电影工业发展英语

❶ 有一部外国纪录片好像是讲全球工业发展对地球的影响，求电影名字

家园 Home(2009)

导演:扬·阿尔蒂斯-贝特朗
主演:扬·阿尔蒂斯-贝特朗/格伦·克洛斯/雅克·甘布林
类型:纪录片
制片国家/地区:法国
语言:法语 / 英语 / 俄语 / 西班牙语 / 德语
上映日期:2009-06-05
片长:95 分钟(edited version)/ USA: 118 分钟(DVD) / Portugal: 114 分钟(DVD) / 120 分钟(long version) / Canada: 120 分钟
又名:地球很美有赖你 / 卢贝松之抢救地球

❷ 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！

❸ 文章必须涉及电影业的发展前景英文翻译

Analysis on the Implementation,Effect & Development Trend of Time-of-Use Residential Power Price Policy in Shanghai

❹ 电影产业是如何影响我们的生活 要英文，300字左右

A film, perhaps will bring you joy, may bring you sorrow, may bring you think. Some movie might change your values, change your view of the world, even to guide you life trajectory. The man is affected by the film instry hero image effects. For example the "Star Wars" cause people think (seemingly now many Hollywood films are all more or less to get people to think about the United States, people coming crisis do), leading to President Reagan "Star Wars" plan come on stage, bring the by-proct of the laser, guidance, information is technology and so on science and technology in the powerful national economic support backing down rapidly, and then a series of into civil procts was born, which in some extent to today we life and way of life; Belong to classic "indiana Jones" the story behind the more touching, in 1981, three at the age of 12 children watched the "indiana Jones" later, very crazy, decided to put the movie every shot glass according to remake, tool is simple hand-held cameras, manual prop and a puppy. This film in succession in took seven years later, was spielberg see, he finished very touched, personally letter saying, "I see you in your" indiana Jones "into the imagination and creativity, I very touched, and heartfelt congratulations. I hope to see you on the big screen name". Perhaps it is because he's sure, in 2004, a Hollywood procer will they were filming the film process of the film, and script by famous writers Daniel Clowes carvalho half-grabs. Now the three young grew up, and it is said that are engaged in the film instry, and accomplishments.
Don't know when to rise, my heart to the definition of friends have a such characteristics: can many time never contact, but as long as there is any need to help place, as long as in the ability range, no matter the size of the things, or need how many twists and turns to finish things way, in do not quit, the results feedback to each other only one word: has secured. Only one word: line, or not. This simple idea is not only my personal ideas summary. In retrospect, this form may well have in their own idea has a little bit of shape, but specifically clear, is rooted in the godfather. 2001 years to see the classic. That brief encounter at that time. Look at it now, it helps a simple child formed the man general concept: rigorous, self-discipline, and trustworthy, team, with principle.
Also, the American past "make me think between partners, what is the most precious. You may be successful, like that when the "ley minister" Max, but you all the success of the flashy surface under cover, and finally is still struggles to bring those old friendship. In all kinds of under the rod of loyalty and betrayal all, finally only time can shape the off part of the confusion and fresh, the true, only you finally understand the most important part. But may be too late. So the heavy and deep story teaches us, from is now thinking long term. Whether you treasure the friendship that you have? Not for the so-called, misguided and departure from the glory of the heart?

❺ 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。

❻ 关于介绍电影发展的英语作文带翻译60字

i am not going to talk about the movie NO THIEF.

just now, i was told by one of my good friends that her electronic dictionary had gone. maybe someone BORROWED it PERMANENTLY. it just happened in the library of our XuHui campus.

several month ago, another classmate of mine lost her cellphone at the crossroad of CaoBao and GuiLin Road. the last second she still used her cellohone to receive a call, but even before the traffic light turned from red to green, she suddenly found that the phone had gone! i was at present. maybe the thief even walked away pretending to be at leisure just under my eyelid! we called 110 at once. the police came but they still could do nothing except putting on records simply. one of the police said to us that it was much more important for us to take good care of our possession than to rely on the policeman to arrest all the rampant thieves! waht he had said was really with reason and unforgotten!
no thief in the world! everybody hope so!

❼ “后电影”是电影工业的延伸，是指由电影而产生并与其密切相关的非电影票房收入的所有产业，英文翻译

万里，不可到。天台有司马子微，身居赤域，名在绛阙，可往从之。”自然乃还，受道于子微，白日仙去。子微著《坐忘论》七篇，《枢》一篇，年百余。将终，谓弟子曰：“吾居玉霄峰，东望蓬莱，尝有真灵降焉。今为东海青童君所召。”乃蝉脱而去。其后，李太白作《大鹏赋》云：“尝见子微于江陵，谓余有仙风道骨，可与神游八极之表。”元丰七年冬，余过临淮，而湛然先生梁公在焉。童颜清澈，如二三十许人，然人亦有自少见之者。善吹铁笛，嘹然有穿云裂石之声。乃作《水龙吟》一首，记子微、太白之事，倚其声而歌之。
古来云海茫茫，道山绛阙知何处。人间自有，赤城居士，龙蟠凤举。清净无为，坐忘遗照，八篇奇语。向玉霄东望，蓬莱晻霭，有云驾、骖凤驭。
行尽九州四海，笑粉粉、落花飞絮。临江一见，谪仙风采，无言心许。八表神游，浩然相对，酒酣箕踞。待垂天赋就，骑鲸路稳，约相将去。

❽ 好莱坞电影：美国电影工业发展史的目录

总序
中译本导论
致谢
序言
第一部分：商业美学
第1章 严肃思考好莱坞
第2章 娱乐I
第3章 娱乐II
第4章 类型
第二部分：历史
第5章 工业I：1948年之前
第6章 工业II：1948年到1980年
第7章 工业III：80年代以来
第8章 技术
第9章 政治

❾ 什么标志着美国电影工业的发展和电影创作的中心从欧洲移向美国

当然是好莱坞了自从1922年开始好莱坞就是电影别称
说起好莱坞不得不说下当是好莱坞八大独立制片公司了 其中以米高梅和华纳兄弟最为出名
1927年10月6日，华纳兄弟发行了世界上第一部有声电影《爵士歌王》，影片的成功是轰动性的，很多电影院都人满为患，以至于只能卖站票
1929年，为顺应有声电影的历史潮流，米高梅斥资35万美元?当时是天文数字 拍摄歌舞片《百老汇的旋律》，影片场面布景之华丽、歌舞设计之新颖、声音运用之自如，将电影推到一个崭新的高度。影片上映后轰动一时，顺理成章地摘取了第二届奥斯卡最佳影片奖。 1958年，梅耶施出大手笔——推出前无古人的历史巨片《宾虚》，影片虽然耗费了公司大量金钱，但同时创造了史无前例的票房记录，也为米高梅公司赢得了巨大声誉。 在二十世纪四十年代末之前，在梅耶的精心打理下，米高梅一直是好莱坞最大、最有影响的集制片、发行、放映于一身的电影公司，它的雄师标志甚至成了美国的象征。

❿ 电影英语术语

看看够不够：

film instry 电影工业 cinematograph 电影摄影机, 电影放映机

cinema, pictures 电影院 (美作:movie theater) first-run cinema 首轮影院

second-run cinema 二轮影院 art theatre 艺术影院

continuous performance cinema 循环场电影院

film society 电影协会,电影俱乐部 (美作:film club) film library 电影资料馆

premiere 首映式 film festival 电影节 distributor 发行人

Board of Censors 审查署 shooting schele 摄制计划

censor's certificate 审查级别 release 准予上映 banned film 禁映影片

A-certificate A级(儿童不宜) U-certificate U级 X-certificate X级(成人级)

direction 导演 proction 制片 adaptation 改编 scenario, screenplay, script 编剧

scene 场景 exterior 外景 lighting 灯光 shooting 摄制 to shoot 拍摄

dissolve 渐隐,化入,化出 fade-out 淡出 fade-in 淡入 special effects 特技

slow motion 慢镜头 editing, cutting 剪接 montage 剪辑 recording, sound recording 录音

sound effects 音响效果 mix, mixing 混录 bbing 配音 postsynchronization 后期录音合成

studio 制片厂,摄影棚 (motion)film studio 电影制片厂 set, stage, floor 场地

properties, props 道具 dolly 移动式摄影小车 spotlight 聚光灯 clapper boards 拍板

microphone 麦克风,话筒 boom 长杆话筒 scenery 布景 filming shooting 电影摄制

camera 摄影机 shooting angle 拍摄角度 high angle shot 俯拍 long shot 远景

full shot 全景 close-up, close shot 特写,近景 medium shot 中景 background 背景

three-quarter shot 双人近景 pan 摇镜头 frame, picture 镜头 still 静止

double exposure 两次曝光 superimposition 叠印 exposure meter 曝光表 printing 洗印

影片类型films types film, motion picture 影片,电影 (美作:movie) newsreel 新闻片,纪录片

documentary (film) 记录片,文献片 filmdom 电影界 literary film 文艺片 musicals 音乐片

comedy 喜剧片 tragedy 悲剧片 dracula movie 恐怖片 sowordsmen film 武侠片

detective film 侦探片 ethical film 伦理片 affectional film 爱情片 erotic film 黄色片

western movies 西部片 film d'avant-garde 前卫片 serial 系列片 trailer 预告片

cartoon (film) 卡通片,动画片 footage 影片长度 full-length film, feature film 长片

short(film) 短片 colour film 彩色片 (美作:color film) silent film 默片,无声片

bbed film 配音复制的影片,译制片 silent cinema, silent films 无声电影

sound motion picture, talkie 有声电影

cinemascope, CinemaScope 西涅玛斯科普型立体声宽银幕电影,变 形镜头式宽银幕电影

cinerama, Cinerama 西涅拉玛型立体声宽银幕电影,全景电影

title 片名 original version 原著 dialogue 对白 subtitles, subtitling 字幕

credits, credit titles 对原作者及其他有贡献者的谢启和姓名 telefilm 电视片

演员actors cast 阵容 film star, movie star 电影明星 star, lead 主角

double, stand-in 替身演员 stunt man 特技替身演员 extra, walker-on 临时演员

character actor 性格演员 regular player 基本演员 extra 特别客串 film star 电影明星

film actor 男电影明星 film actress 女电影明星 support 配角 util 跑龙套

工作人员technicians adapter 改编 scenarist, scriptwriter 脚本作者

dialogue writer 对白作者 proction manager 制片人 procer 制片主任

film director 导演 assistant director 副导演,助理导演

cameraman, set photographer 摄影师 assistant cameraman 摄影助理

property manager, propsman 道具员 art director 布景师 (美作:set decorator)

stagehand 化装师 lighting engineer 灯光师 film cutter 剪辑师

sound engineer, recording director 录音师 script girl, continuity girl 场记员

scenario writer, scenarist 剧作家 放映projection reel, spool (影片的)卷,本

sound track 音带,声带 showing, screening, projection 放映 projector 放映机

projection booth, projection room 放映室 panoramic screen 宽银幕