國外英語電影發展歷程
1. 求BBC.英語發展史（The.Adventure.Of.English）的字幕
BBC製作的節目通常都不帶字幕的。
這個製作有一本書，以下是這書的資料。同時也可以參考一下The story of English / Robert McCrum, William Cran, Robert MacNeil.這個製作是1986年的，共有4盤影帶和1本書。
Author： Bragg, Melvyn, 1939-
Title： The adventure of English : the biography of a language / Melvyn Bragg.
Publication info.：New York : Arcade Pub. : Distributed by Time Warner Book Group, 2004.
Location Call No. Status
Nonfiction 420.9 B CHECK ON SHELF
Edition 1st U.S. ed.
Description xii, 322 p., [32] p. of plates : ill. (some col.) ; 25 cm.
Note Originally published: U.K. : Hodder & Stoughton, 2003.
Bibliography Includes bibliographical references (p. [303]-312) and index.
Contents The common tongue -- The great escape -- Conquest -- Holding on -- The speech of kings -- Chaucer -- God's english -- English and the language of the state -- William Tyndale's bible -- A renaissance of words -- Preparing the ground -- Shakespeare's english -- "My America" -- Wild west words -- Sold down the river -- Mastering the language -- The proper way to talk -- Steam, streets and slang -- Indian takeover -- The West Indies -- Advance Australia -- Warts and all -- All over the world -- And now ...?
ISBN 1559707100
2. 好萊塢電影的發展歷史
1853年，好萊塢只有一棟房子。
1870年，這里已成為一片興旺的農田。
1886年，從房地產生意發財的富商哈維·亨德申·韋爾考克斯在這里買下了0.6平方公里的土地。好萊塢這個名字來自英語的「holly」（冬青）。韋爾考克斯的夫人一次旅行時，聽到她旁邊的一個人說她來自俄亥俄州的一個叫做好萊塢的地方。她很喜歡這個名字，回到加州後就將她丈夫的農庄改稱為好萊塢了。韋爾考克斯計劃在這里建造一座小城。
1887年2月1日他在地區政府正式注冊此名。在他夫人的幫助下他鋪設了今天的好萊塢大街做為城市的主街，在這條大街和其它大街的兩旁種了胡椒樹並開始出售產權。他的夫人募資建了兩座教堂、一座學校和一座圖書館。為了使好萊塢名符其實，他們還進口了一些英國冬青，但這些植物在加州的氣候下沒有存活很久。
1900年，好萊塢已經有一間郵局、一家報社、一座旅館和兩個市場，其居民數為500人。10萬人口的洛杉磯位於市東11公里處。在好萊塢和洛杉磯間有一條單軌的有軌電車，但這輛電車的運行不準時，每程時間為兩小時。
1902年，今日著名的好萊塢酒店的第一部分開業。
1903年，好萊塢成為一個鎮。當年下的兩個命令是：除葯店外其他商店禁酒，以及不準在街上驅趕數量多於200的牛群。
1904年，一條新的被稱為好萊塢大街的有軌電車開業，使好萊塢與洛杉磯間的往返時間大大縮短。
1910年，好萊塢的居民投票決定加入洛杉磯。原因是這樣他們可以通過洛杉磯取得足夠的飲水和獲得排水設施。
1960年，女演員喬安娜·伍德沃德得到了第一顆星的殊榮。
1985年，好萊塢的商業和娛樂區被正式列入美國受保護的歷史性建築名單。
1999年，洛杉磯的地鐵開通到了好萊塢。
2001年，柯達劇院(Kodak Theatre)在Highland大道開業，成為奧斯卡獎頒獎禮新的舉辦場所。
2002年，一些好萊塢居民發動了一個讓好萊塢自主獨立，不再是洛杉磯一部分的運動。好萊塢市政府決定讓所有洛杉磯居民投票表決。獨立運動被以絕大多數否決。
(2)國外英語電影發展歷程擴展閱讀：
電影工業——
20世紀初，紐約和新澤西的電影公司開始遷向加州，原因是這里的天氣好，日照時間長。雖然當時已經有電燈了，但當時的電燈還不夠亮，當時最好的光源是陽光。除此之外，加州視野寬廣，有各種不同的自然風景。此外當時托馬斯·愛迪生持有電影的專利，而加州離新澤西非常遠，因此愛迪生很難在這里控制他的專利權。
在美國東岸，獨立的電影公司經常被愛迪生和他的代理人訴訟。在遙遠的加州沒有那麼多愛迪生的部下。即使他派人來加州，他的人往往比其消息來的晚，這樣一來這里的電影製造商就可以及時躲到附近的墨西哥去了。
1911年第一個電影工作室在好萊塢開業，同年已有15個其它的工作室在這里定居，成千上萬的夢幻製造者緊隨而至。
1923年，今天成為好萊塢象徵之一的白色大字「HOLLYWOOD」被樹立在好萊塢後的山坡上，本來這個字後面還有「LAND」四個字母，是一家建築廠商為了推銷新建好的的住宅社區設置的廣告看板。但它們被樹立起來以後就沒有人去管它們，以致漸漸荒廢。
一直到1949年，好萊塢商會將後面的四個字母去掉，並將其它字母修復。這個招牌今天受到商標保護，沒有經過好萊塢商會的同意，無人有權使用它。
1929年5月16日，奧斯卡金像獎第一次頒發，當時的門票是十美元，共有兩百五十人參加。
3. 英文電影發展史
這個也太有難度了吧，非得專業人士不行啊，建議你還是直接娶你老師那邊索要得了，呵呵，大不了請吃頓飯完事！
4. 求一篇電影發展史的作文，大學的，150字左右，要英文的急求！
The history of film spans over 100 years, from the latter part of the 19th century to the present day. Motion pictures developed graally from a carnival novelty to one of the most important tools of communication and entertainment, and mass media in the 20th century and into the 21st century. Most films before 1930 were silent. Motion picture films have substantially affected the arts, technology, and politics.
The cinema was invented ring the 1890s, ring what is now called the instrial revolution. It was considered a cheaper, simpler way to provide entertainment to the masses. Movies would become the most popular visual art form of the late Victorian age. It was simpler because of the fact that before the cinema people would have to travel long distances to see major dioramas or amusement parks. With the advent of the cinema this changed. During the first decade of the cinema's existence, inventors worked to improve the machines for making and showing films. The cinema is a complicated medium, and before it could be invented, several technological requirements had to be met
5. 好萊塢電影：美國電影工業發展史的內容簡介
作為全球商業電影的楷模，好萊塢的運作機制影響著全球的商業電影市場。對於一般讀者來說，可以重新看待好萊塢電影作為獨特的娛樂方式，增加對於電影的知識；對於電影創作者來說，可以學習好萊塢式商業電影獨特的藝術形式和規則；對於製片人來說，可以從好萊塢式的商業規則中，學習好萊塢的電影理念和運作方式；對於理論家來說，可以通過對好萊塢特性的認識反思電影的歷史和問題。
本書曾被美國多所大學評為最受歡迎的電影學教材。
本書作者理查德·麥特白是英語世界最著名的電影學者之一。
6. 幫忙找電影發展史的英語版本，萬分感謝
History of Motion Pictures
I INTRODUCTION
History of Motion Pictures, historical development of the visual medium known as motion pictures, film, cinema, or the movies. This article covers the medium』s history as a technology, as a business, as an art form, and as a means of delivering entertainment and information to audiences in theaters and at home. It discusses major filmmakers and their films, principal fiction and nonfiction genres, and film instries in the United States and throughout the world. For more information on the technical aspects involved in creating a film, see Motion Picture.
II ORIGINS
In the early 19th century scientists took note of a visual phenomenon: A sequence of indivial still pictures, when set in motion, can give the illusion of movement. These scientists attributed this experience to what they called persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. The eye』s retention of a visual image, now known as positive afterimage, has long been considered a founding principle of motion pictures, even though its relationship to the perception of motion is still not well understood.
A Early Experiments
The persistence of vision concept stimulated experimentation with motion-picture devices throughout the 19th century. Among the first such devices was a slotted disk with a sequence of drawings around its perimeter. When a person spun the disk in front of a mirror and looked through the slots, the drawings appeared to move. The zoetrope, a device developed in the 1830s, was a hollow drum with a strip of pictures around its inner surface. When spun, it proced the same effect. In the 1870s French inventor Émile Reynaud improved on this idea by placing mirrors at the center of the drum. A few years later he developed a projecting version, using a reflector and a lens to enlarge the moving images. In 1892 he began holding public screenings in Paris at his Théâtre Optique, with hundreds of drawings on a reel that he wound through his apparatus to construct moving images that continued for 15 minutes.
Inventors began to conceive of combining the principles of these moving-image devices with the photographic recording of actual movement soon after the development of still photography in the 1830s. The most famous experiment occurred in the 1870s in California, where railroad tycoon Leland Stanford hired British photographer Eadweard Muybridge to settle a bet on whether a galloping horse ever had all four feet off the ground. Muybridge set up 12 cameras along a racetrack and spread threads across the track with a contact to each camera』s shutter. Moving along the track, the horse broke the threads and caused a sequence of photographs to be taken. The photos showed the horse with all four feet off the ground, and Muybridge went on a lecture tour showing his photographs on a moving-image device he called the zoopraxiscope.
Muybridge』s endeavors stimulated French scientist Étienne-Jules Marey to devise equipment for recording and analyzing animal and human movement. He built what he called a chronophotographic camera that could take multiple images superimposed on one another. His work was aided in turn by developments in photographic materials. In 1885 American inventor George Eastman introced sensitized paper roll 「film」 in place of the indivial glass plates then in use. In 1889 Eastman replaced the paper roll with celluloid, a synthetic plastic material coated with a gelatin emulsion.
B Thomas Alva Edison and William K. L. Dickson
Legendary American inventor Thomas Alva Edison drew upon the work of Muybridge, Marey, and Eastman when he turned his attention to motion pictures in the late 1880s. In his laboratories in West Orange, New Jersey, Edison assigned to a British employee, William K. L. Dickson, the task of constructing a machine for recording actual movement on film and another machine for viewing the resulting images. By 1891 Dickson had proced a motion-picture camera, called the Kinetograph, and a viewing machine, bbed the Kinetoscope.
The Kinetograph was operated by an electric motor that moved the celluloid film roll past the camera lens. Motor-driven cameras, which were bulky and stationary, were soon replaced by movable hand-cranked cameras. Dickson』s key contribution was a sprocket mechanism linked to the camera』s shutter, which momentarily stopped the film roll for each exposure. These separate still photographic images came to be called frames. Early cameras used a number of different speeds for exposing frames, but by the advent of sound film in the late 1920s the standard had become 24 frames per second.
In early 1893 Edison constructed a motion-picture studio on his laboratory grounds, bbed the Black Maria by his staff who thought it resembled police patrol wagons known by that nickname. On May 9, 1893, he held the first public exhibition of films shot using the Kinetograph in the Black Maria. But only one person at a time could use his viewing machine, the Kinetoscope. This boxlike structure contained a motor-and-shutter mechanism similar to the camera』s. It ran a loop of positive film past an electric light source, illuminating a tiny image, which the viewer observed through a small window. Kinetoscope viewing parlors containing many machines for indivial viewing began to open in cities in 1894. Edison and Dickson apparently gave little thought to a single machine that could project moving images to a large audience, something Reynaud had achieved in his Théâtre Optique. Reynaud, however, had displayed drawings rather than images photographed by a motion-picture camera.
C The Lumière Brothers
In France, the brothers Auguste and Louis Lumière, who ran a factory in Lyons that manufactured photographic equipment, sought to improve on Edison』s accomplishment. By 1895 they developed a lightweight, hand-held camera that used a claw mechanism to advance the film roll. They named it the Cinématographe, and they soon discovered that it could also be used to show large images on a screen, when linked with projecting equipment. Throughout 1895 they shot films and projected them for select groups. Their first screening for the general public was held in Paris in December 1895.
Elsewhere other inventors were also busy. In Germany, the brothers Emil and Max Skladanowsky devised an apparatus and projected films in Berlin in November 1895. In Britain, a machine developed by Birt Acres and Robert W. Paul was used to project films in London in January 1896. In the United States, a projector called the Vitascope was constructed around the same time by Charles Francis Jenkins and Thomas Armat. Armat then entered into a commercial alliance with Edison to manufacture the Vitascope, and the device exhibited projected motion pictures in New York City in April 1896.
The Lumière brothers held a unique place among all these simultaneous efforts, since they were innovative filmmakers as well as inventors and manufacturers. The many films they made ring 1895 and 1896, though very short, are considered pivotal in the history of motion pictures. Arroseur et arrosé (Waterer and Watered, 1896), a brief comedy drawn from a newspaper cartoon, shows a gardener getting drenched with a hose as the result of a boy』s prank. La sortie de l』usine Lumière à Lyon (Workers Leaving the Lumiere Factory, 1895) and Arrivée d』un train en gare (Arrival of a Train at La Ciotat, 1896), which shows a train coming to a station and passengers getting off, were among the so-called actuality films—films that depicted actual events rather than a story told by actors—for which the Lumières became noted.
III ONE-REELERS
During the decade following the advent of projected motion pictures, films were shown as part of vaudeville or variety programs, at carnivals and fairgrounds, in lecture halls and churches, and graally in spaces converted for the exclusive exhibition of movies. Most films ran no longer than 10 to 12 minutes, which reflected the amount of film that could be wound on a standard reel for projection (hence the term one-reelers). Many were comedies or actualities, following the Lumière brothers』 example. Their purpose was spectacle—to show something astounding, unusual, titillating, or perhaps newsworthy. But filmmakers also struck out in new directions, especially toward fantasy and narrative.
French magician and filmmaker Georges Méliès was the outstanding creator of fantasy films in early cinema. Méliès exploited the new medium to enhance his magic acts through techniques such as stop-motion photography—interrupting the camera』s action and moving or substituting people and objects—so that, for example, a woman appeared to turn into a skeleton. He created elaborate backdrops with multiple scenes and costume changes for these so-called trick films that were widely emulated by other filmmakers. Of the hundreds of works he made between 1896 and 1912, perhaps the best-known is Le voyage dans la lune (A Trip to the Moon, 1902), which in one scene features the animated human face of the moon being struck in the eye by a rocket.
In the United States, a former projectionist and traveling exhibitor, Edwin S. Porter, took charge of motion-picture proction at Edison』s company in 1901 and began making longer films that told a story. As with Méliès』s films, these required multiple shots that could be edited into a narrative sequence. Porter』s most notable film—and the most famous work of early cinema—was The Great Train Robbery (1903), which is credited with establishing movies as a commercial entertainment medium. With its rapid shifts of location, including action on a moving train, this film offered spectators a breadth and immediacy of vision that became hallmarks of the cinema experience.
Spurred by The Great Train Robbery and subsequent story films, film exhibition greatly expanded in the United States around 1905. One phenomenon was the proliferation of nickelodeon theaters, converted storefronts in instrial cities that charged 5 cents for admission and attracted working-class audiences. Demand from these theaters increased the volume of film proction and the profits for procers, but it also brought forth criticism from reformers concerning unsanitary or unsafe conditions in theaters and immoral subject matter in films. In 1908 Edison took the lead in establishing the Motion Picture Patents Company (MPPC), a consortium of procers with common goals: controlling proction and distribution so as to eliminate cheap theaters, raising admission prices, cooperating with censorship bodies, and preventing film stock from getting into the hands of nonmember procers. However, the independent procers excluded from the MPPC continued to obtain materials and make the most popular films. They also led the way toward multireel, feature-length films. By 1915 the MPPC was under attack by the U.S. government as an illegal monopoly (although an ineffectual one), and the independents were combining into the companies that would dominate American filmmaking for decades to come.
IV SILENT MOVIES
With a few experimental exceptions, motion pictures from their earliest days until the late 1920s lacked synchronous sound (sound that matches the action). But silent movies were rarely silent. Early films almost always were projected with piano or organ accompaniment, and sometimes also with a narrator or live actors behind the screen. As feature-length films (four reels, with a running time of 40 to 50 minutes or more) became the norm in the 1910s, live orchestras began to play in larger theaters, frequently using music written specifically for the film.
Until World War I (1914-1918) European filmmakers dominated the world film market. France was considered the leading film-procing country, though Italy, Denmark, and other countries also played a significant role. However, the war, fought on European soil, disrupted commercial filmmaking there. With a sudden drop in European film exports, some regions, such as Latin America, experienced a brief surge in film proction. But U.S. companies soon took over markets overseas, using the same tactics of high-volume proction and lower prices that the Europeans had. By the 1920s some three-quarters of films screened around the world came from the United States.
A American Silent Movies
Even before the war, the United States had made its mark on the world filmmaking scene with epics and comedies. Moreover, U.S. moviemakers had begun to congregate in southern California in the Los Angeles suburb of Hollywood (see The Move to Hollywood, below), creating a film community apart from older urban centers of politics and the arts, and a magical new symbol for popular entertainment and glamour.
A1 D. W. Griffith
The work of D. W. Griffith exemplifies the transformation of motion pictures from the early days of one-reelers to an era of Hollywood』s worldwide dominance. Starting out as an actor in films directed by Edwin S. Porter, Griffith in 1908 became a director at the American Mutoscope and Biograph Company in New York City. He was initially responsible for turning out two one-reel films a week, and between 1908 and 1913 he directed nearly 500 films. Amidst this breakneck schele, he and his co-workers developed many of the cinema』s basic storytelling conventions: moving the camera close to the action, using many separate shots, and editing the shots to cut back and forth among different actions. All these techniques served to shape a narrative, rather than present a spectacle as earlier films had tended to do. Griffith also nurtured performers such as Mary Pickford and Lillian Gish and emphasized an intimate, restrained style of acting suitable for camera close-ups.
Leaving Biograph in 1913 to make full-length features, Griffith planned a historical epic of the American Civil War (1861-1865). The Birth of a Nation (1915), three hours in length, stunned audiences with its dazzling spectacle of a still-recent event and established motion pictures as an art form for cultured spectators. Yet the film』s racist presumptions—specifically, its defense of white supremacy to protect racial purity—was controversial in its own time and remains repugnant decades later. Griffith made another epic, Intolerance (1916), which intertwined four stories about victims of prejudice, and continued to work as an independent filmmaker into the 1920s. Eventually, financial pressures forced him to become a director at a Hollywood studio, and he made his last film in 1931.
字數限制，沒辦法全發給你，如需要請留言。
7. 英語電影 有關歷史
近期的
百夫長Centurion (2010)
劇情
尹 胰 在公燥元117臣年，羅馬試圖埠入諸侵扦英迸國，跟隨揩羅馬赫爭赫有瀉名起的攀第樓九軍攀團脂以及冊軍革團覺統帥「Virilus將臼軍崖」箭遠躲征英靖國的百喻夫瞎長昆圖斯·哎迪牙亞斯饞（Quintus Dias），奉命瑟北上槽除掉叢匹誰克燃特族矚人首臻領Gorlacon，墨並服將該棉族榴人獄斬滯盡刮殺伸絕。畝不過在莖匹克特雍人偷襲綳中，該忘軍團全貫軍癸覆滅，滁只有昆枚圖斯·迪亞蹭斯椿得以倖存。投而歐嘉·柯誨瑞附蘭寇飾骨演蹲的鷹艾噓泰恩，因庸為與全家企被瓤羅勘馬慚人殺害，她自惋己廈也被割掉了掀舌茹頭，頤從而窯和昆噓圖斯典·迪緘亞斯一摯起走上了餓復仇辦之路瓮。
分手信Dear John (2010)
劇情
影片改編自「美式純愛系小說天王」尼古拉斯·斯帕克斯的小說，戰爭的創痛、愛情的心碎、成長的代價——種種際遇娓娓道來。
奇襲60陣地Beneath Hill 60 (2010)
劇情
奧利弗伍德沃德的非凡真實故事。這是1916年，德沃德淚別他的年輕女友，從軍前往西部前線，其間還要穿越德國陣地。德沃德和他的團隊從事秘密隧道工事，鋪設炸葯。他們的努力將改變戰爭的進程。
特殊關系The Special Relationship (2010)
劇情
影片聚焦的是1997年至2000年期間，當時的英國首相托尼·布萊爾與當時的美國總統比爾·柯林頓之間的「親密聯系」。
國王的演講The King's Speech (2010)
劇情
這部講述伊麗莎白二世的父親喬治六世國王生平的傳記電影，在開拍伊始就被看好成為2011年各大獎項的種子選手。
公眾之敵Public Enemies (2009)
劇情
在上世紀30年代的大蕭條中，約翰·迪林格和同夥搶遍了美國的中西部銀行，聯邦調查局探員茂文·普維斯誓要將其捉拿歸案。
本人非常推薦的
父輩的旗幟Flags of Our Fathers (2006)
劇情
改編自詹姆斯·布拉德利所著的小說《父輩的旗幟：硫黃島戰役的英雄們》，影片最值得關注的是伊斯特伍德怎樣去展示「敵人」的故事
拯救大兵瑞恩Saving Private Ryan (1998)
劇情
當百萬大軍登陸諾曼底海灘時，一小隊由約翰·米勒中尉（湯姆·漢克斯飾演）率領的美軍士兵卻深入敵區，冒著生命危險拯救一名士兵詹姆斯·雷恩（麥特·戴蒙飾演）。詹姆斯·雷恩是家中四兄弟的老幺，他的三名兄長都在這次戰役中相繼陣亡。美國作戰總指揮部的將領為了不讓這位不幸的母親再承受喪子之痛，決定派一支特別小分隊，將她僅存的兒子安全地救出戰區。
風語者Windtalkers (2002)
劇情
二戰中，納瓦霍文被用作為最高機密的密碼，因為日本軍隊沒法解破它，因此保護納瓦霍士兵加爾成了美國海軍上尉喬的重要任務。
辛德勒的名單Schindler's List (1993)
劇情
德國投機商人辛德勒為了賺錢，在自己的工廠中使用廉價的猶太人。面對納粹的屠殺，辛德勒開始想法保護盡可能多的猶太人。
肖申克的救贖The Shawshank Redemption (1994)
劇情
故事發廈生在1947匙年，橡銀測行家倪安迪被篡當作假殺衙害妻仗子趾與悔情夫授的氈兇手送旗上斥法庭，犢安淋迪被竹判謂無期杉徙端刑根，糾這熔意赤味印著二他將狽在敢肖詣恩克監獄中渡郁過劈餘生。
8. 美國電影的特點
http://ias.cass.cn/show/show_project_ls.asp?id=94
《當代美國電影藝術》太多了 自己看吧