电影

We are not covering silent films in this course. We will begin with the first talking motion picture, The Jazz Singer, released in 1927. The next week, we'll be looking at The Gold Diggers of 1933, a piece that is very representative of the escapist trend in films released during the depression. Some of the films we will be watching will probably be new to you, like Frank Capra's Why We Fight. Others you might have already seen on TV like Rebel without A Cause starring James Deane, or Stanley Cooper's Doctor's Strange Love. However, I hope you see even familiar film with new eye. In the last three weeks of the course, we will be watching films from the 1980s and you'll choose one of them as a subject for an extensive written critique.

这门课不讲无声电影，我们将从1927年放映的第一部有声电影＇爵士歌手＇开始，下周我们也将观看1933年放映的＇掘金人＇，一部非常能表现萧条时期逃避注意的电影，有一些电影对你们来说可能很新奇，象Frank Capra的＇为什么我们会打架＇，别的你们可能在电视上已经看过了，象James Deane主演的＇没有目标的反抗＇或Stanley Cooper的＇医生的怪癖＇，但是我希望你们对即使很熟悉的电影，也采取一种崭新的观点去看，在本课程的最后三周内，我们会观看一些80年代的影片，同时你们需要从中选出一部电影作为撰写深入评论的对象。

We are not covering silent films in this course. We will begin with the first talking motion picture, The Jazz Singer, released in 1927. The next week, we'll be looking at The Gold Diggers of 1933, a piece that is very representative of the escapist trend in films released during the depression. Some of the films we will be watching will probably be new to you, like Frank Capra's Why We Fight. Others you might have already seen on TV like Rebel without A Cause starring James Deane, or Stanley Cooper's Doctor's Strange Love. However, I hope you see even familiar film with new eye.

这门课不讲无声电影，我们将从1927年放映的第一部有声电影＇爵士歌手＇开始，下周我们也将观看1933年放映的＇掘金人＇，一部非常能表现萧条时期逃避注意的电影，有一些电影对你们来说可能很新奇，象F rank Capra 的＇为什么我们会打架＇，别的你们可能在电视上已经看过了，象 James Deane 主演的＇没有目标的反抗＇或 Stanley Cooper 的＇医生的怪癖＇，但是我希望你们对即使很熟悉的电影，也采取一种崭新的观点去看，在本课程的最后三周内，我们会观看一些80年代的影片，同时你们需要从中选出一部电影作为撰写深入评论的对象。

Taking the Chinese films development course of time as the longitudinal axle, this essay discuss the characteristics and varieties of the photoplay view and its creation practice of Chinese Films in different age. The discussion focused on the characteristics and development countermeasure of photoplay view and its creation practice of Chinese films in new age by analyzing the classic cases. This essay used such methors like historical materials arrangement, induction and comparison during the discussion. Thus conclusions are drawn as follows: In order to guide the Chinese films towards the world, we must carry forward national films vigorously. So the traditional photoplay views, which pay attention to audiences and meeting the aesthetic habits and appreciating ways, should not be abandoned.

本文运用史料整理、归纳、比较等方法，以时间上的电影发展历程为纵轴，探讨不同时期中国电影影戏观及其创作实践的特点及变化，重点通过经典案例探讨新时期中国电影影戏观创作实践的特点与发展对策，从而得出以下结论：要让中国电影走向世界，必须弘扬民族电影，因而重视观众、适应中国观众审美习惯与欣赏方式的传统影戏观在电影实践中仍不能丢弃。

In the third chapter "Utterly exhausted", analysed expressly those long-lens and jump-cut; In the fourthly chapter "alpha city",analysed expressly the aesthetic purpose of black and white and simulacrum; In the fifthly chapter "Chinese girl",put emphases on the color and component line;In the sixth chapter "madman Pierrot",analysed expressly color and dissymmetry composition of a picture through psychology; In the seventh chapter "carbinier",analysed lens language from film semeiology; it researched Chinese film in eighth chapter,explained detailedly a successful Chinese films;"Yellow land",analysed presentation format of The sign "China".point out our Chinese film various problems in inditing concept as well as film system.

第八章是对中国电影的研究，提出戈达尔对我们中国电影一些有益的启示，分析了一部成功的中国影片《黄土地》，从电影符号学的角度去分析"中国"这个符号的呈现方式。还指出了中国电影目前存在的一些问题，有电影创作观念上以及中国电影体制等方面的原因。

Furthermore, while a rating by the FSK is not legally required for a film to be sold,"unrated" films may be sold only to adults, and since most retail chains and virtually all cinemas will sell / show only films with an FSK rating, all films are normally submitted to the FSK for classification, with the exception of films that will most likely be refused a certificate (pornography or films containing extremely strong violence, for example).

此外，虽然一等级的FSK信号不具有法律的电影需要出售，"评级"电影可能只卖给成年人，而大多数零售连锁店和几乎所有影院将出售/ FSK信号显示与评价只有一个电影，所有的电影通常提交分类FSK信号，随着电影，很可能会被拒绝证书（含色情或电影极强的暴力例外，例如）。

Below thesis faces the present balelism in the field of recognising TV movie,starts with the discussing about definition,indicates the significance of TV movie"s existance in the course of looking back American TV movie"s development and acruality,emphasizes the effects China TV movie brought out from 1999,analyzes current tanglesome problems and the main reasons,finally brings forward constructive breakthrough methods strating off from medias self developing trend and features.

本文将直面当今社会对电视电影认识上的不清晰的现状，从讨论电视电影的定义入手，再通过对电视电影产生的过程和背景的回顾和总结，指出电视电影生存的意义，同时以美国电视电影的产生、发展、现状和特征为重要参考，重点研究中国电视电影从1999年出现至今所带来的各方面影响，分析问题重重的现状以及背后的深层原因，再从媒体本身的发展趋势和特点出发，建设性地提出适合中国电视电影寻找出路的突围方案。

In such a way a series of vivid characters were produced during this period of timeIn the later half of 1940,movie literature scripts complied with the historical process of the Chinese modem literature,and echoed the turbulent tide of the times.Either emphasized on the consciousness of social criticism,or inclined to the consciousness of humanism,its ideological nature and the direction for creation was very explicit.But this "directional" expression and the demand were not conceptual,or stiffly inbreathed. It is the "concrete image",the "metaphor" of the text,revealed naturally in accordance with the development of the plot and the molding of characters.It can be said as "the wind rippled the surface of the water naturally" and presented excellent artistic technique and high standard.The film scripts writers of the society group undertook the Chinese movie tradition of moving with the history,on an unusual level achieved a new altitude of ideology,and obtained a new artistic achievements.

由于电影文学剧本独特的语言表达方式，其在人物塑造上具有不同于小说、戏剧的特点。1940年代后半期电影剧作者高度重视电影文学剧本中人物形象的塑造，运用电影化的思维方式来刻画人物，依托人物性格的发展来展开故事，使得这时期电影文学剧本在引人入胜的故事书写中，绘就出了一长串内涵丰富、形象生动、有血有肉的人物群。1940年代后半期电影文学剧本既顺应着中国现代文学的历史进程，又呼应着动荡巨变的时代大潮，无论是侧重社会批判意识的，还是倾向人文关怀意识的，其思想性或方向性是非常明确的，但这种&方向性&的表达和诉求既不是概念性的，也不是生硬的灌输，而是&具体形象&的，是&隐寓&文本之中，在故事情节发展和人物性格塑造之中自然而然地流露出来的，可以说是&风行水上，自然成纹&，呈现出高超的艺术技艺和水准。

Cine Fantom opened the window onto truly independent film, giving classically trained film and performing arts professionals the opportunity to apply their craft in an environment without restrictions imposed by , strict traditionalists, or in recent years, corporate entities.

1984年创建并很快成为俄罗斯/前苏联第一个独立及实验电影工作室，俄罗斯在国家体制的框架内一向对电影艺术非常支持，幽灵电影工作室面向于纯粹的独立电影制作，给很多受过古典电影和表演艺术培养的青年电影人机会在一个不受政府约束的环境中来展示他们的作品。

In the third chapter "Utterly exhausted", analysed expressly those long-lens and jump-cut; In the fourthly chapter "alpha city",analysed expressly the aesthetic purpose of black and white and simulacrum; In the fifthly chapter "Chinese girl",put emphases on the color and component line;In the sixth chapter "madman Pierrot",analysed expressly color and dissymmetry composition of a picture through psychology; In the seventh chapter "carbinier",analysed lens language from film semeiology; it researched Chinese film in eighth chapter,explained detailedly a successful Chinese films;"Yellow land",analysed presentation format of The sign "China".point out our Chinese film various problems in inditing concept as well as film system.

第八章是对中国电影的研究，提出戈达尔对我们中国电影一些有益的启示，分析了一部成功的中国影片《黄土地》，从电影符号学的角度去分析&中国&这个符号的呈现方式。还指出了中国电影目前存在的一些问题，有电影创作观念上以及中国电影体制等方面的原因。

This rating is not issued by the FSK, but may be self-applied to films seeking to educate their audience e.g.

此外，虽然一等级的FSK信号不具有法律的电影需要出售，&评级&电影可能只卖给成年人，而大多数零售连锁店和几乎所有影院将出售/ FSK信号显示与评价只有一个电影，所有的电影通常提交分类FSK信号，随着电影，很可能会被拒绝证书（含色情或电影极强的暴力例外，例如）。

I can not make it blossom and suits me

我不能让树为我开花

When temperatures are above approximately 80 °C discolouration of the raceways or rolling elements is a frequent feature.

当温度高于 80 °C 左右时，滚道或滚动元件褪色是很常见的特征。