英語起源電影

Ⅰ 世界電影的起源英文介紹

The world film "founded in 1952, formerly known as the motion picture arts clump of translation", is China film home association's hosting of the film professional bimonthly for years heavily influenced by the vast majority of the reader's love, known as stand up to test of time. Domestic comprehensive introced into the world film culture and the first issue of the study.

以下無視之
我是一條傲嬌的小尾巴！
我是一條可愛的小尾巴！
我是一條單純的小尾巴！
我是一條全能的小尾巴！
我是一條天然的小尾巴！
我是一條漂亮的小尾巴！
我是一條溫柔的小尾巴！
我是一條愛笑的小尾巴！

Ⅱ 10部英文電影 要主要內容

1 變形金剛2 地球上的戰爭雖然結束，但變形金剛之間的戰爭並未告終。紅蜘蛛飛回塞博坦星球，打算帶著軍隊再回到地球一決死戰。汽車人發現威震天的屍體不見了，原來已被薩克巨人偷走，威震天隨後被復活，決心要開始復仇。與此同時，紅蜘蛛也正率領塞博坦的援軍趕來，汽車人在這時增強了自己的戰鬥力，一場大戰在所難免，山姆因為掌握了有關變形金剛的起源以及在古老時期到訪地球的線索而遭到霸天虎的追擊。霸天虎為了獲取這些信息，妄圖生擒山姆。汽車人、美軍和其它多國部隊聯合起來抵抗霸天虎的襲擊。
2 先知 在1958年，為慶祝一所新成立小學的奠基儀式，一群學生將自己的繪畫作品封藏在時間膠囊里並深埋入基石之下。但其中的一名神秘的女學生，似乎聽到了耳邊的各種私語聲，她將整張繪紙填寫上了數排無規則的數字。50年後的現在：一批新時代的學生從地下挖出並開啟時間膠囊，來查看裡面的內容。那位女學生留下的神秘數字信息被其中一位小男孩Caleb Myles拿到。而碰巧的是，Caleb的父親教授Ted Myles揭秘了一個驚人的發現，這些編碼信息毫釐不差地預言了過去50年裡每個重大災難所發生的日期、死亡人數和其它匹配數字。當Ted更進一步地揭開了這個莫名檔案的神秘面紗之時，他發現這之中還預示了未來的三件重大要事，最後一件暗示了一場全球規模的大毀滅……
3 天使與魔鬼 故事主要講述了羅伯特教授運用他在破譯密碼方面的知識，粉碎了一起企圖在教皇會議期間炸毀梵蒂岡城的陰謀。
4 博物館奇妙夜2 紐約自然歷史博物館的夜班保安拉里在趕跑了妄圖監守自盜的三個瘋狂老同事，拯救了一到晚上就撒歡吵鬧的博物館藏品之後，總算過上了兩天不用操心的舒服日子，不光兒子把他視為英雄，愛情翩翩降臨，工作也升級為解說員。可是好景不長，博物館關門整修，藏品給挪到了華盛頓的史密森博物館繼續展出。拉里知道，雖然有老成持重的西奧多·羅斯福總統壓陣，但他的一干能量過剩的藏品老友，在新家裡也不會改掉愛胡鬧的本性，於是他也跟著來到了華盛頓，不讓他們胡作非為。但他沒有想到的是，邪惡的法老王用咒語喚醒了史密森博物館里的藏品，新來的和坐地戶之間為地盤，為榮譽，也可能什麼也不為，就想打人，爆發了一場大戰。拉里雖然得到了第一個駕機飛越大西洋的女豪傑艾米莉婭·埃爾哈特的幫助，甚至就連林肯雕像都放下身段，力促雙方和解，可無奈史密森博物館里都是狠角色，不光是巨大的恐龍化石，猛獁象，甚至上世紀二三十年代的黑幫大亨阿爾·卡邦，星球大戰中的黑武士也來橫插一腳。而拉里越幫越忙，陷入了自身難保的悲慘境地。
5 天使之城 塞斯是一各充滿好奇的天使，他被上帝派駐在洛杉磯，專門護送垂死的病人上天堂。而在當地醫院中從事心臟科手術的醫生瑪姬卻成日在手術台上幫助病人與死神交戰。因為職業的沖突，天使注意到了這個美麗、自信的女醫生。有一天她在進行手術時，一名病人突然暴斃於她手中，當塞斯前來護送病人上路時，卻發現了瑪姬的脆弱和自。瑪姬無法釋懷如此打擊，頓時對一切失去信心，天使情不自禁的想要伸出援手，幫助這個令他心動的女人。於是，塞斯冒著極大的危險，毅然在瑪姬面前現身。他從一名天使，變成陌客，一嘗他嚮往已久卻只能袖手旁觀的凡人生活。當他們相遇後，瑪姬也喜歡上溫柔體貼的塞斯，可是她對這名沒有過去的男人感到十分懷疑，但卻又無法抵抗他的魅力，瑪姬因此感到困惑、害怕。而這時候的賽斯卻對自己無法真正融入現實生活，體會凡人的觸摸、感官而無奈沮喪。但他深愛著瑪姬，渴望分享她生活的點滴，於是他對上帝提出要求，那就放棄天使的身份，成為一個真實的凡人，會飢餓、會疼痛、會流淚。為了愛情，他寧願用在天堂里億萬年的永生，換取人間短暫卻甜蜜的生活。

Ⅲ 有沒有介紹聖誕節由來的英文電影。

聖誕節由來的英文電影：

1、北極的聖誕老人兄弟／聖誕幹嘛要快樂－FredClaus－（2007）

JoeClaus（USA）（workingtitle）

UntitledVinceVaughn／DavidDobkinProject（USA）（workingtitle）

2、完美假日／完美聖誕節－ThePerfectHoliday－（2007）

PerfectChristmas（USA）（workingtitle）

3、神奇的聖誕之旅－ChristmasinWonderland－（2007）

4、我的聖誕老公／今年聖誕節／相聚聖誕－ThisChristmas－（2007）

5、ChubbChubb拯救聖誕節－TheChubbchubbsSaveXmas－（2007）

聖誕節的由來：

每年的12月25日，是基督教徒紀念耶穌誕生的日子，稱為「聖誕節」。

聖誕節（Christmas）又稱耶誕節、耶穌誕辰，譯名為「基督彌撒」，是西方傳統節日，也是許多西方國家一年當中最重要的節日。每年此時，歡快的聖誕歌在大街小巷飄揚，商場里流光溢彩，琳琅滿目，到處彌漫著溫馨歡樂的氣息。孩子們在甜美的夢鄉中，盼望著聖誕老人從天而降，帶來夢寐以求的禮物。

Ⅳ 求一篇600字左右英文的商業電影概念和起源、發展。

中國商業電影一個是品質問題一個是模式問題,我覺的像現在的導演,大陸拍商業片的恐怕只有馮小剛算是個半成功的了,不能說全成功是因為他的風格似乎總是過於局限,而電影受眾也過於局限,像別的導演,多半文藝片出生,要麼現在索性就是文藝片的市場,總是聽見某某在國外拿了獎,拿到內地來同樣沒什麼票房.
中國現在的商業片不成氣候,撐死了那麼幾個導演那麼幾個編劇,而且礙於社會主義好的原則,很多題材都不能拍,也沒有那麼多的資金來弄.
像我在大學里開音像店,很多印度留學生,且不說這個國家如何,人的素質如何.人家還就是比我們的國人要愛電影,即使老是操著一口發音奇怪的英語來問某某片子,可是電影儼然成為人家生活的一部分.
像現在國內還沒有一個統一的電影基地,而電影的編制原則也太過於僵化,哪裡有哪個編劇就要一直編劇的,一個好的編劇一輩子就吃死了那麼一本好劇本,別的全垃圾還要拿出來拍什麼商業大片,搞到最後都是靠媒體優勢來拿的票房.
中國商業電影的模式如果一直如此單一,恐怕走不長遠.
盼望有好片子誕生,也只怕一直都只能成為一個夢想了.

翻譯：
China's commercial film is a quality problem is to model a problem, I feel like now the director of the mainland will only be a commercial movie to be half the success of Feng Xiaogang, and can not say that the whole success is because of his style always seemed too restrictive, while the Film audiences are too limited, like other directors, most artistic film, was born, or is simply a market that is an artistic film, always heard so and so took a prize in foreign countries, to get the same little box office mainland.
China's current commercial films do not come into vogue several directors Chengsi so just a handful of writers, but also because of the good principles of socialism, many subjects can not be beat, nor so much money to get.
As I opened video stores in the university, many Indian students, not to mention how this country, people's qualities. People also is to love people than our movies, even if always, speaking in a strange pronunciation of English to ask a of a film, but the film has become an integral part of life people.
As now there is not a unified national film base, the establishment of the principle of the film is also too rigid and, where there is what writers should have been a screenwriter, a good scriptwriter eat dead life so a good script, do not all garbage to film would be set aside large tracts of what the business, got to the last are the advantages of relying on the media to come and collect at the box office.
Chinese commercial films has always been the case if a single model, I am afraid to go a long-term.
Looking forward to the birth of good films, but also I'm afraid they have been can only be a dream.

Ⅳ 起源的電影名稱

名稱： 起源導演：
類型：劇情
地區：法國
語言：法語
上映時間：2009年。 藝人：成馳洋。
語種：國語。
唱片公司：Urban Magic Records。
發行時間：2011年12月30日。
專輯類別：個人專輯。 作者:羅恩·雷德芬
出版社:河南大象
出版年: 2007-4
頁數: 360
定價: 180.00元
ISBN: 9787534743504 近些年來，非同尋科學發現使人們對地球系統是如何「工作」的有了新的理解。本書非常精彩、易於理解，它把許多科學領域的知識編織成一個條理清晰而且令人信服的故事，解釋了物質世界與生命的動態聯系。
本書探討了大陸形成和演變的過程，描述了大洋盆地被破壞和重建的機理，說明了氣候在不同階段是如何變化的。豐富的資料、引人入勝的敘事以及作者所拍攝的獨特的全景式照片，向讀者展示了無法抗拒的全球變化帶來的深遠影響……人類為了生存必須適應這些變化！

Ⅵ 急急急！！十分鍾！電影各種信息（電影的起源等）要英文的 簡短的

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。

Ⅶ 電影起源

愛迪生發明電影機

Ⅷ 英語文化背景學習——英文電影欣賞

愛情： 分手信 這個殺手不太冷 英國病人 真愛至上 倆小無猜（ps：有英法之分）
湖邊小屋 假結婚（喜）

Ⅸ 美國有幾大電影公司啊 英文全寫是啥

華納兄弟製片 / 英文：Warner Bros
哥倫比亞 / 英文：Columbia
二十世紀福克斯 / 英文：20th Century Fox
派拉蒙製片 / 英文：Paramount
環球 / 英文：Universal
華特·迪士尼影片公司Walt Disney Pictures
米高梅電影公司MGM
新線電影公司 New Line cinema
頂峰娛樂 ummit Entertainment
獅門電影公司 Lions Gate Films
福克斯探照燈 fox searchlight pictures
夢工廠電影公司 DreamWorks
三星電影公司 TriStar Pictures（索尼娛樂旗下子公司）
米拉麥克斯電影公司 miramax films
焦點娛樂 Focus Features
帝門影業 dimension films
聯美電影公司 United artists
試金石電影公司 Touchstone Pictures
城堡石影業公司 castle rock entertainment
幕寶影業 screen gems inc
威秀（也翻譯為」鄉間路「）電影公司 Village Roadshow Pictures
韋恩斯坦公司 The Weinstein Company
革命電影工作室 Revolution Studios
羅格影業 Rogue Pictures
皮克斯動畫工作室Pixar Animation Studios
傑瑞·布洛克海默影業公司 Jerry Bruckheimer Films
窺視鏡（也翻譯為」望遠鏡「）娛樂公司 Spyglass Entertainment
湖岸影業 Lakeshore Entertainment
攝政娛樂 Regency Enterprises
沃爾頓傳媒公司 Walden media
驚奇娛樂電影工作室 Marvel enterprises
盧卡斯影業 Lucasfilm Ltd
想像娛樂影業 imagine entertainment
艾肯（聖像）影業 Icon Proctions
起源電影公司 Original film
傳奇影業 Legendary Pictures
壞機器電影工作室 Bad Robot
風暴（也翻譯為「輕風暴」）電影工作室 Lightstorm Entertainment
中心城電影工作室 Centropolis Entertainment
燈塔電影工作室 Beacon Films
好萊塢電影公司 Hollywood Pictures

Ⅹ 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！