了解电影的信息用英文

1. 用英语介绍一部电影 内容包括电影简介以及个人感悟

Dear, you:
I very much like the movie a lot
Like most of the movie name is: "a beautiful mind"
I very love starring the male star of Australia, called Russo Klau
The main contents of a schizophrenia are taught through the difficulties
Struggling in the real and unreal, try every means to overcome mental obstacles
Finally in the appeal of the power of love, his love love stroked his beautiful soul
He continued to study at the same time to students in class when the teacher was appointed Professor, his research has been the practice and achievements in the real life, finally he got Nobel prize stories. It shook my soul so I love this movie, that one reason enough.
亲爱的,你好：
我非常喜欢的电影很多
最喜欢的电影名字叫：《美丽心灵》
主演是我非常喜欢的澳洲男明星,叫罗素克劳
主要内容是一个精神分裂症的教授通过重重困难
在现实和虚幻中挣扎,用尽一切办法克服精神上的阻碍
最后在爱情力量的感召下,他的爱人充满爱意抚摸着他美丽的心灵
他继续研究的同时还给学生上课当了老师后来上任教授,他的研究在现实生活中得到了实践和收获,最终他获得了诺贝尔奖的故事.它震撼了我的心灵所以我喜欢这部电影,这一个理由就够了.

希望能帮到你，望采纳，谢谢~

2. 急急急！！十分钟！电影各种信息（电影的起源等）要英文的 简短的

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.

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3. 用英文来介绍电影的简介

Snow dog brothers
The story took place in the Arctic Circle in Alaska, a child custody of a dog named Shasta Hashi Qi, he would like to participate in the sled dog competition, even if his father is not worried that he can not stop .. light courage is not enough. He also needed in addition to Shasta other than dogs with the support of friends, only concerted effort, they can win the game ..

4. 用英语介绍一部你喜欢的电影。内容应包括电影的主要内容，演员的表现，以及你为什么喜欢这部电影等。要求

Dear, you:
I very much like the movie a lot
Like most of the movie name is: "a beautiful mind"
I very love starring the male star of Australia, called Russo Klau
The main contents of a schizophrenia are taught through the difficulties
Struggling in the real and unreal, try every means to overcome mental obstacles
Finally in the appeal of the power of love, his love love stroked his beautiful soul
He continued to study at the same time to students in class when the teacher was appointed Professor, his research has been the practice and achievements in the real life, finally he got Nobel prize stories. It shook my soul so I love this movie, that one reason enough.
亲爱的，你好：
我非常喜欢的电影很多
最喜欢的电影名字叫：《美丽心灵》
主演是我非常喜欢的澳洲男明星，叫罗素克劳
主要内容是一个精神分裂症的教授通过重重困难
在现实和虚幻中挣扎，用尽一切办法克服精神上的阻碍
最后在爱情力量的感召下，他的爱人充满爱意抚摸着他美丽的心灵
他继续研究的同时还给学生上课当了老师后来上任教授，他的研究在现实生活中得到了实践和收获，最终他获得了诺贝尔奖的故事。它震撼了我的心灵所以我喜欢这部电影，这一个理由就够了。
希望你喜欢这部电影。

5. 关于一部外国电影的简介，主要信息包括该电影的类型、演员、剧情、地点和结尾，注意是用英语写的。

One man's nightmare can often be another man's big night out, at least in the cinema. Duncan Jones, the 39-year-old British film-maker who grew up weighed down by the name of Zowie Bowie, has followed up his remarkable 2009 debut Moon with another science-fiction movie, in this case a thriller that takes us into the truly troubled mind of a man who believes himself to be US army captain Colter Stevens (Jake Gyllenhaal).
Stevens wakes with a jolt on a commuter train making its way into Chicago, shortly before 8am one idyllic spring morning. A pretty girl called Christina (Michelle Monaghan) sitting opposite him says: "I took your advice." Who is she? What is the advice she's taken? Stevens doesn't know why he's here, the girl laughs when he says he's a helicopter pilot in Afghanistan, and a succession of odd incidents occurs before he goes to the lavatory. There he discovers he's carrying ID identifying him as Sean Fentman, a schoolteacher, and that the face in the mirror isn't his own. This is a classic film noir amnesia plot, brilliantly handled. Then, with the skyline of Chicago looming in the near distance, there's a gigantic explosion and the double-decker train disintegrates. It's a brilliantly edited opening to a film that nearly rips your lapels off, with a grip that never lets go for an hour and a half.
Source Code, however, is not a film noir but a sort of sci-fi conspiracy movie, and while there are many twists and much additional information still to come right until the final minutes, the dramatic donnée is revealed immediately. Captain Stevens is the subject of a top-secret military experiment called "Source Code", concted by a Dr Rutledge (Jeffrey Wright), a somewhat sinister government psychologist who, like Dr Strangelove and earlier mad scientists, not to mention the arrogant Dr House, walks with a stick. He communicates with Stevens via the personable, more diplomatic US air-force officer Captain Colleen Goodwin (Vera Farmiga), and it appears that (a) dead people when properly wired up can relive the last eight minutes of their life in perpetuity, and (b) the recently deceased Stevens has the perfect physical match to occupy the body of the schoolteacher Sean.

6. “影视”这个词用英语翻译，怎么翻译最恰当

1.movies
北京公共场所商业服务业双语标识的英文译法.

2.Movie

3.Film &TV

4.vedios

5. 华纳影视 Warner Home Video

等等均可。

7. 用英语描述一个电影的内容

Transformers
My favourite movie is Transformers 3. This film was made in America. It used a lot of high-techs and computer special effects. I like it very much. This film has huge scenes and famous movie stars. Besides, it has good story, and it told me to respect anybody protects us. This film asked us to be brave to fight the enemies and have the courage to live in the danger. It also have a lot of robot troys I like. This is my favourite movie.
翻译：
我最喜欢的电影是变形金刚3.这部电影是在美国.它使用了很多高技术和电脑特效.我非常喜欢它.这部电影有巨大的场景和著名的电影明星.此外,它有很好的故事,它让我尊重保护我们.它告诉我们要勇敢地与敌人进行斗争,有勇气在危险中生存.它也有很多我喜欢的机器人玩具总动员.这是我最喜欢的电影.

8. 写一篇介绍电影的英语作文

写作思路：从文章的写作目的、中心主旨入手，以使文章中心思想鲜明、深刻地表现出来，正文：

I like watching movies very much. My favorite movie is Twilight. It is a beautiful love story between vampire and mankind. The main characters are named Edward and Bella. They can’t help loving each other.

我非常喜欢看电影。我最喜欢的电影是暮光之城之暮色。讲的是吸血鬼和人类之间的唯美的爱情故事。主角是爱德华和贝拉。他们无可救药的爱上对方。

Edward is a vampire who has lived hundreds of years, while Bella just a ordinary high school student. They are classmates. When Bella recognizes that Edward is a vampire, she still chooses to love him under the pressure of every aspect.

爱德华是一个活了数百年的吸血鬼，而贝拉只是一个普通的高中生。他们是同学。当贝拉知道爱德华是吸血鬼时，她还是顶着方方面面的压力选择爱他。

And Edward also pick the choice to protect Bella at all costs. This is their beginning of love.

而爱德华也选择不惜一切代价来保护贝拉。这就是他们爱情的开始。

I like this movie so much that I have seen it four times. I think the movie stars in it are very beautiful and handsome. Secondly, the plot is very attractive and excited. And the scenery is beautiful too. In a word, I just like it the moment I see it.

我非常喜欢这部电影，所以我看了四遍了。我觉得那里面的电影明星非常漂亮，英俊。其次，它的情节很有吸引力，让我很兴奋。风景也很漂亮。总之，第一次看到它时，我就是喜欢它了。

9. 电影的信息选择和报告特点 英文作文

感谢老师给我们放电影暮光之城。通过看这部电影，可以提高我们的英语水平，对于我们英语的提高有很大的帮助。谢
谢老师对我们的帮助。
Thank the teacher gave us a video to the twilight city. Through the see the movie, can we improve our English level, for we of the English language has very great help. Thanks for the teacher for helping us.

10. 根据下面所提供的信息，简单的介绍电影《Titanic》（用英文）

There are lots of movies in our lives.But the most impressive is Titanic . It is a story about the love in a disaster.It happened on a luxury ship in 1912.And the chief actor who named Jack saved Rose and falled in love with her.But all good things will come to an end ，one night, when they were happy ，the ship collided with an ice-capped mountain on the Atlantic Ocean.At last,the ship sinked,Jack died in the sea ,but their love will go on forever.The writer of it is James Cameron,a very famous writer,and we should thank him for writing a charming love story like this.We will never forget this movie and the love with Rose and Jack.
原创，勿粘贴
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