontageSchoolinSovietSimilaritiesanddifferenceswithFranceandGermanySoviet:thesuccessoftheoverturnofCzarF+G:economiccrisis,unemployment,tragicanddestructivelifeS:theinfluenceofMarxismF+G:humanitarianism人道主义,religionsBothundertheinfluenceofAvant-gardeinEurope

1.somefacts(1)beginning:Aug.27,1919,Leninsignedandecreetonationalizethefilmindustry;1922,Lenin,again,exclaimedtodevelopit.–nationalism国有化⑵representative：Rodchenko

罗德钦—newway:cut&paste“照片剪贴”式(3)Kuleshov库里肖夫—constructivist–theconstructivefoundationoffilmswerefromthespaceandmontage,notfromtherealmaterials.Kuleshoveffect:电影技法的目的为从一个开始镜头开始,然后引导观众从一些不同元素的镜头中,推断出这些镜头之间在空间上的延续性这个理论被称为“库里肖夫效应”(4)Vertov维尔托夫（futuristicmusician未来主义的音乐家）,Ktsnokts(“电影眼镜派”):believedthecameracouldrenderrealitymoreaccuratelythanthehumaneye,andmadeafilmphilosophyoutofit.Kino-Pravda/cameratruth(5)OddActorSchool奇异演员养成所–alotofcreativetalents

MontageSchoolwasgreatlyinfluencedbyfuturism&constructivism.

Futurism

未来主义wasanart

movementthatoriginatedinItalyintheearly20thcentury.ItwaslargelyanItalianphenomenon,thoughtherewereparallelmovementsinRussia,Englandandelsewhere.TheFuturistsadmiredspeed,technology,youthandviolence,thecar,theplaneandtheindustrialcity,allthatrepresentedthetechnologicaltriumphofhumanityovernature,andtheywerepassionatenationalists.

Constructivism构成主义

wasanartisticandarchitecturalmovementinRussiafrom1919onwardwhichrejectedtheideaof"artforart'ssake"(abstractartinFrance)inflavorofartasapracticedirectedtowardssocialpurposes.Constructivismasanactiveforcelasteduntilaround1934,beforebeingreplacedbySocialistRealism.2.Eisenstein爱森斯坦(1)anarticleentitledMontageofAttractions,early20s“杂耍蒙太奇”杂耍蒙太奇的含义是选择具有强烈感染力的手段加以适当的组合，以影响观众的情绪，使观众接受作者的思想结论。(2)Bronenosets

Potyomkin《战舰波将金号》--thebestandmostclassiconeofusingMontageofAttractions(3)intellectualmontage,late20s理性蒙太奇理性蒙太奇:在电影中通过画面内部的造型安排，使观众将一定的视觉形象变成一种理性的认识3.MontageofPudovkin

普多夫金的蒙太奇叙事Mother《母亲》(MaximGorky高尔基)HeirtoGenghisKhan《成吉思汗的后代》KonetsSankt-Peterburga《圣彼得堡的末日》LayparticularstressonthehistoricalfilmsIV.TheDevelopmentofDocumentaryin20Sfrom