经典英文电影赏析

刮痧电影赏析

《刮痧》讲述了在两种差异文化的冲突下，人的状态。一个因为中西方文化差异带来的沟通悲剧，一个普通的中国中产阶级家庭在美国，男主人公大同以为自己实现了“美国梦”，成为了真正的美国人，可是命运却给了他重重的一击。

“刮痧”—中国再普通不过的一种中医疗法，在美国却成了虐待儿童，“妻离子散”让大同陷入了痛苦和困惑中，也让他明白了即使事业有成，家庭和睦，表面上他多么和谐的融入美国的生活中，但并不代表他已经是一个美国人，有些东西是根深蒂固的。

男主角名叫“大同”，显然，这是有意引用《礼记·大道之行》中的“天下大同”之意，人与人不设防。无障碍地平和相处，是谓“大同”。“大同”一直以来是人们的梦想。男主角一开始坚定地相信它是可以达到的，他在一开头的获奖感言中便说：“八年前，我还是一个新移民，站在街头卖画为生，不过我相信，只要努力，总有一天，会成为你们中的一员·······”，他说这就是他的“美国梦”，但我更认为这是他心中的“大同梦”，他相信自己可以完美地融入当下的美国文化中，完美蜕变，了无痕迹——不过，梦终究只是梦，与坚硬的现实一磕碰，便要显露其中的虚空了。

影片中我们看到了大同深深的挫败和无奈，浓重的悲哀仿佛通过镜头渗透进每个观众的心中，这是一个中国人在异国他乡由于文化差异而不能被理解的孤独感。

有一个人物在影片中出现的时间加起来可能不超过一分钟吧，老

霍出现的镜头分别是“扮兵马俑”、“在赌场”、“巴士上猝死”、“霍华德墓碑”。一开始觉得匪夷所思，电影中为何要穿插进这样一个有点无厘头的角色呢？后来一想，是想给个对比吧！大同是在众多移民到美国的人中生活得较为如鱼得水的一个，有事业、有家庭、有荣誉。但这样的角色毕竟不是多数，绝大多数的移民的日子过得并不顺。老霍年纪大了，适应新环境的能力没有年轻人强，离开生活了大半辈子的地方，来到异国他乡，耳边都是自己听不懂的话语，眼前都是自己不认识的异国人脸孔，无依无靠。他这样的人只能做做类似“扮兵马俑”的工作挣点钱糊口，没有朋友，没有亲人，闲暇了在赌场耗时日，庸庸碌碌，形单影只。最后，他在巴士上猝死了，也是了无声息。那名美国警察轻描淡写地说：“心脏病，很常见，每天这样的人有很多。”是啊，这样的人真是太多了，他们在文化差异的碰撞中难以适应、不知所措，寂寞又卑微地活着，又了无声息地死去。大同，是少数；老霍，才是大多数！

此外，给我更深感触的是文化与文化间的代沟。片中有一幕，美国的一位女护士，对许大同在妻子难产时做出“只要妻子，可以不要孩子”的表态惊诧莫名，甚至认为许没有人性，女护士发出怒吼：“你们东方人真是野蛮！”这句话引出了一个新的问题，尽管种族歧视在法律上早已废除，但在一些西方人的心中，仍然对华人存在偏见。最近几年，由于华人受中国儒家传统文化影响，重视家庭、教育和职业道德，经过长期的努力大部分人获得了成功，进入移民精英行列，但是他们仍然在一定的程度上受到歧视，我觉得这也可以理解为西方人

对东方文化的不了解而遗留下来的历史偏见。

大同在法庭上的歇斯底里,原本让一件在国内可能只要三言两语便可以说清的事，放到了具有文化差异的美国却变成了一个怎么也解不开的死结。当原告律师把孙悟空说成一只“野蛮的中国猴子”，并想以此证明大同是个具有暴力倾向的人的时候，大同终于忍无可忍，当场失控发飙冲过去想殴打这名律师了。我想，大同愤怒不仅仅是因为对方律师在自己面前搬弄是非，更深层次的是，对方对中国传统文化的无理而自以为是的解读，这激发了大同心底隐秘但却始终强烈的民族荣誉感——我是个中国人，我决不允许你信口雌黄污蔑我的祖国的文化！

长久以来，美国一直宣扬“人人生而平等”，可是事实并非如此，种族歧视已经深深扎根于美国的政治、经济、文化和社会生活的各个方面，不仅是对亚裔还有黑人、拉丁裔等等，这个问题的根源由来已久，而我认为美国社会对华人的种族歧视很多是由于美国主流社会对当代中国的政治、经济和文化的发展变化缺乏了解或误读而造成的，这也是中西文化差异沟通障碍的一种体现。

在这种情况下，我们应积极行动起来，积极宣传东方文化的博大精深，加强中美交流，增进美国人对当代中国经济、政治和文化的了解，改变美国人对华人的旧印象。在这个多元化的社会中，不同文化的交流越来越频繁，而消除文化差异的关键是要有一颗包容和相互理解的心，就像片中大同的朋友昆兰一样，愿意抱着尝试的心态去体验“刮痧”，去了解中国的文化，只愿随着时代的进步，文化的融合，

思想能够淡化肤色，交流能够加强理解，求同存异的同时，多元文化的社会能够和谐共处。

经典英文电影赏析分析

曾经和ing《经典英文电影赏析》由10个章节组成。每一章节包括电影背景、故事简介、主要演员阵容及导演介绍、精彩部分节选、对影片的评论及注释五大部分。相信许多读者会在观赏优美电影或阅读《经典英文电影赏析》的过程中重温自己过去的电影体验，获得新的感悟和理解。 英汉对照是《经典英文电影赏析》的一大特点。《经典英文电影赏析》既有英文原文，也提供了中文翻译，有助于英语爱好者能更好地理解书中的内容。同时，《经典英文电影赏析》还提供了注释，为读者的自学提供了参考。 ·查看全部>> 前言 在“信息爆炸”的今天，随着国际文化交流的不断深入和推进，英语作为世界通行语的优势越来越显示出她的“英语帝国”风貌。一方面中国正逐步地同世界接轨，日益频繁的国际交往，使国家和社会对大学生的英语综合应用能力尤其是听说技能提出了更高的要求。另一方面，目前全国大学英语教学改革正在各高校尝试并推广，基于计算机／网络+课堂教学的教学模式日渐普遍。 教育部2007年颁布了《大学英语课程教学要求》。为贯彻其原则和方针，遵循其提出的“加强听说能力，提倡自主型的个性化学习”要求，大学英语教学课时数在一定程度上进行了缩减，包括听力课课时。而全国大学英语四、六级考试在这一改革的背景下进行了很大程度的调整，加强了应用能力的考查，听力所占的比例也由原来的20％提高到了35％。大学英语教学也面临着新的挑战。 因此，如何在学时减少、对听说能力要求提高的情况下，加强对学生学习能力的训练，培养学生自主学习的新模式，也是大学教师应该探讨的新问题。 电影一直以来就是人类漫漫旅途中的精神伴侣。在电影中，人们可以获得心灵的安慰，得到情感的滋润，寻求生活的力量，体验人生的快乐。而英语电影不仅能把学习者带入到一个非常好的语境中培养语感，而且有利于学生熟悉国外的社会、文化、生活方式以及异国风情，为他们了解西方提供了一种影像解读的窗口。中国著名英语语言学教育专家刘润清曾说过，“电影是社会文化的浓缩，看一部电影胜似在国外生活一天”。 借此我们编写了《经典英文电影赏析》这部书。在对近几年英美国家上演的大片精挑细选的基础上，我们选择了既适合英语学习，又集知识性、趣味性、观赏性、时尚性、体验性为一体的10部电影。目的是通过提供真实的英语语言环境，让英语学习者和爱好者能直接了解英美人的思维方式、文化和生活习俗，锻炼和提高英语视、听、说、读、写、译的综合应用能力。这10部电影涉及不同的类型：爱情片、励志片、喜剧片、动作片、友情片、动画片等。

英文影视赏析——七宗罪台词

老：Get out of the van! 从车里出来！ Out ! 出来！ 递：Jesus Christ, man. Don’t shoot me. 天哪，老兄。不要开枪。 老：Step away. 离车远点。 Turn around. Put your hands on your head. 转过去，手抱头。 （飞：What the hell is going on? 到底发生了什么？） 老：Why and what are you doing here? 你为什么来这里？ 递：I’m delivering a package man. 我只是送快递而已。 I got a package for this guy, David. 我有个快递要送给戴维。 Detective... 警探 David Mills. 戴维?米尔斯 老：Get it. Slowly. 拿过来。慢一点。 （飞：He’s opening the back of van. 他正在打开火车的后备箱。 We’ve got him in sight. 我们瞄准他了。） 递：This guy paid me ﹩500 to bing it out here, man. 有人出500块让我把它带过来。 He said he wanted it here at exactly 7 o’clock. 他让我在7点钟准时送到。 老：Put it down. 放下来。 We got a box 我们有个盒子。 （飞：We got a box . Call the bomb squad. 有一个盒子，快找拆弹组。 Bomb squad . We got a box . 拆弹组，我们这有个盒子。） 老：Face the van. 面朝货车。 Hands up. 举起手来。 Turn around . 转过来。 Okay. Go. 好的，快走。 Off you go. Go . 快离开这里。快。 I’m sending the driver out on foot . 我让司机跑着离开了。 （飞：He’s headed north, along the road. 他沿着路往北跑了。） 老：Have him picked up . 找人去接他。 Oh, I don’t know . 我不知道。 I’m going to open it. 我要打开它了。 罪：When i said i admire you , i meant what i said . 我说过我很佩服你，我是说真的。——打开箱子—— 老：It’s blood . 是血。 罪：You’ve made quite a life for yourself, Detective. 你有着美满幸福的生活，警探。 You should be very proud. 你应该很自豪。 轻：Shut the fuck up , you piece of shit . 闭上你的狗嘴，混蛋。 老：California, stay away from here . 加州号，不要靠近。 Stay away from here , now . Don’t, don’t , don’t come in here . 离这里远点，不要过来，不要。

Journey to the Center of the Earth(地心游记)2008经典电影英文影评

Journey to the Center of the Earth（地心游记）2008 There is a part of me that will always have affection for a movie like "Journey to the Center of the Earth." It is a small part and steadily shrinking, but once I put on the 3-D glasses and settled in my seat, it started perking up. This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it. If I had seen it when I was 8, I would have remembered it with deep affection for all these years, until I saw it again and realized how little I really knew at that age. You are already familiar with the premise, that there is another land inside of our globe. You are familiar because the Jules Verne novel has inspired more than a dozen movies and countless TV productions, including a series, and has been ripped off by such as Edgar Rice Burroughs, who called it Pellucidar, and imagined that the Earth was hollow and there was another world on the inside surface. (You didn't ask, but yes, I own a copy of Tarzan at the Earth's Core with the original dust jacket.) In this version, Brendan Fraser stars as a geologist named Trevor, who defends the memory of his late brother, Max, who believed the center of the Earth could be reached through "volcanic tubes." Max disappeared on a mysterious expedition, which, if it involved volcanic tubes, should have been no surprise to him. Now Trevor has been asked to spend some time with his nephew, Max's son, who is named Sean (Josh Hutcherson). What with one thing and another, wouldn't you know they find themselves in Iceland, and peering down a volcanic tube. They are joined in this enterprise by Hannah (Anita Briem), who they find living in Max's former research headquarters near the volcano he was investigating. Now begins a series of adventures, in which the operative principle is: No matter how frequently or how far they fall, they will land without injury. They fall very frequently, and very far. The first drop lands them at the bottom of a deep cave, from which they cannot possibly climb, but they remain remarkably optimistic: "There must be a way out of here!" Sure enough, they find an abandoned mine shaft and climb aboard three cars of its miniature railway for a scene that will make you swear the filmmakers must have seen "Indiana Jones and the Temple of Doom." Just like in that movie, they hurtle down the tracks at breakneck speeds; they're in three cars, on three more or less parallel tracks, leading you to wonder why three parallel tracks were constructed at great expense and bother, but just when such questions are forming, they have to (1) leap a chasm, (2) jump from one car to another, and (3) crash. It's a funny thing about that little railway: After all these years, it still has lamps hanging over the rails, and the electricity is still on. The problem of lighting an unlit world is solved in the next cave they enter, which is inhabited by cute little birds that glow in the dark. One of them makes friends with Sean, and leads them on to the big attraction -- a world bounded by a great interior sea. This world must be a terrible place to inhabit; it has man-eating and man-strangling plants, its waters harbor giant-fanged fish and fearsome sea snakes that eat them, and on the further shore is a Tyrannosaurus rex. So do the characters despair? Would you despair, if you were trapped miles below the surface in a cave and being chased by its hungry inhabitants? Of course not. There isn't a moment in the movie when anyone seems frightened, not even during a fall straight down for thousands of feet, during which they link hands like sky-divers and carry on a conversation. Trevor gets the ball rolling: "We're still falling!" I mentioned 3-D glasses earlier in the review. Yes, the movie is available in 3-D in "selected theaters." Select those theaters to avoid. With a few exceptions (such as the authentic IMAX process), 3-D remains underwhelming to me -- a distraction, a disappointment and more often than not offering a dingy picture. I guess setting your story inside the Earth is one way to explain why it always seems to need more lighting. The movie is being shown in 2-D in most theaters, and that's how I wish I had seen it. Since there's that part of me with a certain weakness for movies like this, it's possible I would have liked it more. It would have looked brighter and clearer, and the photography wouldn't have been cluttered up with all the leaping and gnashing of teeth. Then I could have appreciated the work of the plucky actors, who do a lot of things right in this movie, of which the most heroic is keeping a straight face. 1

经典英语影视赏析

《经典英语影视赏析》课程教学大纲 课程名称（中文）：经典英语影视赏析 课程名称（英文）：Appreciation of English Classic Films and Television Plays 课程类型：历史与文化类适用范围：贵州大学各专业本科生 学时数：32 其中：实验/实践学时：课外学时：无 周学时：2 学分数： 2 考核方式：考查 制订单位：外国语学院制订日期：2014-07-10 执笔者：张涛 【课程性质】 本课程是各专业本科阶段的一门选修课程。 【教学目的】 本课程旨在提高学生对语言真实度的各类视听材料的理解能力和口头表达能力。以经典英语影视为对象，通过“视”、“听”、“说”、“写”的结合，以直观画面和情节内容为基础开展有针对性的口语训练，运用复述、总结、对话、口头概述等活动形式，提高学生的听力理解和口头表达能力，同时通过论文写作的形式，加深他们对英语国家的政治、经济、社会、文化等方面的认识和了解，从文化层面上更好的把握语言这门艺术。 【教学任务】 此课程教学旨在使学生在提高英语语言能力的同时对西方的电影和文化有更多的了解和认识。 【教学内容】 1.阐述当代原版电影的一般知识，即通俗地介绍电影的文化特征和艺术特征，同时比较完整地介绍英美电影的历史和特点。 2.精心挑选了在世界上具有广泛影响的影片作为读解素材，其中大部分影片曾获得过奥斯卡奖。在理解剧情的基础上，领略电影作品从独特的美学价值和文化性格所展现出不同民族的艺术风格。 3.介绍部分当代英美电影的著名导演和演员，了解各种电影手法和创作技巧。 【教学原则和方法】 教学原则： 英语影视课的教学既要注意结合各门课程所学内容，打好扎实的语言基本功，又要突出语言交际能力的培养，注重培养学生的跨文化交际能力。在教学中，要正确引导学生学习中西文化的差异，处理好欣赏和批判的关系以及如何正确接受西方文化的方法。 教学方法： 课堂教学采取学生为主体、教师为主导的教学模式。在教学中，利用音像环境所提供生动的英语语境训练听力和口语，分析英语经典影片，长、短片结合。多开展以任务为中心的、形式多样的教学活动，通过“视”、“听”、“说”的综合训练，提高学生的英语语言运用能力。 【先修课程要求】 以语音、语法、词汇、听力、口语等为基础的综合能力培养的大学英语课程。 【教材与主要参考书】 教材： Andrew Lynn Appreciating Cinema 《英语电影赏析》外语教学与研究出版社, 2005年参考书： 徐志英邓杉赵蓉英语电影视听说外语教学与研究出版社, 2009年

truman show英文电影赏析提纲(outline)

院系：会计学院班级：财务管理（一）班姓名：赵文增学号：2010052133 Outline： The Truman Show 1. A Brief Account of Its Background 2.The Story 3.What’s Interesting: 3.1.We All Are Always Desperate For Freedom 3.2.Negative Influence From Media 3.3.Measures To Prevent Us Suffering From Media 4.Conclusion

1. A Brief Account of Its Background of The Truman Show The Truman Show was a black comedy directed by Peter Weir, who was born in Australia. The film is released on 1st June,1998,which is acted by Jim Carrey, a famous comedy actor who has been well-known for "The King of Hollywood comedy". 2. The Story of The Truman Show Truman is determined to spare no effort to get over varieties of obstacles set up by Christof, attempting to break away from the dictatorship of Christof after finding himself robbed of freedom,and makes it in the ultimate. 3. What’s Interesting 3.1. Truman,who has been in ignorance of living in a utopia over the span of his lifetime,in which Christof acts exactly like the god.What a folly it is!From my point of view,I perceive our life will be of no meaning when it is beyond our control and almost nobody would like to lead a lifestyle just like a soap opera as Truman’s because we all are always desperate for freedom. 3.2. With the economic globalization,mass media are playing a more and more significant role in every corner across the whole world.However,we are so bombarded with negativity that is important to be aware of the effect that the media has on us at the same time.For instance,there is a probability that citizen’s privacy may be exposed to outside,especially for public figures. 3.3. With so much negative influence from media,then are there any measures that we can adopt to avoid us suffering from media?In my opinion,the most important of all is that we ought to form the ability to distinguish between right and wrong amongst mass media instead of blindly accepting what we hear in the media. 4. Conclusion Notwithstanding that mass media benefit us a lot,we are supposed to make the most use of them rather than rely on them.

Seven(七宗罪)1995经典电影英文影评

Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1

英语电影欣赏教案

英语电影欣赏教案

英语电影欣赏教案 【篇一：英文电影欣赏校本课程】 英文电影欣赏校本课程教案 执教人：何菲 课时说明： 一、教学目标 在教学中注重引导学生了解隐含在语言内部的一个民族的生活方式、思维方式、价值观念、风俗习惯、审美情趣等；指导学生提高对西方文化的鉴别能力，汲取精华，去其糟粕；使学生在学习语言的同时，情感受到真善美的陶冶，心灵受到激荡，人格得到升华，提高认识能力，从而树立正确的人生观和价值观。 二、教学重点与难点 通过观看电影中的其精彩部分（highlight），在“质感”的英语中感受体悟原汁原味的英语，逐渐培养学生独立思考的能力，让学生大胆表达自己对电影的真实感悟，从真实的交流中体会语言的文化内涵。 三、教法、学法及教学手段 1. 学情分析 从学生的认知水平和能力状况来看，学生已初步具备了一定的查找材料和信息的自主学习能力，但学习的方法和习惯还有待养成。在此基础上引导学生自主、探究、合作学习，大多数学生喜欢思考，能积极参与学习交流活动，但他们也需要老师适当引导。 2. 教法 （1）采用问题教学法

采取实践、参与、合作、交流的学习方式，如：教师引导、查阅资料、分析探究、小组讨论、模拟对白，情景剧表演 （2）谈话教学法 设置情境——引导思考——交流互动 3. 学法 自主探究学习法，在课前，学生查阅相关资料课上教师扮演学生领路人的角色，学生在教师的引导下探究并自我总结，形成知识结构。引导学生学会独立地思考问题并能流利地表达自己的观点。 4. 教学手段 多媒体教学 四、课时安排 本课程共4课时。欣赏4部影片：《里约大冒险1》、《冰河世纪2》《哈利波特与魔法石》、《驯龙高手2》 课程内容： 第一时《里约大冒险1》电影欣赏 2. plot outline（故事梗概） 《里约大冒险》的故事讲述一只生活在美国明尼苏达州小镇上的 蓝色金刚鹦鹉，一直是世界上仅存的一只公金刚鹦鹉。直到有一天，一个鸟类研究博士图里奥来到了这里，告知鹦鹉的主人琳达要是再不给它们进行人工繁殖那么蓝色金刚鹦鹉可能就会灭绝，而他们研究所就有一只母蓝色金刚鹦鹉。于是，为了拯救蓝色金刚鹦鹉，他们从美国出发飞往巴西里约热内卢，一段充满异域风情的冒险之旅就这么开始了。 3. movie time带问题看电影

高考英语阅读素材：经典爱情电影：最感人的台词赏析

经典爱情电影：最感人的台词赏析 Love means never having to say you're sorrry. 爱就是永远不必说对不起。(《爱情故事》) Mama always said life was like a box of chocolates.You never know what you're gonna get. 妈妈说生活就像一盒巧克力，你永远都不知道你会得到什么。(《阿甘正传》) There is no crying in baseball. 在棒球运动中没有哭泣！(《红粉联盟》) A boy's best friend is his mother. 一个男孩最好的朋友是他的母亲。(《惊魂记》) Keep your friends close,but your enemies closer. 亲近你的朋友，但更要亲近你的敌人。(《教父》) Listen to them.Children of the night.What music they make. 快点来听!黑夜中孩子的声音是他们缔造的美妙音乐。(《吸血鬼》) Frankly,my dear, I don't give a damn. 坦白的说，亲爱的，我一点也不在乎。(《乱世佳人》) I'm goig to make him an offer he can't refuse. 我会给他点好处，他无法拒绝。(《教父》) Here's looking at you,kid. 就看你的了，孩子。(《卡撒布兰卡>) Go ahead, make my day. 来吧，让我也高兴高兴。(《拨云见日》) There's no place like home.

Tess(苔丝)1979经典电影英文影评

Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1

河科大公选《经典英文电影欣赏》课程摘要

电影，也称映画（motion picture）:是由活动照相术幻灯放映术结合发展起来的一种现代艺术，是一门可以容纳文学、喜剧、摄影、绘画、音乐、舞蹈等多种艺术的综合艺术。 艺术界把电影称为是继文学、音乐、建筑、美术、雕塑、舞蹈之后的第七艺术。 西方电影经历了四个时期： 电影艺术萌发期（1895-1907）无声故事片创作时期（1908-1926） 有声故事片创作时期（1927-1945）电影艺术新发展时期（1945- ） （一）电影艺术萌发期 这一时期，存在着两种不同的摄影倾向;一种以卢米埃尔兄弟为代表，主要在现实中区捕捉生活现象，银幕上展现的就是人们身边的琐事；一种以梅里埃为代表，主要记载舞台上经过加工的虚构的生活图画。沿着这两种创作方式，发展呈后来的记录片和故事片两种片种。卢米埃尔兄弟的作品，均为纪实主义电影，银幕上展现的就是们身边的琐事。题材和内容大致可分为四个方面：劳动和工作的生活场景；家庭生活情趣的记录；政治、文化、新闻纪录；自然风光和街头实景。代表作品：《工厂的大门》《火车进站》《水浇园丁》《耶路撒冷教堂》《儿童吵架》《婴儿的早餐》。 1895年12月28日，卢米埃尔兄弟《火车进站》、《工厂大门》等标志着电影的诞生。 梅丽爱（1861-1938）对电影的贡献：1.把戏剧手法移植到电影中，完成了电影同戏剧首次“联姻”，丰富了电影表现力。2.自觉运用了人工布景，大摄影棚拍摄，重点虚构创造艺术效果。3.灵活运用停机拍摄，场面转换等拍摄技巧和方法。4.开创多种电影特技，如多次曝光、合成摄影、渐隐渐显、慢速摄影等。 （二）无声故事片创作时期： 这一时期的代表人物和电影流派包括：大卫·格里菲斯查理·卓别林德国表现主义电影法国印象主义电影超现实主义电影前苏联蒙太奇学派电影 大卫·格里菲斯:被誉为“现代电影观念的奠基者”。1.他将电影从依附于戏剧的形式中独立出来，采用文学观念进行创作，将电影从简单的记录层面提升到复杂点的叙事层面，使电影真正成为一门独立的艺术。2.他首创巨型片的先河，制作场面宏大，形式新颖，使用时空跳跃和蒙太奇对比手法，创造了世界电影史上著名的”最后一分钟营救发”，至今仍在电影创作中广泛使用。最著名的代表作品，包括：1915年《一个国家的诞生》（the birth of a nation）1916年的《党同伐异》（intolerance） 查理·卓别林：生平简介：英国电影演员，制片人，导演，不列颠帝国勋章佩戴者，1889年4月16日出生于伦敦，1977年12月25日卒于瑞士科西耶。代表作品：从1919年开始，卓别林独立制片，一生共拍摄80余部喜剧片，其中在电影史上著名的影片由《淘金记》《城市之光》《摩登时代》《大独裁者》《凡尔杜先生》《舞台生涯》等。创作特点：1.影片有着深刻而尖锐的现实主义批判精神，完全不同于以前的庸俗闹剧。2.卓别林的喜剧电影大都是带有悲剧色彩的喜剧，善于把一些对立的因素在艺术创作中有机的集合起来，这种对立关系的桥面处理发人深省，具有很强的艺术感染力，使悲喜交集达到高度的融合。3.卓别林用艺术夸张手法构成情节和人物动静的造型，构思巧、手法新，完全超脱了一般庸俗闹剧的旧模式，因而在创作上达到深刻的现实主义和卓越的浪漫主义想结合，从而使得卓别林的喜剧电影取得了很高的艺术成就。 德国表现主义电影：是20世纪一、二十年代在德国出现的把文学、戏剧、和绘画上的表现主义原则，运用于电影创作的电影流派，认为：“电影的画面应该像绘画作品一样”，创作者把本人的内心骚动，情绪外化于所免回的形象之中。创作特点：用荒诞离奇的手法，曲折而精确的反映出一战给德国人民带来的极度恐慌和惶惑的心情。银幕上呈现的是高度夸张、变形、主观化的世界。艺术特征:1.总体风格沉郁、灰暗、冷酷。2.内容倾向于黑暗题材的表现，人物往往具有象征含义。3.用变形、荒诞、失真、扭曲等手法反映现实。4.空间安排热衷舞