Titanic
I have watched this film three times. Titanic is a romance, an adventure, and a thriller all rolled into one. It contains moments of exuberance, humor, pathos, and tragedy. In their own way, the characters are all larger-than- life, but they're human enough (with all of the attendant frailties) to capture our sympathy. Perhaps the most amazing thing about Titanic is that, even though Cameron carefully recreates the death of the ship in all of its terrible grandeur, the event never eclipses the protagonists. To the end, we never cease caring about Rose and Jack.
Titanic makes the "overblown movie" lists from several critics, endures extreme mockery and the ridicule of anyone who actually admits to liking it. This may have been due to people wanting to be different from the norm in 1997 and maybe this attitude never went away and too many people fell victim to it. Or maybe it was the cheesy scene's people like to imitate over and over which obviously must mean the entire movie is cheesy. However, I recently watched Titanic the other day and I'm going to say why I find it to my favorite movie of all time.
The ship Titanic itself expressed a mentally during this time period in which humans felt they could overcome Mother Nature. With the sinking of this ship it made people truly eat the words "Titanic is an unsinkable ship."
And there are many Classical lines,for example,I figure life is a gift and I don’t intend on wasting it. You never know what hand you’re going to get dealt next. You learn to take life as it comes at you.And God shall wipe away all the tears from their eyes, and there shall be no more death. Neither shall there be sorrow or dying, neither shall there be any more pain, for the former world has passed away.This sentences are worth thinking.
Without this love story you would have just come away with the basics of this story, the Titanic was sink finally. But this love story created sympathy in which you felt for Jack and Rose. It made you truly feel how the people on the Titanic were feeling at that exact moment. Families, loved ones and friends were being torn apart. Without the emotion created from the love story you wouldn't have felt nearly as sad or seriously towards what had actually happened to these people.And this film is real worth watching.I can think deeply from this film.
The Day After Tomorrow
Some of what The Day After Tomorrow has to offer is exciting. Some is just plain stupid - like Sam's tussle with a pack of wolves (on board a ship in the middle of Manhattan), Lucy's act of self-sacrifice for a cancer patient, and the President's pep talk (that sounds like it was lifted from Independence Day).
Still, a lot of the silliness is expected in this kind of motion picture, and the moments of elevated adrenaline (many of which occur during Jack's harrowing journey) and impressive visuals serve as a counterbalance. Plus, there's even a little irony thrown in for good measure when the Mexican government seals the border to keep U.S. refugees from fleeing south.
The Day After Tomorrow has the good sense not to have man attempt to overcome nature's wrath (the point of such films like Armageddon and The Core). Instead, it's a given that there's nothing we can do, so the emphasis is on survival. The knowledge that victory is impossible makes for a more compelling story, since the goal becomes intensely personal: staying alive.
Of course, despite the "bad science," the pro-environment message shines through. Like Super Size Me, consider it a cautionary tale. Nevertheless, Emmerich's point with The Day After Tomorrow isn't to play politics or make speeches, but to entertain. And, in the cataclysmic way he has become known for, he does so. The Day After Tomorrow is filled with bad dialogue, stock peril situations, and sketchy character development, but it's a big enough spectacle that those things don't derail the film's capacity to be enjoyed. Pass the popcorn and the cheese.
The highest level of disaster film is the pursuit of visual perfection and realistic, after all, in all the disaster scene where we can not use the camera or any other things to every detail of the disaster and the process, but the disaster film provides such an opportunity, but also asked the audience is able to accurately zone into the picture, feel it was really happened, and not a big sigh depressed,
Avatar
Avatar is entertainment of the highest order. It's the best movie of 2009. Avatar is the most engaging and enthralling motion picture I have experienced this year - and "experience" is the appropriate word. There's a rush associated with coming to Pandora; this feels more like an interactive endeavor than a passive one.
Avatar takes us to the planet Pandora in the year 2154. Pandora is a jungle world at which Earthmen have arrived with the intention of performing some strip-mining. Although corporations run the show, the military, led by Colonel Miles Quaritch (Stephen Lang), is on hand to provide protection and lend support.
Avatar is absorbing to look at. So much time and energy was spent into creating this fictional alien species, the Na'vi, and it pays off in the respect that Cameron's visual fx team painstakingly makes it appear real and otherworldly at the same time. We might recognize the lush and green surroundings, or even some of the trippy creatures, and if it comes close to anything it's like fern-gully: The Last Rain forest squared and made semi-pre-historic.
But it's the scope and grandeur, and when we see the Na'Vi in close-ups or even just far away, you can see the sweat and the detail in their faces, the human beings playing them projecting off the screen. I forgot, if only for a few moments at a time, that they were animated and done in motion-capture. If part of a filmmaker's job, in a situation like a super-mega-sci-fi epic is to make us believe in another world and place (even if it's familiar), then Cameron has done his job very admirably.
Avatar has been described as a "game-changer," and perhaps it is. I'll leave that for future historians to determine. What I can say with some assuredness is this is the most technically amazing motion picture to have arrived on screens in many years - perhaps since Peter Jackson's The Return of the King.
Brave heart
Today I watched the film named “Braveheart”, even though I have watched it before. "Brave heart" is a costume epic poem blockbuster fulls of passion, political, romantic and moral.It received much criticism from certain History Buffs upon its release. They said that the filmmakers portrayed Scotsman William Wallace as a brave, heroic, good man. Gibson plays William Wallace, a Scot who decides to revolt against the British after his wife was killed by a pack of the thievish scoundrels! The film is loosely based on his life - since no one really knows much about Wallace other than what he did: free Scotland from the English for a while, so much of the story is made up.
This is a first director outing for Gibson,who not only gives us one of his best - if not the best - performance of his career, other than those great "Lethal Weapon" movies! He handles the direction very well for an actor-turned-director. He doesn't try anything memorable - no fancy camera sweeps to make us motion sick - but he directs the film like the old epics. One of many great things about the film.
The cinematography is excellent. I can't think of another film that is quite so beautiful to behold. It is truly wonderful to watch the surroundings fly by the screen, purely unadulterated.As for Gibson's Scottish accent...well...he speaks surprisingly well with a Scottish accent, and doesn't sound like an American-Australian phony (isn't he an Aussie?). There is a great supporting cast in this film, as well, with a man in a rubber nose that you might not be able to place at first glance...James Horner's magnificent score is truly marvelous to behold. He mixes Scottish bagpipes and emotion into a little bundle that in and of it makes you feel emotional. It plays during the film at just the right moments and makes it easier to feel elated or depressed.
And there are many Classical lines,for example,“Fight,and you may die.Run,and you''ll live at least a while. And dying in your beds many years from now.Would you be willing to trade? All the days from this day to that, for one chance,just one chance,to come back here and tell our enemies that they may take our lives, but
they''ll never take our Freedom!Freedom——”
In a word, I hold the view that "Braveheart" stands as one of the best films I have ever seen. It is an epic in all sense of the word; I don't care how historically incorrect it is. If I wanted a history lesson, I wouldn't be going to see a film like this.
The Pursuit of Happiness
I have watched the film named "The Pursuit of Happiness," it is a wonderful film ,and the first thing that flashed into my mind when I watched it is that how hard it may be if you don't have money, but at end I come to understand that if you keep on your dreams ,happiness will come!
With a title like The Pursuit of Happiness, you expect the characters to get to the promised land. They do, but if the journey matters more than the destination, this is a movie to skip. The Pursuit of Happiness is long, dull, and depressing. It expands into two hours a story that could have been told more effectively in one. This is not the feel-good movie of the season unless you believe that a few moments of good cheer can redeem 110 minutes of gloom.
In the film, the hero does things actively. He always runs for his work and life.
A view that shows he runs for his work that selling a machine, and we can imagine that what’s the result if the hero would not run for his machine. Maybe he will feel disappointed for a long time. Another view that shows his running for the sleep place, what a pity that he was too late, and the end is that he sleep in the toilet with his little son and keep the toilet door close stubbornly. So from the two views we should know that when we do anything, must be active, and if not, the bad result, just like the result in the film, would be coming ruthlessly.
The film's most compelling scenes are those that show Chris struggling to enter the rat race. Granted, this is no Glengarry Glen Ross, but it shows the pressure these salesmen are under and how important the contact lists are. In the overall scheme of things, however, these sequences are background noise. They are neither plentiful nor lengthy. The movie spends more time following Chris on his futile sales rounds for the bone density scanner than it does accompanying him during his broker training.
The film brings us a good deal of enlightenment. With its practical significance, we will have more spirits to participate in the future work, just like the hero never gave up, and give my families happiness, then to be a better man.I have learned a lot from this film, I will cherish everything what I have now,and I will never give up.
曾经和ing《经典英文电影赏析》由10个章节组成。每一章节包括电影背景、故事简介、主要演员阵容及导演介绍、精彩部分节选、对影片的评论及注释五大部分。相信许多读者会在观赏优美电影或阅读《经典英文电影赏析》的过程中重温自己过去的电影体验，获得新的感悟和理解。 英汉对照是《经典英文电影赏析》的一大特点。《经典英文电影赏析》既有英文原文，也提供了中文翻译，有助于英语爱好者能更好地理解书中的内容。同时，《经典英文电影赏析》还提供了注释，为读者的自学提供了参考。 ·查看全部>> 前言 在“信息爆炸”的今天，随着国际文化交流的不断深入和推进，英语作为世界通行语的优势越来越显示出她的“英语帝国”风貌。一方面中国正逐步地同世界接轨，日益频繁的国际交往，使国家和社会对大学生的英语综合应用能力尤其是听说技能提出了更高的要求。另一方面，目前全国大学英语教学改革正在各高校尝试并推广，基于计算机／网络+课堂教学的教学模式日渐普遍。 教育部2007年颁布了《大学英语课程教学要求》。为贯彻其原则和方针，遵循其提出的“加强听说能力，提倡自主型的个性化学习”要求，大学英语教学课时数在一定程度上进行了缩减，包括听力课课时。而全国大学英语四、六级考试在这一改革的背景下进行了很大程度的调整，加强了应用能力的考查，听力所占的比例也由原来的20％提高到了35％。大学英语教学也面临着新的挑战。 因此，如何在学时减少、对听说能力要求提高的情况下，加强对学生学习能力的训练，培养学生自主学习的新模式，也是大学教师应该探讨的新问题。 电影一直以来就是人类漫漫旅途中的精神伴侣。在电影中，人们可以获得心灵的安慰，得到情感的滋润，寻求生活的力量，体验人生的快乐。而英语电影不仅能把学习者带入到一个非常好的语境中培养语感，而且有利于学生熟悉国外的社会、文化、生活方式以及异国风情，为他们了解西方提供了一种影像解读的窗口。中国著名英语语言学教育专家刘润清曾说过，“电影是社会文化的浓缩，看一部电影胜似在国外生活一天”。 借此我们编写了《经典英文电影赏析》这部书。在对近几年英美国家上演的大片精挑细选的基础上，我们选择了既适合英语学习，又集知识性、趣味性、观赏性、时尚性、体验性为一体的10部电影。目的是通过提供真实的英语语言环境，让英语学习者和爱好者能直接了解英美人的思维方式、文化和生活习俗，锻炼和提高英语视、听、说、读、写、译的综合应用能力。这10部电影涉及不同的类型：爱情片、励志片、喜剧片、动作片、友情片、动画片等。
Journey to the Center of the Earth（地心游记）2008 There is a part of me that will always have affection for a movie like "Journey to the Center of the Earth." It is a small part and steadily shrinking, but once I put on the 3-D glasses and settled in my seat, it started perking up. This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it. If I had seen it when I was 8, I would have remembered it with deep affection for all these years, until I saw it again and realized how little I really knew at that age. You are already familiar with the premise, that there is another land inside of our globe. You are familiar because the Jules Verne novel has inspired more than a dozen movies and countless TV productions, including a series, and has been ripped off by such as Edgar Rice Burroughs, who called it Pellucidar, and imagined that the Earth was hollow and there was another world on the inside surface. (You didn't ask, but yes, I own a copy of Tarzan at the Earth's Core with the original dust jacket.) In this version, Brendan Fraser stars as a geologist named Trevor, who defends the memory of his late brother, Max, who believed the center of the Earth could be reached through "volcanic tubes." Max disappeared on a mysterious expedition, which, if it involved volcanic tubes, should have been no surprise to him. Now Trevor has been asked to spend some time with his nephew, Max's son, who is named Sean (Josh Hutcherson). What with one thing and another, wouldn't you know they find themselves in Iceland, and peering down a volcanic tube. They are joined in this enterprise by Hannah (Anita Briem), who they find living in Max's former research headquarters near the volcano he was investigating. Now begins a series of adventures, in which the operative principle is: No matter how frequently or how far they fall, they will land without injury. They fall very frequently, and very far. The first drop lands them at the bottom of a deep cave, from which they cannot possibly climb, but they remain remarkably optimistic: "There must be a way out of here!" Sure enough, they find an abandoned mine shaft and climb aboard three cars of its miniature railway for a scene that will make you swear the filmmakers must have seen "Indiana Jones and the Temple of Doom." Just like in that movie, they hurtle down the tracks at breakneck speeds; they're in three cars, on three more or less parallel tracks, leading you to wonder why three parallel tracks were constructed at great expense and bother, but just when such questions are forming, they have to (1) leap a chasm, (2) jump from one car to another, and (3) crash. It's a funny thing about that little railway: After all these years, it still has lamps hanging over the rails, and the electricity is still on. The problem of lighting an unlit world is solved in the next cave they enter, which is inhabited by cute little birds that glow in the dark. One of them makes friends with Sean, and leads them on to the big attraction -- a world bounded by a great interior sea. This world must be a terrible place to inhabit; it has man-eating and man-strangling plants, its waters harbor giant-fanged fish and fearsome sea snakes that eat them, and on the further shore is a Tyrannosaurus rex. So do the characters despair? Would you despair, if you were trapped miles below the surface in a cave and being chased by its hungry inhabitants? Of course not. There isn't a moment in the movie when anyone seems frightened, not even during a fall straight down for thousands of feet, during which they link hands like sky-divers and carry on a conversation. Trevor gets the ball rolling: "We're still falling!" I mentioned 3-D glasses earlier in the review. Yes, the movie is available in 3-D in "selected theaters." Select those theaters to avoid. With a few exceptions (such as the authentic IMAX process), 3-D remains underwhelming to me -- a distraction, a disappointment and more often than not offering a dingy picture. I guess setting your story inside the Earth is one way to explain why it always seems to need more lighting. The movie is being shown in 2-D in most theaters, and that's how I wish I had seen it. Since there's that part of me with a certain weakness for movies like this, it's possible I would have liked it more. It would have looked brighter and clearer, and the photography wouldn't have been cluttered up with all the leaping and gnashing of teeth. Then I could have appreciated the work of the plucky actors, who do a lot of things right in this movie, of which the most heroic is keeping a straight face. 1
《经典英语影视赏析》课程教学大纲 课程名称（中文）：经典英语影视赏析 课程名称（英文）：Appreciation of English Classic Films and Television Plays 课程类型：历史与文化类适用范围：贵州大学各专业本科生 学时数：32 其中：实验/实践学时：课外学时：无 周学时：2 学分数： 2 考核方式：考查 制订单位：外国语学院制订日期：2014-07-10 执笔者：张涛 【课程性质】 本课程是各专业本科阶段的一门选修课程。 【教学目的】 本课程旨在提高学生对语言真实度的各类视听材料的理解能力和口头表达能力。以经典英语影视为对象，通过“视”、“听”、“说”、“写”的结合，以直观画面和情节内容为基础开展有针对性的口语训练，运用复述、总结、对话、口头概述等活动形式，提高学生的听力理解和口头表达能力，同时通过论文写作的形式，加深他们对英语国家的政治、经济、社会、文化等方面的认识和了解，从文化层面上更好的把握语言这门艺术。 【教学任务】 此课程教学旨在使学生在提高英语语言能力的同时对西方的电影和文化有更多的了解和认识。 【教学内容】 1.阐述当代原版电影的一般知识，即通俗地介绍电影的文化特征和艺术特征，同时比较完整地介绍英美电影的历史和特点。 2.精心挑选了在世界上具有广泛影响的影片作为读解素材，其中大部分影片曾获得过奥斯卡奖。在理解剧情的基础上，领略电影作品从独特的美学价值和文化性格所展现出不同民族的艺术风格。 3.介绍部分当代英美电影的著名导演和演员，了解各种电影手法和创作技巧。 【教学原则和方法】 教学原则： 英语影视课的教学既要注意结合各门课程所学内容，打好扎实的语言基本功，又要突出语言交际能力的培养，注重培养学生的跨文化交际能力。在教学中，要正确引导学生学习中西文化的差异，处理好欣赏和批判的关系以及如何正确接受西方文化的方法。 教学方法： 课堂教学采取学生为主体、教师为主导的教学模式。在教学中，利用音像环境所提供生动的英语语境训练听力和口语，分析英语经典影片，长、短片结合。多开展以任务为中心的、形式多样的教学活动，通过“视”、“听”、“说”的综合训练，提高学生的英语语言运用能力。 【先修课程要求】 以语音、语法、词汇、听力、口语等为基础的综合能力培养的大学英语课程。 【教材与主要参考书】 教材： Andrew Lynn Appreciating Cinema 《英语电影赏析》外语教学与研究出版社, 2005年参考书： 徐志英邓杉赵蓉英语电影视听说外语教学与研究出版社, 2009年
Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1
Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1
电影，也称映画（motion picture）:是由活动照相术幻灯放映术结合发展起来的一种现代艺术，是一门可以容纳文学、喜剧、摄影、绘画、音乐、舞蹈等多种艺术的综合艺术。 艺术界把电影称为是继文学、音乐、建筑、美术、雕塑、舞蹈之后的第七艺术。 西方电影经历了四个时期： 电影艺术萌发期（1895-1907）无声故事片创作时期（1908-1926） 有声故事片创作时期（1927-1945）电影艺术新发展时期（1945- ） （一）电影艺术萌发期 这一时期，存在着两种不同的摄影倾向;一种以卢米埃尔兄弟为代表，主要在现实中区捕捉生活现象，银幕上展现的就是人们身边的琐事；一种以梅里埃为代表，主要记载舞台上经过加工的虚构的生活图画。沿着这两种创作方式，发展呈后来的记录片和故事片两种片种。卢米埃尔兄弟的作品，均为纪实主义电影，银幕上展现的就是们身边的琐事。题材和内容大致可分为四个方面：劳动和工作的生活场景；家庭生活情趣的记录；政治、文化、新闻纪录；自然风光和街头实景。代表作品：《工厂的大门》《火车进站》《水浇园丁》《耶路撒冷教堂》《儿童吵架》《婴儿的早餐》。 1895年12月28日，卢米埃尔兄弟《火车进站》、《工厂大门》等标志着电影的诞生。 梅丽爱（1861-1938）对电影的贡献：1.把戏剧手法移植到电影中，完成了电影同戏剧首次“联姻”，丰富了电影表现力。2.自觉运用了人工布景，大摄影棚拍摄，重点虚构创造艺术效果。3.灵活运用停机拍摄，场面转换等拍摄技巧和方法。4.开创多种电影特技，如多次曝光、合成摄影、渐隐渐显、慢速摄影等。 （二）无声故事片创作时期： 这一时期的代表人物和电影流派包括：大卫·格里菲斯查理·卓别林德国表现主义电影法国印象主义电影超现实主义电影前苏联蒙太奇学派电影 大卫·格里菲斯:被誉为“现代电影观念的奠基者”。1.他将电影从依附于戏剧的形式中独立出来，采用文学观念进行创作，将电影从简单的记录层面提升到复杂点的叙事层面，使电影真正成为一门独立的艺术。2.他首创巨型片的先河，制作场面宏大，形式新颖，使用时空跳跃和蒙太奇对比手法，创造了世界电影史上著名的”最后一分钟营救发”，至今仍在电影创作中广泛使用。最著名的代表作品，包括：1915年《一个国家的诞生》（the birth of a nation）1916年的《党同伐异》（intolerance） 查理·卓别林：生平简介：英国电影演员，制片人，导演，不列颠帝国勋章佩戴者，1889年4月16日出生于伦敦，1977年12月25日卒于瑞士科西耶。代表作品：从1919年开始，卓别林独立制片，一生共拍摄80余部喜剧片，其中在电影史上著名的影片由《淘金记》《城市之光》《摩登时代》《大独裁者》《凡尔杜先生》《舞台生涯》等。创作特点：1.影片有着深刻而尖锐的现实主义批判精神，完全不同于以前的庸俗闹剧。2.卓别林的喜剧电影大都是带有悲剧色彩的喜剧，善于把一些对立的因素在艺术创作中有机的集合起来，这种对立关系的桥面处理发人深省，具有很强的艺术感染力，使悲喜交集达到高度的融合。3.卓别林用艺术夸张手法构成情节和人物动静的造型，构思巧、手法新，完全超脱了一般庸俗闹剧的旧模式，因而在创作上达到深刻的现实主义和卓越的浪漫主义想结合，从而使得卓别林的喜剧电影取得了很高的艺术成就。 德国表现主义电影：是20世纪一、二十年代在德国出现的把文学、戏剧、和绘画上的表现主义原则，运用于电影创作的电影流派，认为：“电影的画面应该像绘画作品一样”，创作者把本人的内心骚动，情绪外化于所免回的形象之中。创作特点：用荒诞离奇的手法，曲折而精确的反映出一战给德国人民带来的极度恐慌和惶惑的心情。银幕上呈现的是高度夸张、变形、主观化的世界。艺术特征:1.总体风格沉郁、灰暗、冷酷。2.内容倾向于黑暗题材的表现，人物往往具有象征含义。3.用变形、荒诞、失真、扭曲等手法反映现实。4.空间安排热衷舞
青春岁月 视听说教学所能提供的多层次内容、丰富的口语表达方式、言。从时间观念到空间观念，从身体姿态到话语中的沉默，都属魅力无穷的声音画面立体感效果，使之成为多媒体教学时期能最于非语言交际范畴，而不同的文化有不同的非语言交际行为。这大限度进入教学过程中最受青睐的媒介。因此，具有形象、生样就我们就可以通过英文电影影片中的人物、环境、语境和背景动，并使观众有身临其境的特点的英文电影赏析课就成为了为英等，使学生充分的了解交际中的非语言活动的作用，并认识到在语语言文化的有效导入途径，它可以使学生在这种半真实的语言这一交际系统中的中西方的差异，从而让学生充分的提升跨文化环境中学习语言，从而增强学生活学活用的外语交际能力。并且交际能力。 对比电影中的对白和学生自己所掌握的语言的应用，更能让学生二、英文电影赏析课的教学 体会电影英语的地道，看清生活英语与课本英语的差异，有益于一般来说，大部分学生选择电影赏析课的目的就是看电影，帮助学生提高兴趣，灵活掌握并运用语言。以下将从几个方面详而作为课堂教学的掌控人的老师就必须对学生进行正确的引导。细阐述英文电影赏析课。 因此，课堂教学的设计就显得尤为重要。 一、英文电影赏析课在大学英语教学中的优越性1、明确英语电影赏析课的教学目标 1、激发学生对英语的学习兴趣 英语电影赏析课应该符合大学英语课程的总目标，即培养学苏霍姆林斯基认为，培养学生的学习兴趣和求知欲是教师的生的英语综合应用能力，特别是交际能力，这样才能有利于他们一大任务。著名教育学家乌申斯基也曾说：“没有任何兴趣，而在今后学习、工作和社会交往中能有效地用英语进行交流。所以被迫进行的学习，会扼杀学生掌握知识的意愿。”可见兴趣对激电影赏析课应从语言和文化两方面着手，一方面培养学生英语语发学生的学习动力尤为重要。 言的交流能力，另一方面提高学生英美文化素养和跨文化知识，传统的英文教学的模式，忽视了学生学习的积极性和主动促进英语语言能力的协调发展。 性，容易引起学生的精神疲劳和厌烦心理，影响了学习效率，降2、英语电影赏析课的课前准备 低了学习效果。英文电影赏析课这种新的模式以学生为主体、教（1）影片的选择。英文影片的选择是进行英文电影赏析课程师为主导，激发学生的学习兴趣，调动学生的学习积极性，让学设计的非常关键的一步，是达到预期教学效果的基础。根据我们生积极参与课堂教学，使学生学习情绪高涨，使大家在轻松愉快的教学目标，在选择影片时，首先要适合学生语言的学习；二是的情景中学习英语。而原版影片中优美的画面、动听的音乐、扣能够在一定程度上扩大学生的词汇量，但要避免有太多的专业术人心弦的剧情、美丽的异域风光以及演员精湛的演技，都给学生语；三是影片内容生活化，积极向上，情节不要过于复杂晦涩，带来精神上的快乐体验和愉悦享受，视听器官被快速调动起来，也不要过于追求感官刺激，或者曲折离奇，因此最好选择题材轻自觉自愿的接受影片所带来的大量信息，使他们学习与模仿的兴松、内容简单、画面对语言说明作用强的影片；四是发音清晰地趣被最大限度带动起来。 道；最后要遵循“由简单到复杂”的原则。简单而又精彩的电影课堂上，教师根据内容的难度和学生的接受能力，把较为抽片断是学生听说能力提高的突破点。开始看英文电影时要选一些象的、较难理解的内容变得具体化，使英语教学从单一的课本英情节简单、语言清晰的电影，慢慢领略熟悉了电影的语言之后，语教学转变为以视听说为一体的充满乐趣的英语学习乐园，使学再循序渐进选一些语速较快、难度较高、情节更为复杂的，以推生易于接受，并更乐意和教师、同学相互交流讨论，多形式、多动学生进步。所以，《The Ice Ag e 》，《The L io n King 》，《To y 渠道、多手段地使英语学习由被动转为主动，从而培养学生的英Story 》，《T he Pursuit o f Happiness 》等电影，语音清晰，难度适语语言的应用能力，并帮助学生树立自信心，培养起学习兴趣。 中，适合学生学习使用。 2、能够提供真实且生动的交际场景 （2）影片背景知识的准备。鉴于大学生已经具备了一定的语语言环境对第二语言的学习起着举足轻重的作用，但我国英言技能和自学能力。因此，应该充分调动学生的积极性，让他们语学习者，缺乏真实的英语生活和教学环境，深受中文的影响和在课前去收集尽可能多的相关影片的英文背景资料信息并做成幻干扰。而英文电影会让还没有去过英语国家，但又想了解这些国灯片让学生分成小组自己在课堂上展示，这样一来既可以使学生家的习俗和文化的学习者有身临其境的感觉，能最大限度地调动充分的参与到课堂中来，又使学生的英文能力得到充分的展示和学生视、听、触等全部感官，生动性、趣味性、动态效果吸引学提高。作为课堂指导者的老师，在欣赏影片之前，应了解影片中生的注意力，而且电影本身题材多样，可以体现了多种交际场较难的语言知识，提前把关键词告诉学生，帮助学生理解剧情和景，这就相当于把语言学习放在了相对真实的环境中，使英语学对白，以便于更好欣赏和学习影视材料中的英文语言知识点。其习立体化、多面化，更利于学生对语言的学习和使用。 次，教师还应根据影片内容对影片设计相应的习题和课堂活动来3、有助于培养学习者的跨文化交际能力 巩固知识，让学生带着问题观看，加深理解。 语言来源于一定的社会文化背景，因此要想学好一门语言，3、英语电影赏析课教学设计 必须要了解与之相关的社会文化背景。这决定了语言教学和文化英文电影赏析课是以电影欣赏为主线，调动学生学习英语的教学的不可分离，而语言与文化的完美结合的产物则是电影。原积极性和主动性，提高学生英文交际能力为目的的教学。因此，版的英语电影是英美国家社会生活和文化最直观、最集中、最生老师应充分的让学生参与到课堂的活动中来，通过各种方式对学动的反映，通过原版的英文电影，我们可以了解地道的口语表生的英文应用能力进行训练。 达、感受真实的语言环境、理解其丰富的文化内涵，使得学生可（1）听力训练。选取影片经典片断，反复播放，进行听写；以通过英文电影赏析课加深对英美国家文化的认识，了解中西方或采取填空的方式补充较长的对白，当学生能理解80-90%以上的文化和思维方式的差异。此外，不同民族的非语言交际行为也可语言时，把音频连同视频一并呈现在学生面前，通过视觉和听觉以通过电影传达给学生，让学生更好地了解异国人民的肢体语 双重冲击加深学生的印象，同时还让学生感受到学习英语的成就 >>（下转第3页下） 浅谈英文电影赏析课 □童 珊（武汉长江工商学院，湖北武汉430074） 【摘要】近几年，随着英语教学的发展以及大学新生英语水平的不断提高，传统的填鸭式的教学方式，使学生缺乏互动式交流学习的机会，已不再适用于现代不断发展的英语教学。在大学英语课堂上，教师应该对学生进行正确的引导，提供启发式的学习方式，激发学生的学习的兴趣，给学生创造出一个学习语言的良好氛围，提高学生参与性，让学生从死记硬背的阶段过渡到实际交流。那么，怎样最大程度地调动了学生参与课堂的积极性，增加师生互动机会，为学生创设逼真的英语学习环境?那么将英文电影引入大学英语教学就是一种十分有效的解决方式。 【关键词】英文电影赏析课；兴趣；英文交际能力27
The Pursuit of Happiness（当幸福来敲门）2006 With a title like The Pursuit of Happiness, you expect the characters to get to the promised land. They do, but if the journey matters more than the destination, this is a movie to skip. The Pursuit of Happyness is long, dull, and depressing. It expands into two hours a story that could have been told more effectively in one. This is not the feel-good movie of the season unless you believe that a few moments of good cheer can redeem 110 minutes of gloom. Sitting through The Pursuit of Happiness is a chore. Downbeat movies aren't inherently bad (in fact, many are powerful), but this one provides artificial characters in contrived circumstances. How is it that movies "inspired by a real story" often feel more fake than those fully embedded in the realm of fiction? Will Smith has generated Oscar buzz for his portrayal of Chris Gardner, the real-life guy whose rags-to-riches story forms the basis of the movie. (Impoverished guy becomes capitalist poster boy.) While it's fair to say that this is one of the best straight performances of Smith's career, it didn't blow me away. In and of itself, the acting, while effective, is not Best Actor material, but it wouldn't surprise me if the movie's prestige factor and Smith's popularity earn him a nod. Meanwhile, his female co-star, Thandie Newton, isn't going to be considered for any award. Newton spends about 90% of her screen time doing an impersonation of a harpy: screeching, bitching, and contorting her face into unpleasant expressions. Smith's son, Jaden, is okay as the movie's child protagonist; it's unclear whether his occasional deficiencies are the result of his acting, Steven Conrad's writing, or Gabriele Muccino's direction, but there's not much personality behind the cute features and curly hair. Chris Gardner (Will Smith) is down on his luck. It's 1981 San Francisco and his self-employed business of selling portable bone density scanners isn't doing well. His wife, Linda (Thandie Newton), does nothing but yell at him and give him a cold shoulder, and the lack of domestic harmony is impacting the disposition of his beloved son, Christopher (Jaden Christopher Syre Smith). That's when Chris' life turns into a country song. His wife leaves. He is evicted from his home. He goes to jail, neither passing GO nor collecting a much-needed $200. He gets hit by a car. He is robbed. He makes his son cry. He alienates a friend over $14. He gets to spend a night in the cleanest public restroom in the history of public restrooms. But there's a bright spot, although you need a dark-adapted eye to find it. Despite having no experience, Chris applies to enter an internship program at Dean Witter. He would appear to have no chance to get in until he amazes the head of the program (Brian Howe) by solving the Rubik's Cube puzzle in the back of a taxi cab. It's a blessing that the movie doesn't use a stock villain to impede Chris' herky-jerky trip to the top, because that would have tipped the movie into the empire of the unwatchable. However, the lack of a strong conflict makes the two-hour running length seem very long. Thankfully, there's also not much in the way of overt melodrama, but that could be a byproduct of having characters who are not deeply realized and have narrow emotional ranges. It's tough to connect with Chris and his son. Although they are played by a real-life father and son, there's no chemistry between them. We're constantly told how desperately Chris loves Christopher, but it takes a long time before we begin to buy it. Most of the time, Christopher seems like an annoying piece of baggage that Chris drops off at daycare when he has other things to do. The film's most compelling scenes are those that show Chris struggling to enter the rat race. Granted, this is no Glengarry Glen Ross, but it shows the pressure these salesmen are under and how important the contact lists are. In the overall scheme of things, however, these sequences are background noise. They are neither plentiful nor lengthy. The movie spends more time following Chris on his futile sales rounds for the bone density scanner than it does accompanying him during his broker training. The moral of the story is as trite as they come: don't let anyone convince you to give up on your dreams. Disney animated films have been doing this better for decades. The Pursuit of Happyness concludes with a caption that tells us what happens to Chris after the end of the movie; it promises a better story than the one we have just watched. The film is also marred by a persistent (although not verbose) voiceover that adds nothing to the story while frequently jerking us out of the experience of watching it. I don't need Will Smith telling me: "This part of the story is called 'riding the bus.'" This is the English-language debut of Gabriele Muccino, who has made a name for himself in Italian cinema. The Pursuit of Happiness has the kind of slow, drab tone one occasionally associates with a director raised outside of the Hollywood system. What can be an asset in some circumstances is a detriment in this one. The Pursuit of Happiness isn't enjoyable, and its meager pleasures, including the eventual "payoff," aren't enough to justify the unrelenting misery. The Pursuit of Happiness is competently made and gets lots of the details right, but when it comes to the emotional core of the story, it loses the pursuit and misses the "happiness."