美国电影发展史

论美国电影的发展历程作者：刘丽娜来源：《北极光》2016年第06期摘要：美国电影行业，作为世界电影行业的领头羊，其艺术表现形式，拍摄技法，电影运营模式，创新思维等等值得我们中国电影行业学习。

本文从美国电影的发展历程出发，从不同历史时期分析美国电影的突出作品，为中国电影的发展提供理论基础。

关键词：美国电影；无声电影；有声电影；生产力当前世界电影工业发展的佼佼者当属美国的电影。

自1895年12月28日世界上第一部电影《工厂大门》诞生于法国开始，电影这一被称之为第七艺术的艺术形式在各国蓬勃发展。

电影的发展与生产力水平的提升是密不可分的。

1893年T.A.爱迪生发明电影视镜并创建“囚车”摄影场，被视为美国电影史的开端。

1896年，维太放映机的推出开始了美国电影的群众性放映。

纵观世界电影发展史，格里菲斯，卓别林等等一系列优秀的导演创作出的作品具有里程碑式的意义，给世界电影的发展起到了一定的推动作用。

格里菲斯的《一个国家的诞生》，《党同伐异》。

尤其是《党同伐异》中特有的“最后一分钟营救”即“平行蒙太奇”更是革新了电影的拍摄技法。

他将发生在不同地点的平行动作交替切入，摆脱实际时间的束缚，打破传统戏剧叙述原则，创造真正符合电影艺术规律的叙事时空。

美国电影的发展历程大致分为无声电影，早期有声电影，美国电影走向巅峰。

一、无声电影美国早期的无声电影因着严格的审查制度，其主要类型为喜剧片，历史片和西部片。

严格审查制度的由来是因着当时美国各个电影公司的明星行为不检点，于是招致了公众的广泛抨击，于是美国电影业成立了“美国制片人与发行人协会”。

在W.H.海斯的主持下这一组织制定了“伦理法典”这就是著名的海斯法典。

其主要职能是审查影片时剔除不合乎美国公众道德观念和生活方式的情节和场面。

于是从侧面推动了既能够娱乐大众的同时又不违背美国公众的道德观念和生活方式的喜剧片，历史片和西部片。

喜剧片的典型电影当属查理卓别林的电影。

肥裤子、破礼帽、小胡子、大头鞋，再加上一根从来都不舍得离手的拐杖，卓别林用他的表情和动作将美国默片带到最高峰。

美国电影发展史Of all the products of popular culture, none is more sharply etched in our collective imagination than the movies. Most Americans ins tantly recognize images produced by the movies: Charlie Chaplin, t he starving prospector in The Gold Rush, eating his shoe, treating t he laces like spaghetti. Paul Muni, the jobless World War I veteran in I am a Fugitive from a Chain Gang, who is asked how he live s and replies, "I steal." Gloria Swanson, the fading movie goddess in Sunset Boulevard, belittling suggestions that she is no longer a b ig star: "It's the pictures that got small."Movies are key cultural artifacts that offer a window into Ameri can cultural and social history. A mixture of art, business, and pop ular entertainment, the movies provide a host of insights into Ameri cans' shifting ideals, fantasies, and preoccupations. Like any cultural artifact, the movies can be approached in a variety of ways. Cultu ral historians have treated movies as sociological documents that rec ord the look and mood of particular historical settings; as ideologic al constructs that advance particular political or moral values or my ths; as psychological texts that speak to individual and social anxiet ies and tensions; as cultural documents that present particular image s of gender, ethnicity, class romance, and violence; and as visual te xts that offer complex levels of meaning and seeing.Beside Macy's Department Store in Herald Square New York Cit y there is a plaque commemorating the first public showing of a m otion picture on a screen in the United States. It was here, on Apri l 23, 1896, at Koster and Bial's Music Hall in New York City, tha t Thomas Alva Edison presented a show included scenes of the sur f breaking on a beach, a comic boxing exhibition, and two young women dancing. A review in The New York Times described the e xhibition as "all wonderfully real and singularly exhilarating."The first successful efforts to project lifelike images on a screen took place in the mid-seventeenth century. By 1659, a Dutch scien tist named Christiaen Huygens had invented the magic lantern, the forerunner of the modern slide projector, which he used to project medical drawings before an audience.The first true moving images appeared in the 1820s, when the c oncept of the persistence of vision was used to create children's toy s and other simple entertainments. The thaumatrope, which appeared in 1826, was a simple disk with separate images printed on each side (for example, a bird on one side and a cage on another). Whe n rapidly spun, the images appeared to blend together (so that the bird seemed to be inside the cage). A simpler way to display move ment was the flip book, which became popular by the late 1860s.Each page showed a subject in a subtly different position. When a reader flipped the book's pages, the pictures gave the illusion of m ovement.In 1887, Thomas Edison gave William K.L. Dickson, one of his leading inventors, the task of developing a motion picture apparatu s. Edison envisioned a machine "that should do for the eye what th e phonograph did for the ear." Dickson initially modeled his device on Edison's phonograph, placing tiny pictures on a revolving drum.A light inside the drum was supposed to illuminate the pictures. T hen he decided to use the flexible celluloid film that George Eastm an had invented in 1880 and had begun to use in his Kodak camer a. Dickson added perforations to the edge of the film strip to help it feed evenly into his camera.To display their films, Dickson and Edison devised a coin-operat ed peepshow device called a "kinetoscope." Because the kinetoscope could only hold fifty feet of film, its films lasted just 35 to 40 se conds. This was too brief to tell a story; the first kinetoscope films were simply scenes of everyday life, like the first film "Fred Ott's Sneeze," reenactments of historical events, photographed bits of va udeville routines, and pictures of well-known celebrities. Nevertheles s, the kinetoscope was an instant success. By 1894, coin-operated kinetoscopes had begun to appear in hotels, department stores, saloon s, and amusement arcades called nickelodeons. In 1894, the Lumier e brothers introduced the portable motion picture camera and projec tor.Finally recognizing the potential of the motion picture projector, Edison entered into an agreement with a Washington, D.C. realtor, Thomas Armat, who had designed a workable projector. In April, 1 896, the two men unveiled the Vitascope and presented the first m otion pictures on a public screen in the United States.Competition in the early movie industry was fierce. To force the ir competitors out of the industry, moviemakers turned to the courts, launching over two hundred patent infringement suits. To protect t heir profits and bring order to the industry, Edison and a number o f his competitors decided to cooperate by establishing the Motion P icture Patents Company in 1909, consisting of six American compa nies and two French firms. Members of the trust agreed that only t hey had the right to make, print, or distribute cameras, projectors, or films. The trust also negotiated an exclusive agreement with East man Kodak for commercial quality film stock.During film's first decade from 1896 to 1905 movies were little more than a novelty, often used as a "chaser" to signal the end ofa show in a vaudeville theater. These early films are utterly unlik e anything seen today. They lasted just seven to ten minutes -toob rief to tell anything more than the simplest story. They used a cast of anonymous actors for the simple reason that the camera was se t back so far that it was impossible to clearly make out the actors' faces. As late as 1908, a movie actor made no more than $8 a d ay and received no credit on the screen.In 1905, hundreds of little movie theaters opened, called nickelo deons, since they sold admission nickel by nickel. By 1908, there were an estimated 8,000 to 10,000 nickelodeons. Contrary to popula r belief, the nickelodeon's audience was not confined to the poor, t he young, or the immigrant. From the start, theaters were situated i n rural areas and middle class neighborhoods as well as working-cl ass neighborhoods. Nevertheless, the movies attracted audiences of a n unprecedented size, as a result of their low admission prices, "de mocratic" seating arrangements, convenient time schedules (films we re shown again and again), and lack of spoken dialogue, which allo wed non- English speaking immigrants to enjoy films.By 1907, narrative films had begun to increase in number. But most films still emphasized stunts and chases and real life events-li ke scenes of yacht races or train crashes--and were rented or soldby the foot regardless of subject matter. Exhibitors were expected t o assemble scenes together to form a larger show.The formation of the movie trust ushered in a period of rationali zation within the film industry. Camera and projecting equipment w as standardized; film rental fees were fixed; theaters were upgraded; and the practice of selling films outright ended, which improved t he quality of movies by removing damaged prints from circulation. This was also a period intense artistic and technical innovation, as pioneering directors like David Wark Griffith and others created a new language of film and revolutionized screen narrative.By focusing the camera on particular actors and actresses, Griffit h inadvertently encouraged the development of the star system. As early as 1910, newspapers were deluged with requests for actors' na mes. But most studios refused to divulge their identities, fearing the salary demands of popular performers. But the film trust's leading opponent, Carl Laemmle, was convinced that the key to the financi al stability lay in producing films featuring popular stars. As one in dustry observer put it, "In the 'star' your producer gets not only a ' production' value...but a 'trademark' value, and an 'insurance' value which are...very potent in guaranteeing the sale of this product." In 1910, Laemmle produced the first star; he lured Florence Lawrence, the most popular anonymous star, away from Biograph, and laun ched an unprecedented publicity campaign on her behalf. As the sta r system emerged, salaries soared. In the course of just two years, the salary of actress Mary Pickford rose from less than $400 a wee k in 1914 to $10,000 a week in 1916.During the second decade of the twentieth century, immigrants li ke Laemmle and Zukor came to dominate the movie business. Unli ke Edison and the other American-born, Protestant businessmen who had controlled the early film industry, these immigrant entrepreneu rs had a better sense of what the public wanted to see. Virtually al l of these new producers emigrated to the United States from centr al Europe and were Jewish. Less conservative than the American-bo rn producers, they were more willing to experiment with such inno vations as the star system and feature-length productions. Since man y had come to the film industry from the garment and fur trades where fashions change rapidly and the successful businessman is on e who stays constantly in touch with the latest styles, they tried to give the public what it wanted.As Samuel Goldwyn, one of the leading moguls, noted, "If the audience don't like a picture, they have a good reason. The public is never wrong. I don't go for all this thing that when I have a failure, it is because the audience doesn't have the taste or education, or isn't sensitive enough. The public pays money. It wants to be e ntertained. That's all I know." With this philosophy the outsiders wr estled control over the industry away from the American-born produ cers.During the 1920s and 1930s, a small group of film companies cons olidated their control. Known as the "Big Five" - Paramount, Warn er Brothers, RKO, 20th Century-Fox, and Lowe's (MGM) and the " Little Three" - Universal, Columbia, and United Artists, they forme d fully integrated companies. With the exception of United Artists, which was solely a distribution company, the "majors" owned their own production facilities, ran their own worldwide distribution netw orks, and controlled theater chains that were committed to showing the company's products. And at the head of each major studio was a powerful mogul such giants as Adolph Zukor, Wiliam Fox, Loui s B. Mayer, Samuel Goldwyn, Carl Laemmle, Harry Cohn, Joseph Schenck, and the Warner Brothers who determined what the public was going to see. It was their vision--patriotic, sentimental, secular, and generally politically conservative which millions of Americans shared weekly at local movie theaters.During the 1920s, movie attendance soared. By the middle of th e decade, 50 million people a week went to the movies - the equi valent of half the nation's population. In Chicago, in 1929, theaters had enough seats for half the city's population to attend a movie each day.In 1926, Warner Brothers released the film Don Juan--the first fi lm with a synchronized film score--along with a program of talking shorts. The popularity of The Jazz Singer, which was released in 1927, erased any doubts about the popular appeal of sound, and wi thin a year, 300 theaters were wired for sound.The arrival of sound produced a sharp upsurge in movie attenda nce, which jumped from 50 million a week in the mid-20s to 110 million in 1929. But it also produced a number of fundamental tran sformations in the movies themselves. As Robert Ray has shown, s ound made the movies more American. The introduction of sound a lso encouraged new film genres--like the musical, the gangster film, and comedies that relied on wit rather than slapstick.In addition, the talkies dramatically changed the movie- going ex perience, especially for the working class. Where many working cla ss audiences had provided silent films with a spoken dialogue, mov ie-goers were now expected to remain quiet. As one film historianhas observed: "The talking audience for silent pictures became a sil ent audience for talking pictures. "Moreover, the stage shows and o ther forms of live entertainment that had appeared in silent movie houses increasingly disappeared, replaced by newsreels and animated shorts.The film industry changed radically after World War II, and this change altered the style and content of the films made in Hollywo od. After experiencing boom years from 1939 to 1946, the film ind ustry began a long period of decline. Within just seven years, atten dance and box receipts fell to half their 1946 levels.During the 1940s, a new film genre--known as film noir-- arose, which gave tangible expression to the psychic confusion of a natio n that had won the largest war in history but faced even greater u ncertainties in peacetime. Though film noir received its named from French film critics and was heavily influenced by German expressi onist film making techniques, it stands out as one of the most origi nal and innovative American movie genres.After the war, Hollywood's audience not only shrank, it also fra gmented into distinct subgroups. An audience interested in serious s ocial problem films expanded. During the postwar period Hollywoo d produced a growing number addressing such problems as ethnic and racial prejudice, anti-Semitism, sufferings of maltreated mental p atients, and the problems of alcohol and drug addiction. The growin g popularity of science fiction thrillers also reflected the emergence of the youth market and the spread of a certain paranoid style dur ing the Cold War years.As the 1960s began, few would have guessed that the decade w ould be one of the most socially conscious and stylistically innovati ve in Hollywood's history. Among the most popular films at the de cade's start were Doris Day romantic comedies like That Touch of Mink (1962) and epic blockbusters like The Longest Day (1962), L awrence of Arabia (1962), and Cleopatra (1963). Yet, as the decade progressed, Hollywood radically shifted focus and began to produc e an increasing number of anti-establishment films, laced with socia l commentary, directed at the growing youth market. Two films rel eased in 1967--Bonnie and Clyde and The Graduate--awoke Hollyw ood to the size and influence of the youth audience.A number of most influential films of the late '60s and early '70 s sought to revise older film genres--like the war film, the crime fi lm, and the western--and rewrite Hollywood's earlier versions of A merican history from a more critical perspective. Francis Ford Copp ola's The Godfather (1972) revised and enhanced the gangster genreby transforming it into a critical commentary on an immigrant fam ily's pursuit of the American dream.During the mid- and late-70s, the mood of American films shifte d sharply. Unlike the highly politicized films of the early part of t he decade, the most popular films of the late 1970s and early 1980 s were escapist blockbusters like Star Wars (1977), Superman (197 8), and Raiders of the Lost Ark (1981)-- featuring spectacular speci al effects, action, and simplistic conflicts between good and evil--in spirational tales of the indomitable human spirit, like Rocky (1976)--or nostalgia for a more innocent past--like Animal House (1978) a nd Grease (1978).In a 1992 bestseller Hollywood vs. America, Michael Medved, co-h ost of public television's Sneak Previews, described Hollywood as a "poison factory," befouling America's moral atmosphere and assault ing the country's "most cherished values." Today's films, he argued, use their enormous capacity to influence opinion by glamorizing vi olence, maligning marriage, mocking authority, promoting sexual pro miscuity, ridiculing religion, and bombarding viewers with an endles s stream of profanity, gratuitous sex, and loutish forms of behavior. Where once the movies offered sentiment, elegance, and romance, now, Medved contends, ideologically-motivated producers and directors promote their own divisive agenda: anti-religion, anti-family, ant i-military.Nevertheless, as the movie industry enters its second century, ma ny Americans worry about Hollywood's future. Medved is not alone in complaining that "they don't make movies like they used to." A basic problem facing today's Hollywood is the rapidly rising cost of making and marketing a movie: an average of $40 million today. The immense cost of producing movies has led the studios to see k guaranteed hits: blockbuster loaded with high-tech special effects, sequels, and remakes of earlier movies, foreign films, and even ol d TV shows.For a century, the movie industry has been the nation's most im portant purveyor of culture and entertainment to the masses, playing a critical role in the shift from Victorian to distinctively modern, consumer values; from a world of words to a visual culture; from a society rooted in islands of localities and ethnic groups to a com mercialized mass culture. The movies taught Americans how to kiss, make love, conceive of gender roles, and understand their place in the world. Whether film will continue to serve as the nation's pree minent instrument of cultural expression--reflecting and also shaping values and cultural ideals--remains to be seen.1893年，T.A.爱迪生发明电影视镜并创建“囚车”摄影场，被视为美国电影史的开端。