AppreciatingCinema

英語(yǔ)電影賞析

XiongXiaoman

WuhanUniversityofTechnologyAppreciatingCinema

英語(yǔ)電影賞析

X1Purposes1.Togainaroughideaofwhathadhappenedinthelonghistoryoffilmsandwhatishappeningnow.2.Toknowmoreaboutsomeoftherepresentativefilm-makers,actorsandtheirmasterpieces.3.Toenjoysomeofthemasterpieces,nicefilmsandtheirwonderfulmusic.4.Hopefully,trytouseeverythinglearnedinthecoursetogetabetterideaofthelanguageandtheculture.Purposes1.Togainaroughide2History

Thehistoryoffilmissimplifiedbyitsshortness.EarlyCinemaClassicalHollywoodCinemaPost-ClassicalHollywoodCinemaEachoftheseperiodsischaracterizedbycertaintechnologicaldevelopmentsandpatternsofindustrialorganization.Artistically,too,filmsfromagivenperiodoffilmhistorytendtodisplaycertaincharacteristicfeatures.HistoryThehistoryoffil3I.EarlyCinema

TechnologyDevelopmentofcelluloidDevelopmentofcamerasandprojectors2.IndustryDominanceofEdisonandBiographcompanies3.Aesthetics“ActualityFilming”“CinemaofAttractions”I.EarlyCinemaTechnology4D.W.Griffith:FatherofFilmDavidW.Griffith:moresophisticatednarrative-basedmethodsofcinematicstory-tellingTheBirthofaNation一個(gè)國(guó)家的誕生（1915）Intolerance黨同伐異（1916）D.W.Griffith:FatherofFilm5II.ClassicalHollywoodCinema

TechnologyDevelopmentofsoundDevelopmentofTechnicolor2.

Industry“BigFive”and“LittleThree”Verticalintegrationofproduction,distributionandexhibitionNarrative3.AestheticsContinuityeditingStarsystemGenresII.ClassicalHollywoodCinema6BigFive:WarnerBrothersLoew’sMGMFoxParamountRKO雷電華LittleThree:Columbia;Universal;UnitedArtists聯(lián)美GretaGarbo葛麗泰·嘉寶IngridBergman英格麗·褒曼VivienLeigh費(fèi)雯麗BigFive:WarnerBrothersGreta7AudreyHepburn奧黛麗·赫本ElizabethTaylor伊麗莎白·泰勒AudreyHepburn奧黛麗·赫本Elizabeth8HumphreyBogart亨萊?！U嘉MarlonBrando馬龍·白蘭度HumphreyBogart亨萊?！U嘉MarlonB9ClarkGable克拉克·蓋博AlainDelon阿蘭·德隆ClarkGable克拉克·蓋博AlainDelon阿蘭10LaurenceOlivier勞倫斯·奧利弗GregoryPeck格里高利·派克

LaurenceOlivier勞倫斯·奧利弗Gregory11Western

TheGreatTrainRobbery《火車大劫案》(1903)Stagecoach《關(guān)山飛渡》(1939)《關(guān)山飛度》約翰·福特Western《關(guān)山飛度》約翰·福特12《鐵騎》《搜索者》《鐵騎》《搜索者》13《原野奇?zhèn)b》《太陽(yáng)浴血記》《原野奇?zhèn)b》《太陽(yáng)浴血記》14《正午》《紅河》《正午》《紅河》15ComedyMackSennett傳送帶生產(chǎn)式的制片方式:“出主意者”提出一個(gè)原始點(diǎn)子，然后交由“劇本會(huì)議”設(shè)計(jì)人物和故事，成型后由“噱頭部”負(fù)責(zé)添加滑稽場(chǎng)面和情景。

CharlieChaplin查理·卓別林BusterKeaton勃斯特·基頓

《淘金記》(1925)、《城市之光》(1931)、《摩登時(shí)代》(1936)、《大獨(dú)裁者》(1940)、《凡爾杜先生》（1947)、《舞臺(tái)生涯》(1952)、《一個(gè)國(guó)王在紐約》(1957)等。Comedy16《一夜風(fēng)流》《天堂里的煩惱》《一夜風(fēng)流》《天堂里的煩惱》17Musical《百老匯旋律》Musical《百老匯旋律》18《小凱撒》《疤臉大盜》《我是一個(gè)越獄犯》Crime《小凱撒》《疤臉大盜》《我是一個(gè)越獄犯》Crime19HorrorHorror20Hitchcock《蝴蝶夢(mèng)》《后窗》《美人計(jì)》Hitchcock《蝴蝶夢(mèng)》《后窗》《美人計(jì)》21《煤氣燈下》《深閨疑云》《三十九級(jí)臺(tái)階》《群鳥(niǎo)》《深閨疑云》《煤氣燈下》《深閨疑云》《三十九級(jí)臺(tái)階》《群鳥(niǎo)》《深閨疑云》22III.Post-ClassicalHollywoodCinema

TechnologyDevelopmentofotherexhibitionchannelsandmultimediaplatforms2.IndustryCompetitionwithTVDistributionwindowsondifferentmediaplatforms3.AestheticsFlexibleuseofgenreRulesofcausalityandtemporallogicobservedlessstrictlyForegroundingofstylisticdevicesIII.Post-ClassicalHollywood23Post-ClassicalHollywoodCinemaTwomajorsub-periods:1.“NewHollywood”(or“renaissance”)period弗朗西斯·科波拉FrancisFordCoppola馬丁·斯科西斯MartinScorsese斯坦利·庫(kù)布里克StanleyKubrick阿瑟·佩恩ArthurPenn喬治·盧卡斯GeorgeLucas史蒂文·斯皮爾伯格StevenSpielberg伍迪·艾倫WoodyAllen奧利弗·斯通WilliamOliverStonePost-ClassicalHollywoodCinem24弗朗西斯·科波拉（1939——）

弗朗西斯·科波拉——“美國(guó)新浪潮”的旗手。《癡呆癥》《教父》獲45屆奧斯卡最佳影片、最佳男主角、最佳改編劇本獎(jiǎng)?！督谈咐m(xù)集》獲47屆奧斯卡最佳影片、最佳導(dǎo)演等6項(xiàng)大獎(jiǎng)?！督谈傅谌贰秾?duì)話》27屆戛納電影節(jié)金棕櫚獎(jiǎng)?！冬F(xiàn)代啟示錄》32屆戛納電影節(jié)金棕櫚獎(jiǎng)。弗朗西斯·科波拉（1939——）25馬丁·斯科西斯（1942———）《誰(shuí)在敲我的門》《窮街陋巷》《艾麗絲不再住此》《紐約，紐約》《憤怒的公牛》《純真年代》《金錢本色》《紐約黑幫》等。代表作——《出租汽車司機(jī)》獲1976年戛納電影節(jié)金棕櫚獎(jiǎng)馬丁·斯科西斯（1942———）《誰(shuí)在敲我的門》《窮街陋巷》26

斯坦利·庫(kù)布里克（1928——1999）

《光榮之路》《斯巴達(dá)克斯》《奇愛(ài)博士》《發(fā)條桔子》《2001：太空遨游》《巴利·林頓》《全金屬鋁外殼》《洛麗塔》《閃靈》《緊閉雙眼》（《大開(kāi)眼界》）

斯坦利·庫(kù)布里克（1928——1999）

27阿瑟·佩恩

《邦妮和克萊德》（《雌雄大盜》）不僅標(biāo)志著阿瑟·佩恩個(gè)人創(chuàng)作的高峰，而且是新好萊塢崛起的標(biāo)志。

本片的特殊之處：（1）首次出現(xiàn)反英雄的英雄形象。（2）融入了法國(guó)新浪潮的藝術(shù)觀點(diǎn)和技巧：時(shí)空的自由跳接。（3）突破了好萊塢嚴(yán)格的類型模式，體現(xiàn)了類型融合的傾向：強(qiáng)盜片、喜劇片、愛(ài)情片等。阿瑟·佩恩《邦妮和克萊德》（《雌雄大盜》）28喬治·盧卡斯（1945——）

1977：《星球大戰(zhàn)新希望

》

全球票房：7.754億美元

1980：《星球大戰(zhàn)Ⅱ帝國(guó)反擊戰(zhàn)》

全球票房：5.4億美元

1983：《星球大戰(zhàn)Ⅲ絕地歸來(lái)

》

全球票房：4.75億美元

1999：《星球大戰(zhàn)前傳Ⅰ魅影危機(jī)》

全球票房：9.43億美元

2002：《星球大戰(zhàn)前傳Ⅱ克隆人的進(jìn)攻》全球票房：6.5億美元

2005：《星球大戰(zhàn)前傳Ⅲ西斯的復(fù)仇》

全球票房：8.5億美元

喬治·盧卡斯（1945——）1977：《星球大戰(zhàn)新希望

29斯皮爾伯格（1949——）《大白鯊》《奪寶奇兵》（1、2、3）《第三類接觸》《外星人》《紫色》《太陽(yáng)帝國(guó)》《胡克船長(zhǎng)》《侏羅紀(jì)公園》《辛德勒的名單》《失落的世界》《拯救大兵瑞恩》《慕尼黑》斯皮爾伯格（1949——）《大白鯊》《奪寶奇兵》（1、2、330奧利弗·斯通“越戰(zhàn)反思三部曲”：《野戰(zhàn)排》（獲59屆奧斯卡最佳影片、最佳導(dǎo)演等4項(xiàng)大獎(jiǎng)）《生于七月四日》（獲62屆奧斯卡最佳導(dǎo)演獎(jiǎng)）《天與地》兩部總統(tǒng)片：《刺殺肯尼迪》《尼克松》《天生殺人狂》奧利弗·斯通31《野戰(zhàn)排》《生于七月四日》《天與地》《野戰(zhàn)排》《生于七月四日》《天與地》32《天生殺人狂》《尼克松》《刺殺肯尼迪》《天生殺人狂》《尼克松》《刺殺肯尼迪》33Post-ClassicalHollywoodCinema2.“independentfilmmaking”

在好萊塢制片廠體制之外制作的電影，它制作的目的在于表達(dá)演個(gè)人的思想觀念而非追求票房上的成功。索德伯格《性·謊言·錄像帶》獲第42屆戛納電影節(jié)金棕櫚獎(jiǎng)，標(biāo)志著獨(dú)立電影時(shí)代的來(lái)臨?！犊ǚ蚩ā贰睹c(diǎn)》《毒品網(wǎng)絡(luò)》（《非法交易》）《永不妥協(xié)》大衛(wèi)·林奇《心中狂野》（1990）獲43屆戛納電影節(jié)金棕櫚獎(jiǎng)。昆汀·塔倫蒂諾《落水狗》（1992年）《低俗小說(shuō)》（1994年）《殺死比爾》Post-ClassicalHollywoodCinem34GenresGenresarethecategoriesintowhich,onthebasisofsharedcharacteristics,weplaceartistic,musical,literaryorcinematicworks;subgenresaresimilarbutmorelimitedandmorepreciselydefined.It’sraretofindafilmthatbelongsexclusivelytoonegenre.GenresGenresarethecategori35GenreDefiningCriteriaDifferentiatingCriteriaSocialDramaRomanceGangsterWarFilmScienceFictionFantasy(奇幻片)WesternDisaster(災(zāi)難片)CrimeEpicSubjectMatterSerioussocialtopicRomanticrelationshipbetweenloversGangstersinurbanAmericaSpecificmilitaryconflictsFuturistictechnologies／futureworldsImpossibleworlds／fantasticalcharactersAmericanWestNaturalorman．madecatastropheCriminalactivitiesandinvestigationBiblical(有關(guān)圣經(jīng)的)orancienthistoryGenres

GenreDefiningCriteriaDiffer36GenresGenreDefiningCriteriaDifferentiatingCriteriaActionMusicalFormalCriteriaPresenceofactionset—piecesPresenceofsonganddanceperformancesBlockbusterFilmNoir/Neo-NoirStyleSpectaculareventsChiaroscuro(明暗對(duì)照法)lightinganddarkmise-en-scene(<法語(yǔ)>場(chǎng)面調(diào)度)ComedyHorrorThrillerAffectiveResponseIntendedtogeneratelaughterIntendedtohorrifyIntendedtothrillGenresGenreDefiningCriteriaDi37GenresSocialdramasarefilmswhosecentralnarrativeconcernorconflictisasocialproblem—poverty,inequality,discrimination,racism,orexclusion(排外),tonamejustafewpossibilities.ThegangsterfilmisrootedinthespecificsocialandculturalcontextoftwentiethcenturyAmerica.Thenarrativesareusuallybasedontheideaofthe“AmericanDream”andcanbeseenasaparticularAmericangenre.VietnamwarwasanAmericanwar,andtheVietnamwarfilmsallowusacriticalperspectiveonthewar.GenresSocialdramasarefilms38GenresActionfilmsbegantobecomepopularinthe1970sandareparticularlyprofitableinthecontemporaryglobalmarketplace.The“blockbuster”wasbornon20June1975withthereleaseofJaws.Aproductofthepost-classicalperiod,itisconsideredtobeavery“American”genre.Theconceptoffilmnoirfirstemergedin1940sFrance.Thegroupoffilmssharedacommonvisualstyleandamoodforcynicism,pessimism,anddarkness.GenresActionfilmsbegantobe39CharacterCharacterizationandperformancearetwooftheessentialaspectsofanycinematicwork.Charactersinfilmscanbedividedintothreebasic“functions”(orcategories)：maincharacters，secondarycharacters，andminorcharacters．Eachofthesefunctionshasacertainroletoplay.i.Characterfunctions

Themaincharacteristhemostimportantcharacterinafilm,andthecharacterofgreatestinterest．Usuallythemaincharacterisalsothe‘‘protagonist",thecharacterwhoseactionstriggerthechainofcausesandeffectsthatdrivetheplotforward.Occasionally，however，theprotagonistisnotthemaincharacter．CharacterCharacterizat40Character

Secondarycharactersarethosewhointeractwiththeprotagonistandhavesignificantimpactonthedevelopmentofthenarrative.Theycanoftenbedividedintothreemainfunctionstheoppositioncharacter，themirrorcharacter，andtheromancecharacter.Theoppositioncharacter(alsoknownasthe“antagonist反面主角”)isthecharacterwhoopposestheintentionsoftheprotagonist；antagonistsstandinthewayofprotagonistsandcreateobstaclesforthem.Theprotagonistisnotalwaysthehero/heroine,andtheantagonistisnotalwaysthevillain．CharacterSecondarychara41CharacterThemirrorcharacter(alsoknownasthe“support”)isthecharactermostclearlyalignedwithandsupportiveof,theprotagonist．Theromancecharacter(or‘'loveinterest”)isthecharacterwithwhomtheprotagonistis--orbecomes--romanticallyinvolved．CharacterThemirrorcharacter42CharacteriiChristopherVoglerarguesthattherearesevenbasiccharacterarchetypes:ArchetypeCharacterFunctioninTheLionKingheroSimbaProtagonistwhoembarksonthequestmentorMufasa,RafikiOlderfigureswhogiveadvicethresholdguardianHyenasAnimalswhostopSimbaonhiswayheraldUnclearshapeshifterScarScarmasqueradesasacaringuncleshadowScarScarisreallytheantagonisttricksterTimon&PumbaaFigureswhoprovidecomicreliefCharacteriiChristopherVogler43CharacteriiiHowever,filmcharactersarenotmerelystatic“types”or“functions”,butfiguresthataretransformedastheyprogressthroughthenarrative.Characterdevelopmentoccursgraduallyovertheentire“arc”ofthenarrativeandhasbeencalledthe“transformationalarc”,thekeyelementsofwhicharemotivationandconflict.CharacteriiiHowever,filmch44CharacterOutermotivationInnermotivationWhatthecharacterwantstoachieveWhythecharacterwantstoachieveitOuterconflictInnerconflictConflictagainstexternalforcesConflictagainstpartofoneselfiiiMotivationConflictCharactergrowth(aspartofthe“transformationalarc”)DevelopmentofnewabilitiesinthefaceofchallengeCriticalreconsiderationofgoalReflectionandincreasedknowledgeofselfandworldCharacterOutermotivationInner45TheLionKingOutermotivationInnermotivationSimbamustrecoverhiskingdomSimbamustrecoverhimselfOuterconflictInnerconflictConflictwithScar:ScarseizesthekingdomandSimbamusttakeitbackConflictwithhimselfduetoself-doubtandunwillingnesstoconfrontdifficultiesfromhisownpastMotivationConflictCharactergrowth(aspartofthe“transformationalarc”)Self-confidencetochallengeScarThegoalisnotjusttorule,buttorulewellashisfatherdidKnowledgethathisfatherlivesoninhimself;knowledgethatrulingisadutyaswellasaprivilegeTheLionKingOutermotivationI46NarrativeNarrative，Story，andPlot

·NarrativeThewayinwhichastoryistold.·StoryAlltheeventsthatweseeandhear．plusallthosethatweinferorassumetohaveoccurred，arrangedintheirpresumedcausalrelations，chronologicalorder，duration，frequency，andspatiallocations．·PlotAlltheeventsthataredirectlypresentedtous．includingtheircausalrelations，chronologicalorder，duration，frequency，andspatiallocations．NarrativeNarrative，Story，and47NarrativeTheBasicStoriesAchillesThe“Achilles”storyisthestoryoftheseeminglyinvulnerable(不會(huì)受傷的，無(wú)懈可擊的)herowithafatalflaw．ClassicaltragedyisusuallyavariantoftheAchillesstory．(Example：Superman)CandideThestoryoftheinnocentabroad．thenaivelyoptimisticherowhotriumphscontrarytoallexpectations．(Examples：ForrestGump，TheLordoftheRings,Mr．Bean，ABeautifulMind，IndianaJones(《印第安那·瓊斯》)CinderellaThestoryofthe“dreamcomestrue”：Goodnessandvirtuearedespisedatthebeginningbutrecognizedatlast．TheprotagonistoftheCinderellastoryusuallybeginsinalowlypositionbut，throughhisgoodnature，convincesalldoubters(懷疑者)andisrewarded．(Example：PrettyWoman(《漂亮女人》))NarrativeTheBasicStories48NarrativeTheBasicStoriesCirceThe“chase”storyinwhichaninnocentvictimispursuedbythevillain，untilthevillainisdefeatedbythepotentialvictim．Oftenthisstorytakestheformofthetemptress(誘惑男人的女性)ensnaring(誘捕)thelove—struck(被愛(ài)情沖昏了火的)male；ithasoftenbeenvividlydescribedas“thespiderandthefly”．Itisthebasisofhorrorfilms，thrillers．a(chǎn)ndfilmnoir．(Examples：FatalAttraction(《致命吸引力》)andtheAlienfilms)FaustThestoryofanindividualwhosellshissoultothedevil，enjoysabriefperiodorpowerandprosperity，buteventuallyiscalledupontorepaythedebt．TheFauststorycanalsotaketheformofthedarksecretthatcanneverbecompletelysuppressed，orthepersonalhistorythatcannotbeevaded．(Example：WallStreet(《華爾街》))NarrativeTheBasicStories49NarrativeTheBasicStoriesOrpheusThestoryofthegiftthatistakenaway．Thegiftcouldbesomethingpersonal，alovedone，anabilityofsomekind，everythingvaluableinlife，orevenlifeitself．Thestorycanfocusonthetragedyofthelossitselforthesearchthatfollowstheloss．(Example：BornontheFourthofJuly(《生于七月四日》))RomeoandJulietTheclassic“star．crossedlovers(命運(yùn)不佳的情侶)”storyinwhichamajorobstaclestandsinthewayoftruelove(Examples：ShakespeareinLove，Titanic,Ghost(《人鬼情未了》))TristanThelovetriangle：Amanlovesawoman，butoneofthemisalreadyinvolvedwithsomeone(orsomething)else．The“thirdparty”intherelationshipisusuallyaperson，butitmaybesomethingmoreabstract(e．g．a(chǎn)cause，amission，adestiny)．(Example：TheGraduate(《畢業(yè)生》))TheWanderingJewThe“WanderingJew”isthestoryofthepersecutedofalienatedtravelerwhowillneverreturnhome．(Examples：TheEnglishPatient,ApocalypseNow(((現(xiàn)代啟示錄》))NarrativeTheBasicStories50NarrativeTheClassicThree—ActLinearStructureThemajorityofHollywoodfilmsemploytheclassicthree—actlinearstructure(oravariationofit)．Bynomeansa11filmswilladheretothisstructure．a(chǎn)ndthosethatdowilldosoflexibly．Nevertheless,mostHollywoodscriptwritersarefamiliarwiththestructureandacknowledgeitsimportance．ActTimeFunctionActI0-30minsSet-upActII30-90minsDevelopment(Conflictandconfrontation)ActIII90-120minsResolutionanddenouement(結(jié)局)NarrativeTheClassicThree—Ac51NarrativeActIApproximatetimeEventFunction0-5minsTheHookGrabsattentionofaudience2-5minsTheKeyLinePosesquestiontobeexplored15minsIncitingincidentIncidentthatdisturbslifeofprotagonist30minsTurningPoint1Crisisforprotagonist(1stdecisiveaction)NarrativeActIApproximatetim52NarrativeActII60minsPointofnoreturnProtagonistbecomestrulycommittedtogoal90minsTurningpoint2CrisisforprotagonistActIII105minsClimaxPeakemotionalmoment:protagonistfacesgreatestchallenge105-120minsResolution/DenouementProtagonistevaluateswhathashappenedNarrativeActII60minsPointof53ThemeStatedsimply,thethemeofafilmisitsmainpoint,whatthescriptwriteranddirectorwantstotellus.AnoverviewofsomeoftheformsinwhichthemeisexpressedinHollywoodfilms:BroadHumanConcerns:Themescommonlyreflectthemostbasicanduniversalhumanconcernssuchaslove,thenatureofhumanity,ethicalconcernsandthemeaningofhumanexistence.LifePhilosophiesReligiousandEthicalConcernsHistoricalIssuesNationsandNationalCharacteristicsSocial/Cultural/TechnologicalChanges7.SocialProblemsThemeStatedsimply,thetheme54FilmAwardsAcademyAwardsAcademyofMotionPictureArtsandSciences

1.CostumeDesign服裝設(shè)計(jì)

2.ActorinaSupportingRole男配角

3.Makeup化妝

4.ArtDirection藝術(shù)指導(dǎo)

5.LiveActionShortFilm紀(jì)實(shí)短片

AnimatedShortFilm動(dòng)畫短片

6.SoundEffectsEditing音響效果剪輯

7.Sound音響

FilmAwardsAcademyAwards55FilmAwards

8.ActressinaSupportingRole女配角

9.Cinematography攝影

10.FilmEditing剪輯

11.VisualEffects視覺(jué)效果

12.DocumentaryShortSubject記錄短片

DocumentaryFeature記錄長(zhǎng)片

13.ForeignLanguageFilm外語(yǔ)片

14.LifetimeAchievement終身成就

FilmAwards

56FilmAwards

15.OriginalMusicalorComedyScore音樂(lè)（喜劇）

OriginalDramaticScore音樂(lè)（戲?。?/p>

16.OriginalScreenplay原著劇本

ScreenplayAdaptation劇本改編

17.OriginalSong歌曲

18.Director導(dǎo)演

19.ActressinaleadingRole最佳女主角

20.ActorinaleadingRole最佳男主角

21.Picture影片

FilmAwards57FilmFestivalsInternationalFilmFestivalofCannes,France(GoldenPalm)BerlinInternationalFilmFestival,Germany(GoldenBear)VeniceFilmFestival,Venice,Italy(GoldenLion)SanSebastianInternationalFilmFestival,Spain(GoldenShell)

TokyoInternationalFilmFestival,JapanMoscowInternationalFilmFestival,RussiaKarlovyVaryInternationalFilmFestival,CzechoslovakiaCairo

International

Film

Festival,EgyptShanghaiInternationalFilmFestival,ChinaMontrealWorldFilmFestival,CanadaMardelPlataInternationalFilmFestival,Argentina

FilmFestivalsInternationalFi58Chapter3Avant-gardeFilmMovementinEuropeAvant-gardemeans“advanceguard”or“vanguard".TheadjectiveformisusedinEnglish,torefertopeopleorworksthatareexperimentalorinnovative,particularlywithrespecttoart,culture,andpolitics.Avant-garderepresentsapushingoftheboundariesofwhatisacceptedasthenormorthestatusquo,primarilyintheculturalfield.Manyartistshavealignedthemselveswiththeavant-gardeandstillcontinuetodoso.Chapter3Avant-gardeFilmMo591.Background(1)Asoneformofmassmedia,filmsbecamesomethingcannotbeignored.Meanwhile,HollywoodhadbeenagreatthreattothefilmmarketofEuropewhichmadeitalmoststopdeveloping.(2)ThecrisiscausedbytheworldwarIregardingtowesternsocialtraditionsandspiritualcivilizationinasenseacceleratedthedevelopmentofmodernisminliterature.

1.Background60I.ImpressionismNarrationinFranceandDifferentGenresintheTrendsofSurrealismII.AestheticpursuitinExpressionismandRealisminGermanyIII.TheoryandPracticeofMontageSchoolinSovietIV.TheDevelopmentofDocumentaryin20S

I.ImpressionismNarrationin61I.ImpressionismNarrationinFranceandDifferentGenresintheTrendsofSurrealism

Impressionism印象主義wasa19th-centuryartmovementthatbeganasalooseassociationofParis-basedartistsexhibitingtheirartpubliclyinthe1860s.ThenameofthemovementisderivedfromthetitleofaClaudeMonet’s克勞德莫奈work,Impression,Sunrise日出印象,whichprovokedonecritictocointheterminasatiricreview.TheemergenceofImpressionisminthevisualartswassoonfollowedbysimilarmovementsinothermediawhichbecameknownasImpressionistmusicandImpressionistliterature.FrenchImpressionistCinemaisatermappliedtoalooselydefinedgroupoffilmsandfilmmakersinFrancefrom1919-1929,althoughtheseyearsaredebatable.Avant-gardefilm/experimentalfilm先鋒派電影I.ImpressionismNarrationin62英語(yǔ)電影賞析課件63Surrealism超現(xiàn)實(shí)主義isaculturalmovementthatbeganintheearly-1920s,andisbestknownforthevisualartworksandwritingsofthegroupmembers.Surrealistworksfeaturetheelementofsurprise,unexpectedjuxtapositions并列andnonsequitur不根據(jù)前提的推理;似乎無(wú)法合理答復(fù)的陳述;howevermanySurrealistartistsandwritersregardtheirworkasanexpressionofthephilosophicalmovementfirstandforemost,withtheworksbeinganartifact.SurrealismdevelopedoutoftheDada達(dá)達(dá)主義activitiesofWorldWarIandthemostimportantcenterofthemovementwasParis.Fromthe1920son,themovementspreadaroundtheglobe,eventuallyaffectingthevisualarts,literature,film,andmusic,ofmanycountriesandlanguages,aswellaspoliticalthoughtandpractice,andphilosophyandsocialtheory.Surrealism超現(xiàn)實(shí)主義isacultural64Hyperrality超現(xiàn)實(shí)Inpostmodernphilosophy,thetermhyperrealitycharacterizestheinabilityofconsciousnesstodistinguishrealityfromfantasy,especiallyintechnologicallyadvancedpostmoderncultures.Hyperrealityisameanstocharacterizethewayconsciousnessdefineswhatisactually"real"inaworldwhereamultitudeofmediacanradicallyshapeandfiltertheoriginaleventorexperiencebeingdepicted.

Hyperrality超現(xiàn)實(shí)65Avividexample:DisneylandwithitssettingssuchasMainStreetandfullsizedhouseshasbeencreatedtolook"absolutelyrealistic,"takingvisitors'imaginationtoa"fantasticpast.“Thisfalserealitycreatesanillusionandmakesitmoredesirableforpeopletobuythisreality.Disneylandworksinasystemthatenablesvisitorstofeelthattechnologyandthecreatedatmosphere"cangiveusmorerealitythatnaturecan.“ThefakeanimalsareallavailabletopeopleinDisneylandandforeveryonetosee.The"fakenature"ofDisneylandsatisfiesourimaginationanddaydreamfantasiesinreallife.Therefore,theyseemmoreadmirableandattractive.WhenenteringDisneyland,consumersformintolinestogainaccesstoeachattraction.Thentheyareorderedbypeoplewithspecialuniformstofollowtherules,suchaswheretostandorwheretosit.Iftheconsumerfollowseachrulecorrectly,theycanenjoy"therealthing"andseethingsthatarenotavailabletothemoutsideofDisneyland'sdoors.Avividexample:661911,Canudo“LeSeptièmeart”卡努杜，《第七藝術(shù)宣言》Thefirsttoclaimthatfilmshouldbeanewformofart,whichinfluencedgreatlyintheaestheticexplorationofAvant-gardeinFrancein20S.1911,Canudo“LeSeptièmeart”671.ImpressionismNarrationinFrance(1917-1928)(1)centralcharacter:LouisDeluc路易德呂克上鏡頭性：photogenic(2)Mutualfeaturesofalltheworksatthattime:Simplestory,complicatedpsychology&certainemotion

1.ImpressionismNarrationin68(3)characteristicsandcontributions

a.thecorepartofafilmwastheinneractivitiesofthepeople—enlargedandenrichedthesilentfilms.b.triedhardtomakenaturalmaterialsbeinaccordancewithmentalandemotionalfeelingsofpeople(thetrendofnaturalism)–madefilmsbecomeindependentofstages,actorsandtraditionalviewsabouttheplotandpeopleindramaandliterature,thencreatedanewanduniquevisuallanguageforfilms.(3)characteristicsandcontri69c.establishednewphotographingtechniquestoshowthevisualexpressionofpeople’spsychologyandemotion.3newtechniques:Subjectivismtake,dollyphotographyandtrickphotography(主觀攝影、移動(dòng)攝影和特技攝影);dolly:移動(dòng)式攝影車n/vfirstapplicationofhigh-speed/low-speedphotography(高速攝影和低速攝影）d.emphasizedtheimportanceofvisualrhythmanditsediting節(jié)奏的表現(xiàn)和剪輯---enhancedpoeticeffect.

c.establishednewphotographi702.DifferentGenresintheTrendsofsurrealismNB:Theirworksareworkswithitsindividualcharacteristicswhichareonlyforafewintellectsandprofessionals(1)deniedthenarrationoffilms,andclaimeditwouldbebetterifthereis“NoTheme”inthefilms.(2)indulgedinthetechniquesandwaysofshootingfilms.2.DifferentGenresintheTre712.1PureCinema“純電影”的美學(xué)實(shí)驗(yàn)AbstractArt（法國(guó)抽象主義電影）：deniedthefunctionofacquaintingandrepresentingthesociety,andclaimed“artwasforart’ssake”.為藝術(shù)而藝術(shù)Exponential:HenryHemed(Cinqminutesdecinemapur)倡導(dǎo)者－亨利希美特《純電影的5分鐘》GermaineDulac謝爾曼杜拉克therearesomeresemblancebetweenfilmsandmusic

2.1PureCinema“純電影”的美學(xué)實(shí)驗(yàn)722.2Dadaism+Irrationalism達(dá)達(dá)主義無(wú)理性的電影實(shí)驗(yàn)WhatisDada?Dadaisthegroundworktoabstractartandsoundpoetry,astartingpointforperformanceart,apreludetopostmodernism,aninfluenceonpopart,acelebrationofanti-arttobelaterembracedforanarcho-political(無(wú)政府主義的)usedinthe1960sandthemovementthatlaidthefoundationforSurrealism.――荒謬的第一次世界大戰(zhàn)的產(chǎn)物，最終導(dǎo)致超現(xiàn)實(shí)主義電影的誕生。2.2Dadaism+Irrationalism達(dá)達(dá)73ThemostRepresentative--Duchamp,“ElleaEhaudauCul”杜?！稁Ш毜拿赡塞惿稵heveryfirst--ManRay,Retouràlaraison曼雷伊《回到理性》Themostoutstanding–RenéClairEntr'acte雷內(nèi)克萊爾《幕間休息》ThemostRepresentative--Ducha742.3Absoluterealityinsurrealism–thefinalplaceofavant-garde超現(xiàn)實(shí)主義電影的絕對(duì)現(xiàn)實(shí)Theveryfirst---GermaineDulac,LaCoquilleetleclergyman杜拉克《貝克和僧侶》Themostrepresentative:LuisBunuel,UnChienAndalou布努艾爾《一條安達(dá)魯狗》Theonlyrealitythatsurrealistscarearetheinnerrealitywhichbecomesthefoundationofmodernisminthelate50s.

2.3Absoluterealityinsurrea75II.AestheticPursuitinExpressionismandRealisminGermanyRealism現(xiàn)實(shí)主義inthevisualartsandliteratureisthedepictionofsubjectsastheyappearineverydaylife,withoutembellishmentorinterpretation.Thetermisalsousedtodescribeworksofartwhich,inrevealingatruth,mayemphasizetheuglyorsordid.Thepopularityofrealismgrewwiththeintroductionofphotography-anewvisualsourcethatcreatedadesireforpeopletoproducethingsthatlook“objectivelyreal”.Realistspositionedthemselvesagainstromanticism,agenredominatingFrenchliteratureandartworkinthelate18thandearly19thcentury.Undistortedbypersonalbias,Realismbelievedintheideologyofobjectiverealityandrevoltedagainstexaggeratedemotionalism感情主義.TruthandaccuracybecamethegoalsofmanyRealists.II.AestheticPursuitinExpre761919,ErnstLubitsch恩斯特劉別謙《杜巴萊夫人》---openedthedoortotheinternationalfilmmarketforGermanyfilms.HewasaGerman-bornJewishfilmdirector.HisurbanecomediesofmannersgavehimthereputationofbeingHollywood'smostelegantandsophisticateddirector;ashisprestigegrew,hisfilmswerepromotedashaving"theLubitschtouch".劉別謙式觸動(dòng)Emphasizedthesociality社會(huì)性andseriousnessoftheworksanditsrealisticsignificance1919,ErnstLubitsch恩斯特劉別謙《杜771、妙語(yǔ)連珠的、風(fēng)趣的、迷人的、雅致的、討人喜歡的、多變的、若無(wú)其事的、放肆的。劉別謙的氣質(zhì)里帶著一種吊兒郎當(dāng)?shù)恼{(diào)侃，卻絕不酸刻，有一種剛好撓到你心里癢癢的感覺(jué)。他用一種獨(dú)特的細(xì)膩的幽默感，敏銳的捕捉人們交鋒中最富有戲劇性的一剎那，因此即使將每一個(gè)鏡頭分開(kāi)來(lái)看，也顯得趣致盎然。當(dāng)然，有趣之外，還隱隱約約有種東西，在打動(dòng)你。

2、微妙的性挑逗。劉別謙這個(gè)名字同他的電影挺般配，帶著一種貌似矜持的幽默，骨子里卻狡猾得像只老狐貍。劉別謙曾說(shuō)過(guò)，“美國(guó)觀眾只有十二歲孩子的思想”。上世紀(jì)二三十年代社會(huì)環(huán)境發(fā)生巨變，整個(gè)西方文明經(jīng)過(guò)十九世紀(jì)的拘謹(jǐn)與道貌岸然，加上經(jīng)濟(jì)愈加發(fā)達(dá)，所謂“飽暖思淫欲”，西方人開(kāi)始放縱性欲。但美國(guó)是清教徒國(guó)家，一時(shí)間不能適應(yīng)這種風(fēng)氣。劉別謙精確地掌握了美國(guó)人的心理，將諷刺的主題鎖定在兩方面──性和金錢，30年代中期美國(guó)電