有关欧美电影起源的英文

❶ 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.

字数限制，没办法全发给你，如需要请留言。

❷ 电影小黄人的英文简介

电影小黄人的英文简介：

In the popular film franchise known for its vibrant characters and humor, Minions stand out as a crowd favorite. These yellow-colored characters, known simply as Minions, have become icons in their own right.

详细解释：

1. 角色特点与起源：小黄人是来源于一部广受欢迎的电影系列的角色。他们以其充满活力的外观和独特的幽默感赢得了观众的喜爱。这些小黄人角色通常是短小的身躯，鲜明的黄色，并拥有一双大大的眼睛，这些特征使得他们在影片中格外引人注目。

2. 电影中的表现：在电影中，小黄人们常常是主人公们的忠实伙伴或是恶作剧的对象。他们擅长执行各种任务，尽管经常以失败告终，但这种不屈不挠的精神为影片增添了许多喜剧元素。小黄人们的天真无邪和对主人的忠诚也使他们成为了观众喜爱的角色之一。

3. 文化影响力：随着电影系列的成功，小黄人已经成为了一种文化现象。他们的形象出现在各种商品上，从玩具到服装，甚至出现在各种广告中。小黄人的流行也反映了观众对于有趣、可爱且令人难忘的角色形象的喜爱。他们的成功证明了，即使是一个简单的形象，只要有深度和个性，便能在大众文化中获得一席之地。

小黄人以其独特的外观和幽默感成为了电影中的亮点，并超越了电影本身，成为了一种文化标志。无论是在电影中还是现实生活中，他们都展现出了令人难以抗拒的吸引力。

❸ 有关 吸血鬼 的英文单词（尽量多写）

vampire
bloodsucker
图像吸血鬼ImageVampire

吸血鬼数vampire number

双生吸血鬼Dracula Twins

吸血鬼起源Dracula Origin；Vampire Origins

吸血鬼日志The Vampire Diaries；The Vampire Dairies；The Vimpire Diaries；The Vampire Dairy

网络吸血鬼NetVampire；Net Vampire Pro

吸血鬼 起源Dracula Origin

吸血鬼档案The Dracula Files

吸血鬼学院Vampire Academy

吸血鬼与十字架： OP MAD ；HKGandEMD ；Rosario and Vampire
吸血鬼之吻： Vampire's Kiss ；Kiss Of The Vampire ；Jennifer Beals
魔法书（吸血鬼之吻： spellbook
吸血鬼之雨： Vampire Rain ；Vampire's Rain
吸血鬼乌贼： Vampire squid ；Vampyroteuthis
吸血鬼伯爵： vampire counts ；DEMITRI
中的吸血鬼伯爵： Count von Count
吸血鬼德库拉伯爵： count dracula
吸血鬼助手： The Vampire's Assistant ；Cirque Freak ；Cirque Freak The Vampire's Assistant
吸血鬼同盟： Dance in the Vampire Bund ；Vampire Bund
吸血鬼同盟原声集： Dance In The Vampire Bund
吸血鬼同盟主题曲： Dance In The Vampire Bund
吸血鬼城堡： Vampireville ；Vampire Castle
吸血鬼女王： Queen of the Damned
吸血鬼女王原声： The Queen of The Damned sound track
吸血鬼日志： The Vampire Diaries ；The Vampire Dairies ；The Vimpire Diaries
吸血鬼日记： The Vampire Diaries ；The Vampire Dairies ；The Vampire Diary
吸血鬼日记：： The Vampire diaries
吸血鬼日记系列： The Vampire Diaries
吸血鬼档案： The Dracula Files
吸血鬼猎人： Vampire Hunters ；Kresnik ；BloodVampire
吸血鬼猎人D： Vampire Hunter ；Vampire Hunter D Bloodlust ；Bloodlust
吸血鬼猎人OVA： Night WarriorsDarkstalkers'Revenge
吸血鬼猎人巴菲： Buffy the Vampire Slayer ；Buffy ；The Vampire Slayer
吸血鬼的故事： A Vampyre Story ；Vikram and the Vampire ；Vampire Stories Plus
吸血鬼纪事： The Vampire Chronicles ；The Vampire Dhronicles
吸血鬼纪事： The Vampire Chronicles
吸血鬼起源： Dracula Origin ；Vampire Origins
吸血鬼 起源： Dracula Origin
吸血鬼骑士： Vampire Knight ；still doll ；Vampire Knight Guilty
吸血鬼骑士片尾曲： Still doll
吸血鬼骑士 第二季： VAMPIRE KNIGHT Guilty

❹ 求一篇600字左右英文的商业电影概念和起源、发展。

中国商业电影一个是品质问题一个是模式问题,我觉的像现在的导演,大陆拍商业片的恐怕只有冯小刚算是个半成功的了,不能说全成功是因为他的风格似乎总是过于局限,而电影受众也过于局限,像别的导演,多半文艺片出生,要么现在索性就是文艺片的市场,总是听见某某在国外拿了奖,拿到内地来同样没什么票房.
中国现在的商业片不成气候,撑死了那么几个导演那么几个编剧,而且碍于社会主义好的原则,很多题材都不能拍,也没有那么多的资金来弄.
像我在大学里开音像店,很多印度留学生,且不说这个国家如何,人的素质如何.人家还就是比我们的国人要爱电影,即使老是操着一口发音奇怪的英语来问某某片子,可是电影俨然成为人家生活的一部分.
像现在国内还没有一个统一的电影基地,而电影的编制原则也太过于僵化,哪里有哪个编剧就要一直编剧的,一个好的编剧一辈子就吃死了那么一本好剧本,别的全垃圾还要拿出来拍什么商业大片,搞到最后都是靠媒体优势来拿的票房.
中国商业电影的模式如果一直如此单一,恐怕走不长远.
盼望有好片子诞生,也只怕一直都只能成为一个梦想了.

翻译：
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.

❺ 美国有几大电影公司啊 英文全写是啥

华纳兄弟制片 / 英文：Warner Bros
哥伦比亚 / 英文：Columbia
二十世纪福克斯 / 英文：20th Century Fox
派拉蒙制片 / 英文：Paramount
环球 / 英文：Universal
华特·迪士尼影片公司Walt Disney Pictures
米高梅电影公司MGM
新线电影公司 New Line cinema
顶峰娱乐 ummit Entertainment
狮门电影公司 Lions Gate Films
福克斯探照灯 fox searchlight pictures
梦工厂电影公司 DreamWorks
三星电影公司 TriStar Pictures（索尼娱乐旗下子公司）
米拉麦克斯电影公司 miramax films
焦点娱乐 Focus Features
帝门影业 dimension films
联美电影公司 United artists
试金石电影公司 Touchstone Pictures
城堡石影业公司 castle rock entertainment
幕宝影业 screen gems inc
威秀（也翻译为”乡间路“）电影公司 Village Roadshow Pictures
韦恩斯坦公司 The Weinstein Company
革命电影工作室 Revolution Studios
罗格影业 Rogue Pictures
皮克斯动画工作室Pixar Animation Studios
杰瑞·布洛克海默影业公司 Jerry Bruckheimer Films
窥视镜（也翻译为”望远镜“）娱乐公司 Spyglass Entertainment
湖岸影业 Lakeshore Entertainment
摄政娱乐 Regency Enterprises
沃尔顿传媒公司 Walden media
惊奇娱乐电影工作室 Marvel enterprises
卢卡斯影业 Lucasfilm Ltd
想象娱乐影业 imagine entertainment
艾肯（圣像）影业 Icon Proctions
起源电影公司 Original film
传奇影业 Legendary Pictures
坏机器电影工作室 Bad Robot
风暴（也翻译为“轻风暴”）电影工作室 Lightstorm Entertainment
中心城电影工作室 Centropolis Entertainment
灯塔电影工作室 Beacon Films
好莱坞电影公司 Hollywood Pictures

❻ 电影英语单词怎么读

电影的英文:film读音：英[fɪlm]美[fɪlm]。

电影是一种艺术形式，通过影像、声音和故事情节来传达感情、思想和观点。它是一种流行的娱乐方式，也是文化交流和艺术表达的重要手段。

总结：电影作为一种艺术形式和娱乐方式，对社会与文化都有着重要的影响。它不仅仅是一种表演形式，更是一种引导思考、传达情感和推动社会进步的力量。通过观看电影，我们可以欣赏艺术、体验故事，同时也可以从中获得启发和思考。