英語影視欣賞課課件3

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

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

Whatistrust?anentitywithintenttocreateamonopolyWhatisindiefilm?aseriesofmonopolistic壟斷的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《大學(xué)新生》“TheBirthofaNation”,Griffith《一個國家的誕生》“TheGoldRush”,CharlesChaplin《淘金記》“TheBigParade”,RobertYoungson(羅伯特楊森)《大閱兵》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印象主義

wasa19th-centuryartmovementthatbeganasalooseassociationofParis-basedartists

exhibitingtheirartpubliclyinthe1860s.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Surrealism超現(xiàn)實主義isaculturalmovementthatbeganintheearly-1920s,andisbestknownforthevisualartworksandwritingsofthegroupmembers.Surrealistworksfeaturetheelementofsurprise,unexpectedjuxtapositions并列andnonsequitur不根據(jù)前提的推理;似乎無法合理答復(fù)的陳述;howevermanySurrealistartistsandwritersregardtheirworkasanexpressionofthephilosophicalmovementfirstandforemost,withtheworksbeinganartifact.SurrealismdevelopedoutoftheDada

達(dá)達(dá)主義activitiesofWorldWarIandthemostimportantcenterofthemovementwasParis.Fromthe1920son,themovementspreadaroundtheglobe,eventuallyaffectingthevisualarts,literature,film,andmusic,ofmanycountriesandlanguages,aswellaspoliticalthoughtandpractice,andphilosophyandsocialtheory.Hyperrality超現(xiàn)實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，《第七藝術(shù)宣言》Thefirsttoclaimthatfilmshouldbeanewformofart,whichinfluencedgreatlyintheaestheticexplorationofAvant-gardeinFrancein20S.1.ImpressionismNarrationinFrance(1917-1928)(1)centralcharacter:LouisDeluc

路易德呂克上鏡頭性：photogenic(2)Mutualfeaturesofalltheworksatthattime:Simplestory,complicatedpsychology&certainemotion

(3)characteristicsandcontributions

a.thecorepartofafilmwastheinneractivitiesofthepeople—enlargedandenrichedthesilentfilms.b.triedhardtomakenaturalmaterialsbeinaccordancewithmentalandemotionalfeelingsofpeople(thetrendofnaturalism)–madefilmsbecomeindependentofstages,actorsandtraditionalviewsabouttheplotandpeopleindramaandliterature,thencreatedanewanduniquevisuallanguageforfilms.c.establishednewphotographingtechniquestoshowthevisualexpressionofpeople’spsychologyandemotion.3newtechniques:Subjectivismtake,dollyphotographyandtrickphotography(主觀攝影、移動攝影和特技攝影);dolly:移動式攝影車n/v

firstapplicationofhigh-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.

2.DifferentGenresintheTrendsofsurrealismNB:Theirworksareworkswithitsindividualcharacteristicswhichareonlyforafewintellectsandprofessionals(1)deniedthenarrationoffilms,andclaimeditwouldbebetterifthereis“NoTheme”inthefilms.(2)indulgedinthetechniquesandwaysofshootingfilms.2.1PureCinema“純電影”的美學(xué)實驗AbstractArt（法國抽象主義電影）：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

2.2Dadaism+Irrationalism達(dá)達(dá)主義無理性的電影實驗WhatisDada?Dadaisthegroundworktoabstractartandsoundpoetry,astartingpointforperformanceart,apreludetopostmodernism,aninfluenceonpopart,acelebrationofanti-arttobelaterembracedforanarcho-political(無政府主義的)usedinthe1960sandthemovementthatlaidthefoundationforSurrealism.――荒謬的第一次世界大戰(zhàn)的產(chǎn)物，最終導(dǎo)致超現(xiàn)實主義電影的誕生。ThemostRepresentative--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》2.3Absoluterealityinsurrealism–thefinalplaceofavant-garde超現(xiàn)實主義電影的絕對現(xiàn)實Theveryfirst---GermaineDulac,LaCoquilleetleclergyman杜拉克《貝克和僧侶》Themostrepresentative:LuisBunuel,UnChien

Andalou

布努艾爾《一條安達(dá)魯狗》Theonlyrealitythatsurrealistscarearetheinnerrealitywhichbecomesthefoundationofmodernisminthelate50s.

II.AestheticPursuitinExpressionismandRealisminGermanyRealism

現(xiàn)實主義inthevisualartsandliteratureisthedepictionofsubjectsastheyappearineverydaylife,withoutembellishmentorinterpretation.Thetermisalsousedtodescribeworksofartwhich,inrevealingatruth,mayemphasizetheuglyorsordid.Thepopularityofrealismgrewwiththeintroductionofphotography-anewvisualsourcethatcreatedadesireforpeopletoproducethingsthatlook“objectivelyreal”.Realistspositionedthemselvesagainstromanticism,agenredominatingFrenchliteratureandartworkinthelate18thandearly19thcentury.Undistortedbypersonalbias,Realismbelievedintheideologyofobjectiverealityandrevoltedagainstexaggeratedemotionalism感情主義.TruthandaccuracybecamethegoalsofmanyRealists.1919,ErnstLubitsch恩斯特劉別謙《杜巴萊夫人》---openedthedoortotheinternationalfilmmarketforGermanyfilms.HewasaGerman-bornJewish

filmdirector.HisurbanecomediesofmannersgavehimthereputationofbeingHollywood'smostelegantandsophisticateddirector;ashisprestigegrew,hisfilmswerepromotedashaving"theLubitschtouch".劉別謙式觸動Emphasizedthesociality社會性andseriousnessoftheworksanditsrealisticsignificance1、妙語連珠的、風(fēng)趣的、迷人的、雅致的、討人喜歡的、多變的、若無其事的、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。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，因此即使將每一個鏡頭分開來看，也顯得趣致盎然。當(dāng)然，有趣之外，還隱隱約約有種東西，在打動你。

2、微妙的性挑逗。劉別謙這個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。劉別謙曾說過，“美國觀眾只有十二歲孩子的思想”。上世紀(jì)二三十年代社會環(huán)境發(fā)生巨變，整個西方文明經(jīng)過十九世紀(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”，西方人開始放縱性欲。但美國是清教徒國家，一時間不能適應(yīng)這種風(fēng)氣。劉別謙精確地掌握了美國人的心理，將諷刺的主題鎖定在兩方面──性和金錢，30年代中期美國電檢制度的嚴(yán)格也不得不讓他的風(fēng)格趨向于含蓄。為了不讓人們找到破綻，鏡頭里最多也就拉個小手親個小嘴，中國話稱之為“點(diǎn)到為止”，劉別謙將故事背景設(shè)在國外，如巴黎、維也納、布達(dá)佩斯等，或是一些神秘的小島，但這些依然可讓觀眾們(尤其是美國人)明顯地發(fā)現(xiàn)他的意圖——從中找到自己及周圍熟悉的美國人身上不太光彩的行徑、怪癖、缺點(diǎn)等等。但劉別謙并不是加以批判，而是以一種類似上帝的眼光寬容地看待這些缺點(diǎn)。

3、以某對象或小細(xì)節(jié)的畫面作為戲劇上的轉(zhuǎn)折，并以暗示慧黠、風(fēng)趣或事實被揭露的詫異。以單一鏡頭或一短幕戲這種精簡、濃縮的方式來呈現(xiàn)全劇諷刺的主題。比如：門是劉氏特別喜愛使用的道具，有人將劉別謙定義為“門的導(dǎo)演”。其實他是利用門來增加喜劇感，以省略方法挑引觀眾的想像力。（比較有代表性的是《天堂陷阱》）

4、時常使用某種微妙的對位法——在片中最歡樂的時刻付上一股淡淡的哀愁；這種雅致的風(fēng)格看似不著邊際，但妙趣橫生，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(室內(nèi)劇)andstreetfilms（街頭電影）KammerspielwasaGermanfilmmovementofthe1920ssilentfilmperiodthatwasdevelopedaroundthesametimeasthemorecommonlyknownGermanExpressionismfilmmovement.Kammerspielwasknownasthe"ChamberDrama"filmforitsobviousinfluencefromchamberplaytheaterandiscategorizedbyitsfocusoncharacterpsychology,lackofintricatesetdesignanditsfrequentdepictionoftheworkingclass.AlsounlikeGermanExpressionismfilms,filmsoftheKammerspielmovementveryseldomusedintertitlestocreatespokendialogueornarratethefilm.ThesocialityinexpressionismfilmswasdevelopedtherewhichleadfilmsinGermanytothepursuitofnaturalismandmodernism.

2.1.Contributionsofkammerspielfilms(1)apply“thethree

unities”fromclassictragedies

三一律(一個情節(jié),一個地點(diǎn),一個時間)Der

LetzteMann《最卑賤的人》→zenithandclassicalone(2)movingphotograph(dollycamera移動攝影機(jī))+POV(Point-of-view)shot主觀鏡頭(3)studiowithrealscenes

2.2Neo-objectivism新客觀派—RealityandsocialityfromstreetfilmsWhatinterestsneo-objectivistswerethesocialenvironmentaroundpeoplebutnottheirpsychologicalconditions.Sostudioanddollycameraswereusedtoshowthesocialreality.

Objectivism客觀主義

holdsthatrealityexistsindependentfromconsciousness;thatindividualpersonsareincontactwiththisrealitythroughsensoryperception;thathumanbeingscangainobjectiveknowledgefromperceptionthroughtheprocessofconceptformation;thatthepropermoralpurposeofone‘slifeisthepursuitofone’sownhappinessthroughactinginone‘s“rationalself-interest”;thattheonlysocialsystemconsistentwiththismoralityisfullrespectforindividualrights,embodiedinpure,consensual得到共識的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個人主義,egoism本位主義,enlightened開明的self-interest利己主義,andcapitalism.However,Neo-Objectivistsalsodepartfromorthodox正統(tǒng)的Objectivistsonsomeissues.SomeNeo-ObjectivistsstickrelativelyclosetoObjectivism;SomeNeo-Objectiviststhinkthatspiritualityoracceptanceofthesupernaturaliscompatible兼容的withObjectivism.

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

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

羅德欽—newway:cut&paste“照片剪貼”式(3)Kuleshov庫里肖夫—constructivist–theconstructivefoundationoffilmswerefromthespaceandmontage,notfromtherealmaterials.Kuleshoveffect:電影技法的目的為從一個開始鏡頭開始,然后引導(dǎo)觀眾從一些不同元素的鏡頭中,推斷出這些鏡頭之間在空間上的延續(xù)性這個理論被稱為“庫里肖夫效應(yīng)”(4)Vertov維爾托夫（futuristicmusician未來主義的音樂家）,Ktsnokts(“電影眼鏡派”):believedthecameracouldrenderrealitymoreaccuratelythanthehumaneye,andmadeafilmphilosophyoutofit.Kino-Pravda/cameratruth(5)OddActorSchool奇異演員養(yǎng)成所–alotofcreativetalents

MontageSchoolwasgreatlyinfluencedbyfuturism&constructivism.

Futurism

未來主義wasanart

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

Constructivism構(gòu)成主義

wasanartisticandarchitecturalmovementinRussiafrom1919onwardwhichrejectedtheideaof"artforart'ssake"(abstractartinFrance)inflavorofartasapracticedirectedtowardssocialpurposes.Constructivismasanactiveforcelasteduntilaround1934,beforebeingreplacedbySocialistRealism.2.Eisenstein愛森斯坦(1)anarticleentitledMontageofAttractions,early20s“雜耍蒙太奇”雜耍蒙太奇的含義是選擇具有強(qiáng)烈感染力的手段加以適當(dāng)?shù)慕M合，以影響觀眾的情緒，使觀眾接受作者的思想結(jié)論。(2)Bronenosets

Potyomkin《戰(zhàn)艦波將金號》--thebestandmostclassiconeofusingMontageofAttractions(3)intellectualmontage,late20s理性蒙太奇理性蒙太奇:在電影中通過畫面內(nèi)部的造型安排，使觀眾將一定的視覺形象變成一種理性的認(rèn)識3.MontageofPudovkin

普多夫金的蒙太奇敘事Mother《母親》(MaximGorky高爾基)HeirtoGenghisKhan《成吉思汗的后代》KonetsSankt-Peterburga《圣彼得堡的末日》LayparticularstressonthehistoricalfilmsIV.TheDevelopmentofDocumentaryin20Sfrom