美國電影發展歷程英文

Ⅰ 誰能講一講美國恐怖電影的發展史

恐怖片是30年代作為一個電影類型出現在美國電影中的，當時美國的片場系統已然確立，使得Universal等公司能在Dracula與Frankenstein大獲成功後迅速流水線產出一大批恐怖電影。視聽風格上這類影片偏gothic，實際上受德國表現主義（德國表現主義_網路）的影響【因為納粹上台導致不少歐洲(尤其德國)導演，攝影師湧入美國，其中對這個類型影響最大的當屬導演Paul Leni，Edgar G. Ulmer，攝影師/導演Karl Freund，演員Conrad Veidt，雖然其中一些實際上活躍在20年代，但其影響是顯而易見的】。另一恐怖來源自然是「人物」--往往是面目猙獰的Monster。
除了上面提到的幾位，美國著名的則有導演Tod Browning，James Whale, 演員Lon Chaney，Bela Lugosi，Boris Karloff等。

Universal （環球唱片_網路）40年代仍在大量產出恐怖片，但已非31-36年的黃金時代可比【Universal在36年因為舉債投資拍攝未能如期還款，最終導致片場易手，新東家對於恐怖片的興趣不那麼大，加之觀眾的熱情也已衰減，此類型的衰退勢所必然】。

40年代最好的恐怖片由RKO的Val Lewton B Unit打造【執導影片的則是Jacques Tourneur等人】，這一系列的影片強調氣氛的營造與優美的攝影，從視聽語言上說，我以為是最好的美國恐怖片。

二戰以後片場體系很快面臨一系列的問題，最主要的是觀眾的流失。低成本的獨立製作開始風行【當然，以前的恐怖片也都是B級製作，但片場制下製作畢竟有一定的質量底線】。50-60年代在冷戰/核戰陰影下誕生了大量廉價的scifi-horror，充斥銀幕的是各種畸形或者外星的Monster。與此同時，恐怖片的種類也趨多元化；而隨著海斯法案（海斯法案_網路 ）的取締，恐怖片在性與暴力的尺度上迅速放開，青少年漸成恐怖片的主要消費者。這一時期最有影響的恐怖片片場是英國的Hammer與美國的AIP【由Roger Cormen掌舵】。

新好萊塢時期Exorcist與Rosemary's Baby的大獲成功使得恐怖片重新開始有了A級製作，且不乏優秀作品，不過B級仍是主流。

70年代的恐怖片更為多元，但其中最重要的亞類型可能是70年代末開始崛起並風靡了近十年的slasher。這類影片以青少年為主人公【很明顯地面向青少年市場】，強調兇殺的慘烈多樣與特效的真實，並大量運動兇手視點的主觀鏡頭【顯然受義大利giallo的影響】。同一時期，zombie片也開始流行，雖然不像slasher那樣流行，但始終保持著旺盛的生命力。
著作權歸作者所有，轉載請聯系作者獲得授權。

除了上面提到的幾位，美國著名的則有導演Tod Browning，James Whale, 演員Lon Chaney，Bela Lugosi，Boris Karloff等。

Universal （環球唱片_網路）40年代仍在大量產出恐怖片，但已非31-36年的黃金時代可比【Universal在36年因為舉債投資拍攝未能如期還款，最終導致片場易手，新東家對於恐怖片的興趣不那麼大，加之觀眾的熱情也已衰減，此類型的衰退勢所必然】。

40年代最好的恐怖片由RKO的Val Lewton B Unit打造【執導影片的則是Jacques Tourneur等人】，這一系列的影片強調氣氛的營造與優美的攝影，從視聽語言上說，我以為是最好的美國恐怖片。

二戰以後片場體系很快面臨一系列的問題，最主要的是觀眾的流失。低成本的獨立製作開始風行【當然，以前的恐怖片也都是B級製作，但片場制下製作畢竟有一定的質量底線】。50-60年代在冷戰/核戰陰影下誕生了大量廉價的scifi-horror，充斥銀幕的是各種畸形或者外星的Monster。與此同時，恐怖片的種類也趨多元化；而隨著海斯法案（海斯法案_網路 ）的取締，恐怖片在性與暴力的尺度上迅速放開，青少年漸成恐怖片的主要消費者。這一時期最有影響的恐怖片片場是英國的Hammer與美國的AIP【由Roger Cormen掌舵】。

新好萊塢時期Exorcist與Rosemary's Baby的大獲成功使得恐怖片重新開始有了A級製作，且不乏優秀作品，不過B級仍是主流。

70年代的恐怖片更為多元，但其中最重要的亞類型可能是70年代末開始崛起並風靡了近十年的slasher。這類影片以青少年為主人公【很明顯地面向青少年市場】，強調兇殺的慘烈多樣與特效的真實，並大量運動兇手視點的主觀鏡頭【顯然受義大利giallo的影響】。同一時期，zombie片也開始流行，雖然不像slasher那樣流行，但始終保持著旺盛的生命力。
而在隨著電影業的發展，新興的拍攝手法也層出不窮，典型的有《女巫布萊爾》（女巫布萊爾_網路），以家用手提攝相機拍攝的低成本電影，卻因其實逼真的鏡頭畫面感和強大的代入感，讓觀眾產生了前所未有的恐怖體驗。而後這種拍攝手法帶動了一波流行，近年來的《鬼影實錄》《隔離區》更是達到了此類影片的頂峰。

Ⅱ 西方電影的發展史

一：電影的的發明

1895月12月28日，盧米埃爾兄弟在巴黎卡鋪辛路十四號的「大咖啡館」地下室中第一次公開售票播放電影，標志著電影的正式誕生。

此後，電影影響愈大，被成為「機械文藝女神」。

其誕生和成長的歷 史，也即是連續攝影的機器、堅韌敏感的膠片和連續放映的機器這三種技術手段改進的過程。

（一）視覺殘留原理（0.1s~~0.4s)

比利時：普拉托

（二）照相技術

1.1824年，法國：尼艾浦斯——《餐桌》（世界第一張照片）

2.英國：穆布里奇——第一個將照相術用於活動攝影

3.法國：馬萊——1882年，第一次用一台攝影機拍攝電影

——1888年，第一架電影攝影機誕生

（三）動畫

1888年，法國：雷諾——光學影戲機

（四）膠片

1889年，愛迪生vs伊斯曼工廠合作創制

（五）放映機

1.1894年，迪克遜vs愛迪生——電影視鏡

2.法國：奧古莫斯

3.法國：盧米埃爾兄弟——活動電影放映機

二：電影美學思潮與流派

（一）寫實主義

1.樸素寫實主義（電影是「重現生活的機器」）

盧米埃爾兄弟——《工廠的大門》《嬰兒的午餐》《火車進站》

2.紀錄片派

(1)美國：弗拉哈迪（人類學紀錄流派）——《北方的納努克》

(2)維爾托夫（電影眼睛派）——《電影真理報》《電影眼睛》《前進吧，蘇維埃》《在世界六分之一的土地上》

(3)英國：約翰*格里爾遜

《飄網漁船》《從鄉村來到城市》《夜郵》

(4)荷蘭：尤里斯*伊文思——《橋》《雨》《四萬萬人民》《風》

3.德國新客觀派（即「街道電影」）

卡爾*格呂納——《街道》

喬治*派勃斯特——《沒有歡樂的街》

布魯諾*拉恩——《街頭慘劇》

4.法國詩意現實主義派

(1)先驅者

雷內*克萊爾 讓*維果

(2)代表人物

讓*雷諾阿——《母狗》《游戲規則》（最終確立世界電影寫實主義傳統並形成系統的寫實主義電影語法）

5.義大利新現實主義

(1)口號頌仔伍

「還我普通人」「把攝影機扛到大街上」

(2)誕生標志

1945年，羅西里尼——《羅馬，不設防的城市》

(3)代表人物

羅西里尼 維斯康蒂 德*西卡 西柴烈*柴伐梯尼 德*桑蒂斯

(4)代表作

《偷自行車的人》《羅馬11時》《艱辛的米》《溫別爾托*D》

6.心理式寫實主義

（二）現代主義

1.歐洲先鋒電影運動（以法國先鋒電影運動為主）

(1)創始人

法國：路易*德呂克

(2)代表作

《機械戚改舞蹈》《幕間休息》《一條安達魯狗》《卡里加里博士》

2.法國「新浪潮」電影運動

(1)代表人物

安德烈*巴贊（精神之父） 特呂弗 戈達爾 夏布羅爾 雅克*里維特

(2)代表作

《精疲力盡》《四百下》

(#)註：左岸派——《廣島之戀》《去年在馬里昂巴德》

3.義大利現代主義電影運動

(1)米*安東尼奧尼——《奇遇》《夜》《蝕》《紅色沙漠》《放大》

(2)費德里科*費里尼——《道路》《八部半》

（三）娛樂電影

1.重要人物

梅里愛 愛森斯坦 普多夫金

格里菲斯——《一個國家的誕生》

2.中心：好萊塢

（四）政治電影

1.法國

(1)代表人

雷內*阿利奧 卡蘭*卡爾茲 雷內*伏幾埃

(2)代表作

《 *** 中的鐵路員工》《這僅僅是開始》《溫德爾工廠的復工》

2.義大利

(1)代表人

塔維亞尼兄弟 弗朗西斯野或科*羅西

(2)代表作

《懷疑》《奎伊瑪達》《馬太伊事件》《一個警察局長的自白》《對一個不受懷疑的公民的調查》《工人階級上天堂》《希特勒的最後十天》《墨索里尼的最後行動》《我們曾如此相愛》三：好萊塢電影

（一）好萊塢影都簡史

1.1909年11月，「好萊塢之父」格里菲斯率領劇組至此拍攝影片

2.八大影片公司

米高梅(MGM) 派拉蒙 華納兄弟 20世紀福克斯

雷電華(RKO) 環球 聯美 哥倫比亞

3.好萊塢製片業五大基本特徵

高成本 高科技 高片酬 高收入 高利潤

（二）好萊塢電影發展史

1.默片時期(1896~~1923)

卓別林——《淘金記》《城市之光》《摩登時代》《大獨裁者》

勃斯特*基頓(喜劇電影奇才)(石面人)——《航海家》《將軍號》

哈洛德*蘇埃德

哈萊*蘭登

2.有聲電影時期(1923~~1932)

(1)1926年，華納：《唐璜》

(2)1927年，華納：《爵士歌王》

(3)1927年，《紐約之光》(標志有聲電影正式誕生)

3.蓬勃發展時期(1932~~1941)

(1)演員

MGM：葛麗泰*嘉寶 克拉克*蓋博 瑙瑪*希拉 費雯*麗

華納：卑蒂*戴維斯 亨弗萊*鮑嘉

派拉蒙：瑪琳*黛德麗 克勞黛*考爾白 賈利*古柏(英雄明星)

電影神童：奧遜*威爾斯

(2)代表作

《安娜*克里斯蒂》《瑞典女王》《茶花女》《亂世佳人》《一夜風流》

《告密者》《公民凱恩》《一個明星的誕生》《紅衫淚痕》

《綠野仙蹤》《呼嘯山莊》《關山飛渡》《費城故事》《蝴蝶夢》 《青山翠谷》

4.二戰時期(1939~~1945)

《血雨腥風》《大獨裁者》《納粹間諜的自白》《希特勒的子孫》

《納粹黨徒》《卡薩布蘭卡》

5.二戰後時期(1945~~20C70S末)

威廉*惠勒——《黃金時代》

約翰*休斯敦——《寶石嶺》

金*維多——《太陽浴血記》

賈利*古柏——《弗吉尼亞人》《永別了，武器》《戰地鍾聲》《正午》

亨弗萊*鮑嘉——《非洲皇後號》《馬耳它之鷹》《黑道》《夜長夢多》

奧黛麗*赫本——《羅馬假日》《戰爭與和平》《窈窕淑女》

瑪麗蓮*夢露

伊麗莎白*泰勒

凱瑟琳*赫本

6.20C70S末~~20C80S末

《克萊默夫婦》《普通人》《母女情深》《墜入情網》

《金色池塘》《雨人》《為黛西小姐開車》

喬治*盧卡斯《星球大戰》系列

斯蒂芬*斯皮爾伯格《E*T外星人》《第三類接觸》《大白鯊》《奪寶奇兵》

《紫色》《太陽帝國》

7.20C90S~~

《木乃伊》《駭客帝國》《第六感》《女巫布萊爾》《諾丁山》《落跑新娘》《間諜奧斯汀》《老爸向前沖》《將軍的女兒》《美國派》《泰山》《花木蘭》《獅子王》《沉默的羔羊》《阿甘正傳》《肖恩克的救贖》《勇敢的心》《楚門的世界》《泰坦尼克號》

斯蒂芬*斯皮爾伯格《辛德勒名單》《侏羅紀公園》《拯救大兵瑞恩》

（三）好萊塢電影業的特色

1.製片廠制度

2.明星制

3.獨立製片人制度

1977年，伍迪*艾倫《安女尼*霍爾》

斯派克*李

昆廷*塔倫蒂諾

斯蒂文*索德伯格

卡梅隆*克羅

科恩兄弟

4.類型片

(1)西部片

1903年，埃德溫*鮑特《火車大劫案》(奠定西部片基本特點)

1939年，約翰*福特《關山飛渡》(西部片特點全面形成)

《大地驚雷》《約克軍曹》《正午》

《不可饒恕》(20C90S西部片復甦標志之一)

《與狼共舞》(20C90S西部片復甦標志之一)

(2)科幻片

梅里愛《月球旅行記》

德國：弗里茨*朗格《大都市》(世界第一部現代科幻片)

英國：《侏儒》

1968年，斯坦利*庫布里克《2001：漫遊太空》(美國第一科幻片)

《第三類接觸》《星球大戰》《侏羅紀公園》《天地大沖撞》《駭客帝國》

(3)歌舞片

《爵士歌王》《百老匯旋律》

勃斯比*伯克萊《第42街》

弗雷德*艾斯蒂爾——《高帽》《巡迴演出》

金*凱利——《雨中曲》(第一歌舞片)

(4)犯罪片

1927年，《黑社會》

《疤面大盜》《教父》

阿爾弗雷德*希區柯克(懸念大師)《三十九級台階》《失蹤的女人》《蝴蝶夢》《愛德華夫人》《美人計》《後窗》《暈眩》《西北偏北》《精神病患者》《群鳥》

（一）法國電影簡史

1.盧米埃爾兄弟

《工廠的大門》《嬰兒的午餐》《火車進站》《出港的船》《水澆園丁》

2.梅里愛

《貴婦人的失蹤》《橡皮頭人》《管弦樂隊指揮》《月球旅行記》

《太空旅行記》《愛德華七世加冕典禮》

3.拉菲特兄弟

《吉斯公爵的被刺》《俄狄浦斯王》《哈姆雷特》《麥克白》

4.印象派(20C20S)

路易·德呂克《狂熱》《沉默》《西班牙的節日》《流 *** 》

謝爾曼·杜拉克《微笑的布德夫人》

阿倍兒·岡斯《車輪》《拿破崙傳》

讓·愛浦斯坦《紅色旅店》

萊皮埃《黃金國》

5.抽象主義(20C20S)

費爾南多·萊謝爾《機械舞蹈》

雷內·克萊爾《幕間節目》

6.超現實主義(20C20S)

謝爾曼·杜拉克《僧侶與貝殼》

布努艾爾《一條安達魯狗》

7.詩意現實主義(20C30S)

雷內·克萊爾《巴黎屋檐下》《百萬法郎》《自由屬於我們》《七月十四日》

讓·維果《尼斯景象》《塔利斯》《操行零分》《駁船亞特蘭特號》

讓·雷諾阿《母狗》《幻滅》《游戲規則》《吾土吾民》

8.新浪潮運動(1958~~1962)

夏布羅爾《漂亮的塞爾其》

特呂弗《淘氣鬼》《四百下》

戈達爾《筋疲力盡》

9.左岸派

阿侖·雷乃《廣島之戀》《去年在馬里昂巴德》

亨利·科爾皮《長別離》

羅布·格里葉《橫跨歐洲的特快列車》

瑪格麗特·杜拉《印度之歌》

Ⅲ 幫忙找電影發展史的英語版本，萬分感謝

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.

字數限制，沒辦法全發給你，如需要請留言。

Ⅳ 好萊塢電影的發展歷史

1853年，好萊塢只有一棟房子。

1870年，這里已成為一片興旺的農田。

1886年，從房地產生意發財的富商哈維·亨德申·韋爾考克斯在這里買下了0.6平方公里的土地。好萊塢這個名字來自英語的「holly」（冬青）。韋爾考克斯的夫人一次旅行時，聽到她旁邊的一個人說她來自俄亥俄州的一個叫做好萊塢的地方。她很喜歡這個名字，回到加州後就將她丈夫的農庄改稱為好萊塢了。韋爾考克斯計劃在這里建造一座小城。

1887年2月1日他在地區政府正式注冊此名。在他夫人的幫助下他鋪設了今天的好萊塢大街做為城市的主街，在這條大街和其它大街的兩旁種了胡椒樹並開始出售產權。他的夫人募資建了兩座教堂、一座學校和一座圖書館。為了使好萊塢名符其實，他們還進口了一些英國冬青，但這些植物在加州的氣候下沒有存活很久。

1900年，好萊塢已經有一間郵局、一家報社、一座旅館和兩個市場，其居民數為500人。10萬人口的洛杉磯位於市東11公里處。在好萊塢和洛杉磯間有一條單軌的有軌電車，但這輛電車的運行不準時，每程時間為兩小時。

1902年，今日著名的好萊塢酒店的第一部分開業。

1903年，好萊塢成為一個鎮。當年下的兩個命令是：除葯店外其他商店禁酒，以及不準在街上驅趕數量多於200的牛群。

1904年，一條新的被稱為好萊塢大街的有軌電車開業，使好萊塢與洛杉磯間的往返時間大大縮短。

1910年，好萊塢的居民投票決定加入洛杉磯。原因是這樣他們可以通過洛杉磯取得足夠的飲水和獲得排水設施。

1960年，女演員喬安娜·伍德沃德得到了第一顆星的殊榮。

1985年，好萊塢的商業和娛樂區被正式列入美國受保護的歷史性建築名單。

1999年，洛杉磯的地鐵開通到了好萊塢。

2001年，柯達劇院(Kodak Theatre)在Highland大道開業，成為奧斯卡獎頒獎禮新的舉辦場所。

2002年，一些好萊塢居民發動了一個讓好萊塢自主獨立，不再是洛杉磯一部分的運動。好萊塢市政府決定讓所有洛杉磯居民投票表決。獨立運動被以絕大多數否決。

(4)美國電影發展歷程英文擴展閱讀：

電影工業——

20世紀初，紐約和新澤西的電影公司開始遷向加州，原因是這里的天氣好，日照時間長。雖然當時已經有電燈了，但當時的電燈還不夠亮，當時最好的光源是陽光。除此之外，加州視野寬廣，有各種不同的自然風景。此外當時托馬斯·愛迪生持有電影的專利，而加州離新澤西非常遠，因此愛迪生很難在這里控制他的專利權。

在美國東岸，獨立的電影公司經常被愛迪生和他的代理人訴訟。在遙遠的加州沒有那麼多愛迪生的部下。即使他派人來加州，他的人往往比其消息來的晚，這樣一來這里的電影製造商就可以及時躲到附近的墨西哥去了。

1911年第一個電影工作室在好萊塢開業，同年已有15個其它的工作室在這里定居，成千上萬的夢幻製造者緊隨而至。

1923年，今天成為好萊塢象徵之一的白色大字「HOLLYWOOD」被樹立在好萊塢後的山坡上，本來這個字後面還有「LAND」四個字母，是一家建築廠商為了推銷新建好的的住宅社區設置的廣告看板。但它們被樹立起來以後就沒有人去管它們，以致漸漸荒廢。

一直到1949年，好萊塢商會將後面的四個字母去掉，並將其它字母修復。這個招牌今天受到商標保護，沒有經過好萊塢商會的同意，無人有權使用它。

1929年5月16日，奧斯卡金像獎第一次頒發，當時的門票是十美元，共有兩百五十人參加。

Ⅳ 好萊塢的歷史是什麼

好萊塢位於美國加利福尼亞州洛杉磯市郊區，美國著名的電影生產基鏈帆地。

1886年，房地產商哈維·維爾克特斯在洛杉磯郊區買下了一塊地，他的夫人將蘇格蘭運來的大批冬青樹栽在這里，就有了好萊塢這個名字（在英語中，Hollywood是冬青樹林的意思）。

1907年，導演弗朗西斯·伯格斯帶領他的攝制組來到洛杉磯，拍攝《基督山伯爵》。

他們發現，這里明媚的自然風光、充足的光線和適宜的氣候是拍攝電影的天然場所。

從1909年開始，著名的製片人格里菲斯在好萊塢以天然背景拍攝了好幾部影片。

當時，美國電影的中心在東部，紐約是大本營。

從此以後，許多電影公司紛紛來這里拍片，開始了美國電影業移師好萊塢的大轉移。

1912年起，許多電影公司在好萊塢落戶，著名的電影公司有：米高梅公司（Metro?Goldwyn?Mayer，簡稱MGM）、派拉蒙公司（Paramount）、二十世紀福克斯公司（20th Century Fox）、華納兄弟公司（Warner Brothers）、雷電華公司（Radio?Keith?Orpheum，簡稱RKO）、環球公司（Universal）、聯美公司（United Artists）、哥倫比亞公司（Columbia Pictures）。

早期，電影全是無聲電影，這一時期的電影都是喜劇，最著名的喜劇演員有查理·卓別林。

他的《城市之光》《摩登時代》《大獨裁者》等已經成為名垂青史的優秀影片告滑。

1923年，有聲電影問世，好萊塢空前繁榮起來。

1927年，在米高梅影業公司老闆路易斯·B·梅耶的指導下，美國電影藝術與科學學院正式成立。

不久，梅耶建議設立學院獎來鼓勵並表彰那些對電影事業做出突出成就的電影人。

於是，1929年5月16日，在好萊塢的羅斯福大酒店舉行了第一屆學院獎。

學院獎的獎品是一尊身高13.5英寸的錫銅合金的鍍金裸體人像。

1931年，當學院的圖書管理員看到這尊金像時吃襪喚臘驚地說：「它真像我的叔叔奧斯卡！」從此，奧斯卡這個名字就傳開了。

從第七屆起，學院獎正式更名為奧斯卡獎。

奧斯卡獎分為兩大類：成就獎和特別獎。

成就獎包括：最佳影片、最佳劇本、最佳導演、最佳表演、最佳攝影、最佳美工、最佳音樂、最佳音響、最佳化妝、最佳短片、最佳紀錄片、最佳動畫片和最佳外語片等。

在當今世界名目繁多的各種電影大獎中，奧斯卡獎無疑是最具權威、最有影響、設獎范圍最廣的電影獎。

它象徵著美國電影藝術的最高成就。

幾十年來，好萊塢拍出了許多膾炙人口的電影。

如二十世紀三十年代拍的《亂世佳人》《公民凱恩》、第二次世界大戰期間拍的《卡薩布蘭卡》、五十年代的《教父》、七八十年代的《克萊默夫婦》《金色池塘》《星球大戰》、九十年代的《辛德勒名單》《侏羅紀公園》《拯救大兵瑞恩》和《泰坦尼克號》。

如今，好萊塢在美國文化中已經具有了重大的象徵意義。

可以說，好萊塢的發展史就是美國電影的發展史。

好萊塢生產的影片不僅滿足美國電影市場的需要，還出口到世界各地，不僅輸出了美國的文化，更為好萊塢投資人帶來了豐厚的利潤

Ⅵ 求一篇電影發展史的作文，大學的，150字左右，要英文的急求！

The history of film spans over 100 years, from the latter part of the 19th century to the present day. Motion pictures developed graally from a carnival novelty to one of the most important tools of communication and entertainment, and mass media in the 20th century and into the 21st century. Most films before 1930 were silent. Motion picture films have substantially affected the arts, technology, and politics.
The cinema was invented ring the 1890s, ring what is now called the instrial revolution. It was considered a cheaper, simpler way to provide entertainment to the masses. Movies would become the most popular visual art form of the late Victorian age. It was simpler because of the fact that before the cinema people would have to travel long distances to see major dioramas or amusement parks. With the advent of the cinema this changed. During the first decade of the cinema's existence, inventors worked to improve the machines for making and showing films. The cinema is a complicated medium, and before it could be invented, several technological requirements had to be met

Ⅶ IMAX電影的發展歷史

Tiger Child 老虎的孩子(March 15,1970)
North of Superior (1971)
Garden Isle花園之島 (August 1973)
（註：第一部穹幕電影）(First OMNIMAX film.)
Catch the Sun 追趕太陽(1973)
Volcano 火山爆發(1973)
Standing Up Country (1973)
Circus World 馬戲世界(1974)
To Fly! 為了飛翔(July 1, 1976)
Genesis 一個樂隊(1978)
Living Planet 活力星球(1979) The Eruption of Mount St. Helens! 聖海倫火山(1980)The Great Barrier Reef 大堡礁(1981)
Hail Columbia! 哥倫比亞萬歲(1982)
El pueblo del sol (People of the Sun) 太陽的人民(1983)
Christine 克莉絲汀(1983)
An American Adventure 美國式冒險(1983)
Speed 速度(1984)
（註：不是那部大名鼎鼎的生死時速）
Grand Canyon: The Hidden Secrets 大峽谷(June 16, 1984)
Chronos 時空(1985)
The Dream Is Alive (OMNIMAX) 執著的夢想(1985)
(註：穹幕電影)
We Are Born of Stars 我們生為明星(3D) (1985)
Niagara: Miracles, Myths, and Magic 飛越尼加拉瓜大瀑布(1986)
Transitions (3D) (1986)
Seasons (1987)
Beavers 海狸(1988)
The First Emperor of China 秦始皇(1989)
To the Limit 沖向極限(1989) 1990
Blue Planet 藍色星球(1990)
1991
Ring of Fire 火山？響火？(January 19, 1991)
Antarctica 南極物語(October 18, 1991)
1992
Fires of Kuwait 科威特之火(1992)
Momentum 超感應戰將(1992) (First IMAX HD film.)
Mountain Gorilla 山地大猩猩(1992)
Tropical Rainforest 熱帶雨林(1992)
Rolling Stones to the MAX 滾石樂隊(1992)
1993
Hidden Hawaii 探索夏威夷(1993)
The Discoverers 發現者(1993)
The Secret of Life on Earth 生命的秘密(1993)
Flight of the Aquanaut 潛水之旅(1993)
1994
Destiny in Space 宇宙心(1994)
Into the Deep 走進深淵(3D) (1994)
Yellowstone 黃石公園(1994)
Africa: The Serengeti 非洲：塞倫蓋蒂國家公園(April 1, 1994)
1995
Mystery of the Maya 神秘的瑪雅(1995)Search for the Great Sharks 鯊魚探索(1995)
The Living Sea 生命的海洋(February 1995)
Titanica 鐵達尼號大搜查(April 1995)
Wings of Courage 某某的翅膀？(3D) (June 16, 1995)
Stormchasers 風暴之艦(October 1995)
Across the Sea of Time 穿越時間之海(3D) (October 20, 1995)
1996
Cosmic Voyage 宇宙之旅(1996)
Survival Island 活魂島(1996)
The Magic of Flight 飛行的魔術(1996)
Zion Canyon: Treasure of the Gods 錫安(1996)
Special Effects: Anything Can Happen 特別效果：一切皆有可能(July 4, 1996)
L5: First City in Space L5：第一個太空城市(3D) (October 11, 1996)
Hearst Castle, Building the Dream 夢幻城堡(1996)
1997
Alaska: Spirit of the Wild 阿拉斯加：野生動物的精神(1997)Amazon 亞馬遜(1997)
Super Speedway 高速公路(1997)
Whales: An Unforgettable Journey (1997)
The Hidden Dimension 鯨奇之旅(3D) (May 9, 1997)
Thrill Ride: The Science of Fun (July 11, 1997)
Mission to Mir 別了.和平號(October 17, 1997)
The IMAX Nutcracker 胡桃鉗王子(3D) (November 27, 1997)
1998
Mysteries of Egypt 埃及秘辛(1998)
The Greatest Places 勝地(1998)
Mark Twain's America 馬克吐溫的美國？(1998)
Everest 珠穆朗瑪(March 6, 1998)
T-Rex: Back to the Cretaceous 回到白堊紀(3D) (October 23, 1998)
1999
Alien Adventure 外星人地球歷險記(3D) (1999)
Hemingway: A Portrait 海明威肖像(usually shown as a double-feature with The Old Man and the Sea) (1999)
註：通常與《老人與海》兩場聯映
Siegfried & Roy: The Magic Box 白老虎秀‧神奇的魔法盒(3D) (1999)
The Old Man and the Sea 老人與海(usually shown as a double-feature with Hemingway: A Portrait) (1999)
註：通常與《海明威肖像》兩場聯映
Wolves 狼(March 1, 1999)
Encounter in the Third Dimension 三度空間的奇幻世界(3D) (March 31, 1999)Island of the Sharks 鯊魚島(April 30, 1999)
Extreme 末日(June 11, 1999)
Amazing Journeys 驚異之旅(October 15, 1999)
Galapagos 大龜群島(October 27, 1999) 2000
Fantasia 2000 幻想曲2000(January 1, 2000)
Cirque Soleil: Journey of Man 太陽馬戲團：人生之旅3D (2000)
Ultimate G's 飛行之夢(2000)
Dolphins 海豚(April 14, 2000)
Michael Jordan to the MAX 極限喬丹(May 5, 2000)Adventures in Wild California 加利福尼亞(May 12, 2000)
Ocean Oasis 海洋綠洲(September 13, 2000)
Solarmax 活力太陽(September 15, 2000)
Cyberworld 守護世界3D (October 6, 2000)
2001
Bears 熊(2001)
Great North 大北方(2001)
Lost Worlds: Life in the Balance 失落的世界(2001)
The Legend of Loch Lomond 洛蒙德湖(2001)
Shackleton's Antarctic Adventure 絕境鬥士(February 10, 2001)
Haunted Castle 藍精靈(3D) (February 23, 2001)
Journey into Amazing Caves 別有洞天(March 2001)
The Princess and the Pea 豌豆公主(May 19, 2001)
All Access: Front Row. Backstage. Live. 搖滾名人堂(May 20, 2001)
China: The Panda Adventure 與熊貓共探險(June 9, 2001)
The Human Body 人體(October 14, 2001)
Ski to the Max (October 18, 2001)
2002
Lewis & Clark: Great Journey West 劉易斯.克拉克與通向太平洋之路(2002)
SOS Planet 拯救星球(3D) (2002)
Star Wars Episode II: Attack of the Clones: The IMAX Experience 星戰大戰2-克隆人的進攻(2002) (First IMAX DMR film.)
（註：第一部IMAX數字電影）
Straight Up: Helicopters in Action 直升機在行動(2002)
Beauty and the Beast: Re-Release 美女與野獸(January 1, 2002)
Kilimanjaro: To the Roof of Africa 乞力馬扎羅山-非洲之巔(March 1, 2002)
Space Station 3D 宇宙空間站(April 27, 2002)
Ultimate X: The Movie 極限運動(May 6, 2002)
Australia: Land Beyond Time 澳大利亞：跨越時間之地(May 25, 2002)
India: Kingdom of the Tiger 印度-老虎王國(June 14, 2002)
Apollo 13: The IMAX Experience 阿波羅13號(September 12, 2002)
Pulse: A Stomp Odyssey 破銅爛鐵2：脈動沖擊(October 17, 2002)
Jane Goodall's Wild Chimpanzees 珍古德的野生黑猩猩(October 25, 2002)
Santa vs. the Snowman 聖誕老人與雪人3D (November 1, 2002)
Treasure Planet: The IMAX Experience (November 27, 2002)
The Lion King: Re-Release 獅子王(December 25, 2002)
2003
Misadventures in 3D 新成長的煩惱(2003)
Roar: Lions of the Kalahari獅王爭霸(2003)
Texas: The Big Picture 大圖？(2003)Ocean Wonderland 海洋仙境3D (February 11, 2003)
Coral Reef Adventure 珊瑚礁(February 14, 2003)
Ghosts of the Abyss 深淵幽魂(3D) (April 11, 2003)
Adrenaline Rush: The Science of Risk 極限飛躍：冒險的內涵(April 18, 2003)
Country Music: The Spirit of America 鄉村音樂：美國的靈魂(June 2, 2003)
The Matrix Reloaded: The IMAX Experience 黑客帝國2：重裝上陣(June 6, 2003)
Bugs! A Rainforest Adventure 熱帶雨林里的昆蟲(3D) (July 25, 2003)
Volcanoes of the Deep Sea 深海火山(September 14, 2003)
The Matrix Revolutions: The IMAX Experience 黑客帝國3：矩陣革命(November 5, 2003)
Young Black Stallion 黑神駒前傳(December 7, 2003)
2004
Sharks 大鯊魚3D (2004)
NASCAR 3D: The IMAX Experience 超級三維賽車(March 12, 2004)
Spider-Man 2: The IMAX Experience 蜘蛛俠2(July 23, 2004)
Harry Potter and the Prisoner of Azkaban: The IMAX Experience 哈利·波特與阿茲卡班的囚徒(June 4, 2004)
Fighter Pilot: Operation Red Flag 藍天鐵翼-紅旗軍演(December 2, 2004)
The Polar Express: The IMAX 3D Experience 極地特快(November 10, 2004) (First feature-lengthfilm to be released in both 35 mm and IMAX 3D.)
（註：第一部35mm和IMAX混合放映的3D電影？）
2005
Wild Safari 3D 盾甲龍(2005)
Aliens of the Deep 深海異形(3D) (January 28, 2005)
Mystic India 神秘印度(February 2005)
Mystery of the Nile 尼羅河的秘密(February 17, 2005)
Robots: The IMAX Experience 機器人歷險記(March 11, 2005)
Batman Begins: The IMAX Experience 蝙蝠俠IMAX大電影(June 15, 2005)
Charlie and the Chocolate Factory: The IMAX Experience 查理和巧克力工廠(July 15, 2005)
Magnificent Desolation: Walking on the Moon 3D 月球漫步記(September 23, 2005)
Harry Potter and the Goblet of Fire: The IMAX Experience 哈利波特與火焰杯(November 18, 2005)
Wired to Win (December 2005)
2006
Hurricane on the Bayou 海灣的颶風(2006)
Roving Mars 漫遊火星(January 27, 2006)
Greece: Secrets of the Past 希臘迷城(February 16, 2006)
Deep Sea 3D 深海(March 3, 2006)
V for Vendetta: The IMAX Experience V字仇殺隊(March 17, 2006)
Poseidon: The IMAX Experience 海神號歷險記(May 12, 2006)
Superman Returns: The IMAX 3D Experience 超人歸來(partial 3D) (June 28, 2006)
The Ant Bully: The IMAX 3D Experience 別惹螞蟻(July 28, 2006)
Open Season: The IMAX 3D Experience 叢林大反攻(September 29, 2006)
Happy Feet: The IMAX Experience 快樂的大腳(November 17, 2006)
Night at the Museum: The IMAX Experience 博物館奇妙夜(December 22, 2006)
2007
The Alps 阿爾卑斯(2007)
300: The IMAX Experience 斯巴達300勇士(March 9, 2007)
Dinosaurs Alive 3D 恐龍再現(March 30, 2007)
Dinosaurs: Giants of Patagonia 恐龍3D：巴塔哥尼亞(3D) (April 5, 2007)
African Adventure: Safari in the Okavango 非洲冒險(3D) (May 1, 2007)
Spider-Man 3: The IMAX Experience 蜘蛛俠3(May 4, 2007)
Mummies 3D: Secrets of the Pharaohs 木乃伊：法老王的秘密(May 25, 2007)
Harry Potter and the Order of the Phoenix: The IMAX 3D Experience 哈利·波特與鳳凰社(partial 3D) (July 11, 2007)
Transformers: The IMAX Experience 變形金剛(September 21, 2007)
Sea Monsters: A Prehistoric Adventure 與海怪同行-史前探險(3D) (October 5, 2007)
Beowulf: The IMAX 3D Experience 貝奧武夫(November 16, 2007)
I Am Legend: The IMAX Experience 我是傳奇(December 14, 2007)
2008
Dolphins and Whales 3D: Tribes of the Ocean 海洋部落：鯨魚與海豚(2008)Grand Canyon Adventure: River at Risk 大峽谷(2008)
Wild Ocean 3D 海洋世界(2008)
U2 3D (January 23, 2008)
The Spiderwick Chronicles: The IMAX Experience 奇幻精靈歷險記(February 14, 2008)
Shine a Light: The IMAX Experience 閃亮之光(April 4, 2008)
Speed Racer: The IMAX Experience 極速賽車手(May 9, 2008)
Kung Fu Panda: The IMAX Experience 功夫熊貓(June 6, 2008)
The Dark Knight: The IMAX Experience 蝙蝠俠(July 18, 2008)
Fly Me to the Moon: The IMAX 3D Experience (August 8, 2008)
Steep 險峰(September 26, 2008)
Eagle Eye: The IMAX Experience 鷹眼(September 26, 2008)
Madagascar: Escape 2 Africa: The IMAX Experience 馬達加斯加2(November 7, 2008)
The Day the Earth Stood Still: The IMAX Experience 地球停轉之日(December 12, 2008)
2009
Under the Sea 3D 海底世界3D(February 13, 2009)
Jonas Brothers: The 3D Concert Experience 喬納斯兄弟(February 27, 2009)
Watchmen: The IMAX Experience 守望者(March 6, 2009)
Monsters vs. Aliens: The IMAX 3D Experience 異形大戰鐵血戰士(March 27, 2009)
Star Trek: The IMAX Experience 星際迷航(May 8, 2009)
Night at the Museum: Battle of the Smithsonian: The IMAX Experience 博物館奇妙夜2(May 22, 2009)
Transformers: Revenge of the Fallen: The IMAX Experience 變形金剛2(June 24, 2009)
Harry Potter and the Half-Blood Prince: The IMAX 3D Experience 哈利·波特與混血王子(partial 3D) (July 29, 2009)
Cloudy with a Chance of Meatballs: The IMAX 3D Experience 美食從天降(September 18, 2009)
Where the Wild Things Are: The IMAX Experience 野獸家園(October 16, 2009)
Michael Jackson's This Is It: The IMAX Experience 就是這樣(October 28, 2009)
A Christmas Carol: The IMAX 3D Experience 聖誕頌歌(November 6, 2009)
Avatar: The IMAX 3D Experience 阿凡達(December 18, 2009) 2010
Alice in Wonderland: The IMAX 3D Experience 愛麗絲夢遊仙境(March 5,2010)
How to Train Your Dragon: The IMAX 3D Experience 馴龍記(March 26, 2010)
Iron Man 2: The IMAX Experience 鋼鐵俠2(May 7, 2010)
Shrek: The Final Chapter: The IMAX 3D Experience 怪物史萊克(May 21, 2010)
Prince of Persia: The Sands of Time: The IMAX Experience 波斯王子(May 28, 2010)
Toy Story 3: The IMAX 3D Experience 玩具總動員3(June 18, 2010)
The Twilight Saga: Eclipse: The IMAX Experience 暮光之城：月食(June 30, 2010)
Inception: The IMAX Experience 盜夢空間(July 16, 2010)
Resident Evil: Afterlife: The IMAX 3D Experience 生化危機4(September 10, 2010)
Legend of the Guardians: The Owls of Ga'Hoole: The IMAX 3D Experience 貓頭鷹王國：守衛者傳奇(September 24, 2010)
Harry Potter and the Deathly Hallows (Part I): The IMAX 3D Experience 哈利·波特與死亡聖器(上)(November 19, 2010)
Tron Legacy: The IMAX 3D Experience 電子世界爭霸戰2(December 17, 2010)
2011
Sucker Punch: The IMAX 3D Experience 美少女特工隊(March 25, 2011)
Kung Fu Panda 2: The Kaboom of Doom: The IMAX 3D Experience 功夫熊貓2(June 3, 2011)
Transformers 3: The IMAX 3D Experience 變形金剛3(July 1, 2011)
Harry Potter and the Deathly Hallows (Part II): The IMAX 3D Experience 哈利·波特與死亡聖器（下）(July 15, 2011)
Cowboys & Aliens: The IMAX 3D Experience 牛仔與外星人(July 29, 2011)
Happy Feet 2: The IMAX 3D Experience 快樂的大腳2(November 18, 2011)
2012年及之後
The Avengers: The IMAX 3D Experience 復仇者聯盟(May 4, 2012)
Madagascar 3: The IMAX 3D Experience 馬達加斯加3(May 18, 2012)
Untitled Spider-Man Reboot: The IMAX 3D Experience 超凡蜘蛛俠(July 3, 2012)
Batman 3: The IMAX Experience 蝙蝠俠3(July 20, 2012)
Mad Max 4: Fury Road: The IMAX Experience 瘋狂的麥克斯4(2012-2013)
Dark Shadows: The IMAX Experience 黑暗陰影(2012-2013)
The Hobbit: The IMAX 3D Experience 霍比特人(2013)
The Man of Steel: The IMAX 3D Experience 超人：鋼鐵之軀(2012-2013)
Jurassic Park IMAX3D 侏羅紀公園IMAX3D （August8，20，2013）3D重映
（註：以上列表均為編者整理其他網站內容，中文翻譯為本人依次查找網路及其對手獲知，基本保證了中文譯名的准確性，但由於本人經歷及閱歷有限，許多老電影沒有查到，歡迎大家繼續整理添加————————————————編者注）
為什麼不是所有的IMAX影片都採用IMAX 3D？
拍攝或是轉換成一部影片到IMAX 3D的決定要根據計劃而定，並且要考慮諸多因素。《極地特快：IMAX 3D體驗》的成功，以及許許多多其他3D影片亮相於IMAX影院，IMAX將致力於發展盡可能多的IMAX 3D影片。
中國IMAX電影
《唐山大地震》2010年7月22日
《建黨偉業》2011年6月15日
《龍門飛甲3D》2011年12月16日
《太極：從零開始3D》2012年9月27日
《太極：英雄崛起3D》2012年10月25日
《一九四二》 2012年11月29日
《十二生肖3D》2012年12月20日
《一代宗師》2013年1月8日
《太極俠》 2013年7月5日
《狄仁傑之神都龍王3D》2013年9月28日