西方電影文化簡(jiǎn)史

內(nèi)容概要

　　西方電影文化的歷史?！段鞣诫娪拔幕?jiǎn)史》內(nèi)容豐富，講解通俗易懂，可作為各級(jí)各類學(xué)校相關(guān)專業(yè)的教材，也可作為大中專學(xué)生及各類從業(yè)人員素質(zhì)培養(yǎng)的理想教材，還可作為廣大讀者學(xué)習(xí)電影文化的參考書。

作者簡(jiǎn)介

　　周文革，男，漢族，1966年生，湖南省茶陵縣人。1988年6月畢業(yè)于湖南湘潭師范學(xué)院（現(xiàn)為湖南科技大學(xué)）并留校工作。2004年6月獲中南大學(xué)外國(guó)語言學(xué)及應(yīng)用語言學(xué)碩士學(xué)位?，F(xiàn)任湖南科技大學(xué)副教授、碩士生導(dǎo)師。先后在各類學(xué)術(shù)刊物公開發(fā)表論文二十余篇，主持湖南省社會(huì)科學(xué)規(guī)劃課題、湖南省教育廳科研課題和校級(jí)教改課題各一項(xiàng)。

書籍目錄

CHAPTER 1　　HISTORICAL HIGHLIGHTSCHAPTER 2　　CHRONOLOGY OF MAJOR EVENTSCHAPTER 3　　A LONG WAY TO MOVIES3.1　　Introduction3.2　　A Brief History of Pre-cinema3.3　　Pinhole images3.4　　The Camera Obscure Effect3.5　　The Magic Lantern3.6　　The Phantasmagoria3.7　　Persistence of Vision3.8　　Photography3.9　　Motion Study Analysis3.10　 Commercialization of Film3.11　 Historical BackgroundCHAPTER 4　　MOST FAMOUS CHARACTERS IN THE HISTORY OF CINEMATOGRAPHYCHAPTER 5　　ACADEMY AWARD WINNERS AND OTHER MAJOR FILMAPPENDIX 1　 TOP GROSSING FILMS OF ALL TIMESAPPENDIX 2　 GLOSSARY

章節(jié)摘錄

　　CHAPTER 1 HISTORICAL HIGHLIGHTS　　In the period previous to the 1930s， the predominant form of filmmaking was that of the crank camera. This is not to say that motor-driven cameras were not possible.However， the motors to advance the film were so large that they were simply to cumbersome to be effective. Thus， it was the cameraman himself who would crank the film at a steady rate to expose the frames. When it came to showing the film， on the other hand， motor driven projectors were quite convenient， and by the 1920s a standard 24-frame per second was established for projecting films. Filming， however，remained unstandardized due to the inherent variation in recording speeds， since it depended directly on the cameraman. An experienced cameraman was capable of filming an entire film at approximately the same speed， yet often variations were made in the recording speed for dramatic effect. Decreasing the number of cranks， for example， exposed fewer frames and thus when projected at the standard 24 frames created the frenzied action that characterized much of the Vaudeville cinema.　　The French filmmaker Georges Melies was among the first to employ changing backdrops and costumes to tell his story. Up until that point many films were only a few minutes long taking place on a single set. Changing sets and costumes opened avast range of new possibilities and spurred further growth in the fledgling industry. As the film industry expanded in America， filmmakers found an increasing need to establish a single location at which they could build sets and film undisturbed. The bright sunlight， relative stability of climate， and varied terrain found in California made it an ideal place to film， much of the reason for the industrys concentration there.　　During this time， films were shot on a single reel， resulting in filmstrips that were only 15-20 minutes. Independent producers pioneered the use of double reel filmmaking during the years before the First World War. This allowed much longer films and opening the door for further opportunity， both financially and creatively， as well as bringing into being the double reel camera that became such an icon of movie production.

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