魂斷藍(lán)橋影視欣賞-PPT課件

1、The Sway Love in WarA Love StoryMeet at the Waterloo bridge Tokens of love on the bridgeRespectively,from the bridgeMyra is a struggling ballerina in love with a rich guy about to go off to WWI. War makes seperationHe goes off to war and is assumed to be lost No Choice But for LivingBetter miss than

2、 meet. Vivian Mary Hartley was born on November 5, 1913, in Darjeeling, India, a strange place for one of the worlds most celebrated actresses to be born. She died at the age of 53 after a severe bout of tuberculosis on July 7, 1967. Things Are Looking Up Waterloo Bridge A beautiful and sad love sto

3、ry, a touching love song.Should auld acquaintance be forgot,and never brought to mind?Should auld acquaintance be forgot,for the sake of auld lang syne.If you ever change your mind,but I living, living me behind,knockoff watches,oh bring it to me, bring me your sweet loving,bring it home to me.bring

4、 it home to me.Yeah Yeaha good love story with this beautiful sound trackit home to me.For auld lang syne my dear,for auld lang syne,well take a cup of kindness Its my favorit.Thank you for download .I wanna be your friend,please add me Ill give you jewelry and money too.That s all all Ill do for yo

5、u.Darling you know I laughed when you left,but now I know that I only hurt myself.Please bring it to me,bring your sweet sweet love,bring it home to me, bring etfor the sake of auld lang syne.After watching the film, I was shocked deeply. Why lovers cant keep a long? Every time I see, I am sad. I lo

6、ve the eyes of Vivien Leigh, because it looks like a smart cat.In the film, actress not only left her life on this bridge, but also put their love, faith and soul together in this bridge.themajorgenresfeaturesofmoviesindifferentstagesMontage is a technique in film editing in which a series of short

7、shots are edited into a sequence to condense space,time, and information. It is usually used to suggest the passage of time, rather than to create symbolic meaning as it does in Soviet montage theory.From the 1930s to the 1950s, montage sequences often combined numerous short shots with special opti

8、cal effects(fades,dissolves, split screens, double and triple exposures) dance and music. They were usually assembled by someone other than the director or the editor of the movie.Two common montage sequence devices of the perioda newspaper one a railroad one In the newspaper one, there are multiple

9、 shots of newspapers being printed (multiple layered shots of papers moving between rollers, papers coming off the end of the press, a pressman looking at a paper) and headlines zooming on to the screen telling whatever needs to be told. There are two montages like this in It Happened One Night. In

10、a typical railroad montage, the shots include engines racing toward the camera,giant engine wheels moving across the screen, and long trains racing past the camera as destination signs zoom into the screen Take the scripts one line description of the montage From 1933 to 1942montages differed from t

11、he usual ones the best-known montage specialist of the 1930s Film critic Ezra Goodman discusses the contributions of Slavko Vorkapi, who worked at MGM and was the best-known montage specialist of the 1930s:“He devised vivid montages for numerous pictures, mainly to get a point across economically or

12、 to bridge a time lapse. In a matter of moments, with images cascading across the screen, he was able to show Jeanette MacDonalds rise to fame as an opera star in Maytime (1937), the outbreak of the revolution in Viva Villa (1934), the famine and exodus in The Good Earth (1937), and the plague in Ro

13、meo and Juliet (1936).”From 1933 to 1942, Donald Siegel, later a noted feature film director, was the head of the montage department at Warner Brothers. He did montage sequences for hundreds of features, including Confessions of a Nazi Spy; Knute Rockne, All American; Blues in the Night; Yankee Dood

14、le Dandy; Casablanca; Action in the North Atlantic; Gentleman Jim; and They Drive By Night.Siegel told Peter Bogdanovich how his montages differed from the usual ones.“Montages were done then as theyre done now, oddly enoughvery sloppily. The director casually shoots a few shots that he presumes wil

15、l be used in the montage and the cutter grabs a few stock shots and walks down with them to the man whos operating the optical printer and tells him to make some sort of mishmash out of it. He does, and thats whats labeled montageIn contrast, Siegel would read the motion pictures script to find out the story and action, then take the scripts one line description of the montage and write his own five page script. The directors and the studio bosses left him alone because no one could