电影技术的发展史英语
Ⅰ 英文电影发展史
这个也太有难度了吧，非得专业人士不行啊，建议你还是直接娶你老师那边索要得了，呵呵，大不了请吃顿饭完事！
Ⅱ 帮忙找电影发展史的英语版本，万分感谢
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.
字数限制，没办法全发给你，如需要请留言。
Ⅲ 求一篇电影发展史的作文，大学的，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
Ⅳ 电影发展史的五个阶段是什么
电影发展史的五个阶段是：
1、电影技术发明期（1832—1895）。
2、无声电影时期（1895—1927）。
3、成熟期（1927—1945）。
4、发展期（1945—80年代末）。
5、电影新时期（90年代—）。
基本介绍：
电影是19世纪美国国家生活水平上升大众产生新需求的娱乐产物。
电影根据视觉暂留原理，运用照相（以及录音）手段把外界事物的影像（以及声音）摄录在胶片上，通过放映（同时还原声音），用电的方式将活动影像投射到银幕上（以及同步声音）以表现一定内容的现代技术。
电影是一种视觉及听觉艺术，利用胶卷、录像带或数位媒体将影像和声音捕捉，再加上后期的编辑工作而成。
电影是一种综合的现代艺术，亦正如艺术本身，有着复杂而繁多的科系。电影有很多类型，也有多种分类方法。
Ⅳ 征求一篇关于我国电影发展史的英文稿
欣逢中国电影百年华诞，是我们这代人的幸运。值此承前启后的时光节点，我们很想做些实事，在下一个百年为拓展中国电影史研究尽绵薄之力。
目前我们能读到的最早的中国电影史着述有两种，
即1934年版《中国电影年鉴》刊载的谷剑尘着《中国电影发达史》和1936年版《近代中国艺术发展史》收入的郑君里着《现代中国电影史略》。两位着者在这一领域有筚路蓝缕之功，其目力笔力所及，止于中国电影初创时期的影事轶闻。
新中国成立后，在电影史方面产生重要影响的首推程季华主编两卷本《中国电影发展史》。该书“十年磨一剑”，于1950年开始酝酿，从全国各地搜寻有关中国电影的资料、报刊、说明书、剧照和海报，1958年正式立项投入写作，1962年修改定稿；有关领导为慎重起见，决定以“初稿”方式出版，1963年首次开印4200册销售一空。三位编着者当初面对中国电影史研究这片“尚未开垦的处女地”，四处搜集积微成着，整合资源殊为可观——正文里片名索引达1336部(次)，影人人名索引为985人（次），刊发图片、剧照819幅；附录里提供了1905年至1949年间出品的国产片目录，程季华称这部书稿为“第一次的、极为初步的关于中国电影历史情况的一份调查报告”。尽管从今天的眼光来看，《中国电影发展史》还存在不少偏颇，但让编着者引以为荣的是，在史料搜集这一点上赢得了海内外专业人士的认可，如1986年版《剑桥中国史·中国民国史》强调“这部两卷着作至今仍是研究中国电影的内容包罗最广的着作”。
On the occasion of the founding of the China Film century, our generation is lucky. On the occasion of the link between past and future nodes time, we want to do practical things in the next 100 years for China to expand study of the history of film to make modest. At present, we can read the earliest Chinese writing the history of film, there are two, that is, the 1934 edition of "China Film Year Book," published in the sword-st "the history of Chinese film developed" and the 1936 edition of "Modern Chinese History of the development of the arts," the income of Zheng Junli "Modern Chinese History of cinema."The two authors in this field have the arous work and vision of its total power as far as I can, beyond the start-up period of Chinese film about the impact of anecdotal things.
After new China was founded in film history have a major impact on most of the quarter-China editor-in-chief of the two-volume "History of the development of Chinese film." The book, "10-year Sword", began in 1950, from all over the country to search for information on China's film, newspapers, periodicals, brochures, posters and stills, officially approved in 1958 into writing, to amend the final version in 1962; about the leadership cautious for the Purposes, the decision to "first draft" of the press, opened for the first time in 1963 and India 4200 sold out.Bianzhu three who had the face of China's film study of the history of this "has not yet opened up the virgin land", to gather around the plot into a micro-book, for the integration of resources is significant - the body of the index reached title in 1336 (), film names index 985 to 000 (times), published photos, stills 819; provided in the appendix from 1905 to 1949 between the films proced catalog-quarter of China said that this manuscript as "the first time, very preliminary film on the history of China A survey report. "Although today's point of view, "the development of Chinese film history" there are still a lot of bias, but Bianzhu so proud of those who, in collecting historical data on this point at home and abroad to win professional recognition, such as the 1986 version of the "Cambridge Chinese History of Chinese history in "stress" of the two volumes of this book is still the study of Chinese film the widest coverage for the contents of the book. "
Ⅵ 美国电影史英文版
英译：For a long time, the United States only to the film as a means of entertainment to Hollywood as a story and fantasy proction factories, so first of all note that the movie business value. However, after 70 years, the American film has been great development in academic research. In 1967, both in Washington and Los Angeles have established the American Film Institute (AFI). Film Archive, throughout the United States, including important ones are the New York Museum of Modern Art, Rochester's Eastman Film Archive, the Library of Congress, Washington, Berkeley Pacific Film Archive. 8 large film company has disintegrated or converting 60 years after the
A large number of film and archives donated to the museum and the University Film Studies Center, the study of national film traditions, protect their heritage plays a significant role in the film.
By 1900, Hollywood has a post office, a newspaper, a hotel and two markets, its residents number 500. 100,000 population in Los Angeles in the city, 11 kilometers east. In Hollywood and Los Angeles have only a single-track tram. 1902 Hollywood hotel, now known as the first part of the opening. In 1903, here upgraded to the city's 177 voting residents of the right to vote unanimously endorsed by the "Hollywood," named after whom. That year under the two commands are: In addition to pharmacies in other stores outside the prohibition, and no amount of driving in the streets more than 200 cattle. 1904
A new so-called Hollywood Avenue streetcar opened, so that between the Hollywood and Los Angeles round-trip time significantly shortened. In 1910, Hollywood residents voted to join the Los Angeles. The reason is so that they can be in Los Angeles drinking water and access to adequate drainage facilities.
In 1907, director Francis Burgess led his crew arrived in Los Angeles, filming "Count of Monte Cristo." They found that, where beautiful natural scenery, plenty of light and suitable climate is the natural place for filming. The early 1910s, director David Griffith Biograph company was sent to the West Coast to make a film, he took Lillian Gish, Mary-bi g-fu and other actors came to Los Angeles. They were then looking for a new site, so proceed north, came a warm small town, and that is Hollywood. Biograph company found here in good condition
So back to New York before they filmed several movies. Graally many people in the instry know that invaluable piece of land, to the increasing number of Hollywood movie crew, the U.S. film instry moved to Hollywood's big movement started, Hollywood movies have to be forward.
October 1911, a group from New Jersey to film-makers on the ground that under the leadership of the photographer came to a small Inn called Bu Lang, they will rent the inn converted into a studio look. In this way, they created Hollywood's first film studio - Ernest Pictures.
Since then, many film companies settled in Hollywood, the famous film companies: MGM (Metro Goldwyn Mayer, called MGM), Paramount Pictures (Paramount Pictures, Inc.), Twentieth Century Fox (20th Century Fox), Warner Bros. (Warner Brothers), RKO (Radio Keith Orpheum, referred to as RKO), Universal (Universal), United Artists Corporation (United Artists), Columbia Pictures (Columbia Pictures).
【中文】
关于美国电影
长期以来，美国只把电影看作是娱乐手段，把好莱坞当成生产故事和幻想的工厂，因此首先注意影片的商业价值。但是，70年代前后，美国电影学术研究有了很大的发展。1967年，在华盛顿和洛杉矶两地成立了美国电影研究院（AFI）。电影资料馆遍布全美，其中重要的有纽约现代艺术博物馆、罗切斯特的伊斯曼电影数据馆、华盛顿国会图书馆、伯克利太平洋电影资料馆等。8大影片公司于60年代先后解体或转产之后，影片和档案大量捐赠给上述资料馆和各大学的电影研究中心，对研究本国电影传统、保护本国电影文物起着很大作用。
二十世纪的好莱坞：到1900年，好莱坞已经有一间邮局、一张报纸、一座旅馆和两个市场，其居民数为500人。10万人口的洛杉矶位于市东11公里处。在好莱坞和洛杉矶间只有一条单轨的有轨电车。1902年，今天着名的好莱坞酒店的第一部分开业。1903年，此地升格为市，参加投票的177位有选举权的居民一致赞同以“好莱坞”为之命名。当年下的两条命令是：除药店外其他商店禁酒，及不准在街上驱赶数量多于200的牛群。1904年，一条新的被称为好莱坞大街的有轨电车开业，使好莱坞与洛杉矶间的往返时间大大缩短。1910年，好莱坞的居民投票决定加入洛杉矶。原因是这样他们可以通过洛杉矶取得足够的饮水和获得排水设施。
1907年，导演弗朗西斯·伯格斯带领他的摄制组来到洛杉矶，拍摄《基督山伯爵》。他们发现，这里明媚的自然风光、充足的光线和适宜的气候是拍摄电影的天然场所。1910年代初，导演大卫·格里菲斯被Biograph公司派到西海岸来拍电影，他带着丽莲·吉许、玛丽·璧克馥等演员来到了洛杉矶。他们后来想寻找一块新的地盘，于是向北出发，来到了一个热情的小镇，那就是好莱坞。Biograph公司发现此地条件不错，于是在回纽约前又陆续拍了好几部电影。渐渐许多业内人士都知道了这块宝地，到好莱坞的电影剧组越来越多，美国电影业移师好莱坞的大转移开始，好莱坞向成为电影之都迈进。
1911年10月，一批从新泽西来的电影工作者在当地以为摄影师的带领下，来到一家叫布朗杜的小客栈，他们将租到的客栈改装成一家电影公司的样子。这样，他们创建了好莱坞的第一家电影制片厂——内斯特影片公司。
从那以后，许多电影公司在好莱坞落户，着名的电影公司有：米高梅电影公司（Metro Goldwyn Mayer，简称MGM）、派拉蒙影业公司（Paramount Pictures, Inc.）、二十世纪福克斯公司（20th Century Fox）、华纳兄弟公司（Warner Brothers）、雷电华公司（Radio Keith Orpheum，简称RKO）、环球公司（Universal）、联美公司（United Artists）、哥伦比亚影业公司（Columbia Pictures）。
Ⅶ 谁有中国电影发展史的英文介绍，简单的几百接近一千字
谁有中国电影发展史的英文介绍
Who has a history of the development of Chinese film
Ⅷ 电影的历史,用英语如何表达
the history of the film
Ⅸ 英语翻译很着急 大家帮帮忙
it has been hundred of years since films were invented and the development of films was very swift. One factor that contributes to such rapid development is the improvement in technology,and the other factor lies in the advancement of thoughts of film directors. In the 20th century, film technology changed with each passing day,and modern film was one of the procts created in the process of rupturing from traditional film. modern film has contributed greatly in enriching and developing the essence of contents and the visual construction of traditional films. tracing back the history of films' development, films are no longer a proct that soley entertains us,but has become a form of expression of the culture and arts. film originated from the shadow play, which became silent film later. Chaplin is the most representative figure of the silent and everyone must have watched chaplin's film before. although there is no sound throughout the film, it is able to bring laughters to people. one can say that there would be no modern film if there was no Chaplin's silent film. modern film is the film with sound as what we watch now. it was at first proced in black and white, but the development of techonology has enabled a leap in the quality of films, changing black and white films to the coulorful one.
最后一句你是说人类生活水平得提高与科学技术都使得电影有质的飞跃。本人个人认为，人类生活水平与电影质的飞跃没什么关系，除非你要说人类生活水平的提高使得人类期望升高，而科技把这种期望变成现实，促使了电影的质的飞跃。所以我没有翻译生活水平那一部分。但如果你真要加上去生活水平，英文是 the improvement in people's standard of living