電影歷史英文

① 用英文介紹一下電影歷史

早期無聲片
軟性電影
早期類型影片
費穆的「儒家電影」
傳教電影
李香蘭和「滿映」電影
持攝影機的人們
先鋒實驗電影

自己翻譯下

② 英文電影發展史

這個也太有難度了吧，非得專業人士不行啊，建議你還是直接娶你老師那邊索要得了，呵呵，大不了請吃頓飯完事！

③ 英語電影 有關歷史

近期的
百夫長Centurion (2010)
劇情
尹 胰 在公燥元117臣年，羅馬試圖埠入諸侵扦英迸國，跟隨揩羅馬赫爭赫有瀉名起的攀第樓九軍攀團脂以及冊軍革團覺統帥「Virilus將臼軍崖」箭遠躲征英靖國的百喻夫瞎長昆圖斯·哎迪牙亞斯饞（Quintus Dias），奉命瑟北上槽除掉叢匹誰克燃特族矚人首臻領Gorlacon，墨並服將該棉族榴人獄斬滯盡刮殺伸絕。畝不過在莖匹克特雍人偷襲綳中，該忘軍團全貫軍癸覆滅，滁只有昆枚圖斯·迪亞蹭斯椿得以倖存。投而歐嘉·柯誨瑞附蘭寇飾骨演蹲的鷹艾噓泰恩，因庸為與全家企被瓤羅勘馬慚人殺害，她自惋己廈也被割掉了掀舌茹頭，頤從而窯和昆噓圖斯典·迪緘亞斯一摯起走上了餓復仇辦之路瓮。

分手信Dear John (2010)
劇情
影片改編自「美式純愛系小說天王」尼古拉斯·斯帕克斯的小說，戰爭的創痛、愛情的心碎、成長的代價——種種際遇娓娓道來。

奇襲60陣地Beneath Hill 60 (2010)
劇情
奧利弗伍德沃德的非凡真實故事。這是1916年，德沃德淚別他的年輕女友，從軍前往西部前線，其間還要穿越德國陣地。德沃德和他的團隊從事秘密隧道工事，鋪設炸葯。他們的努力將改變戰爭的進程。

特殊關系The Special Relationship (2010)
劇情
影片聚焦的是1997年至2000年期間，當時的英國首相托尼·布萊爾與當時的美國總統比爾·柯林頓之間的「親密聯系」。

國王的演講The King's Speech (2010)
劇情
這部講述伊麗莎白二世的父親喬治六世國王生平的傳記電影，在開拍伊始就被看好成為2011年各大獎項的種子選手。

公眾之敵Public Enemies (2009)
劇情
在上世紀30年代的大蕭條中，約翰·迪林格和同夥搶遍了美國的中西部銀行，聯邦調查局探員茂文·普維斯誓要將其捉拿歸案。

本人非常推薦的
父輩的旗幟Flags of Our Fathers (2006)
劇情
改編自詹姆斯·布拉德利所著的小說《父輩的旗幟：硫黃島戰役的英雄們》，影片最值得關注的是伊斯特伍德怎樣去展示「敵人」的故事

拯救大兵瑞恩Saving Private Ryan (1998)
劇情
當百萬大軍登陸諾曼底海灘時，一小隊由約翰·米勒中尉（湯姆·漢克斯飾演）率領的美軍士兵卻深入敵區，冒著生命危險拯救一名士兵詹姆斯·雷恩（麥特·戴蒙飾演）。詹姆斯·雷恩是家中四兄弟的老幺，他的三名兄長都在這次戰役中相繼陣亡。美國作戰總指揮部的將領為了不讓這位不幸的母親再承受喪子之痛，決定派一支特別小分隊，將她僅存的兒子安全地救出戰區。

風語者Windtalkers (2002)
劇情
二戰中，納瓦霍文被用作為最高機密的密碼，因為日本軍隊沒法解破它，因此保護納瓦霍士兵加爾成了美國海軍上尉喬的重要任務。

辛德勒的名單Schindler's List (1993)
劇情
德國投機商人辛德勒為了賺錢，在自己的工廠中使用廉價的猶太人。面對納粹的屠殺，辛德勒開始想法保護盡可能多的猶太人。

肖申克的救贖The Shawshank Redemption (1994)
劇情
故事發廈生在1947匙年，橡銀測行家倪安迪被篡當作假殺衙害妻仗子趾與悔情夫授的氈兇手送旗上斥法庭，犢安淋迪被竹判謂無期杉徙端刑根，糾這熔意赤味印著二他將狽在敢肖詣恩克監獄中渡郁過劈餘生。

④ 美國電影史英文版

英譯：For a long time, the United States only to the film as a means of entertainment to Hollywood as a story and fantasy proction factories, so first of all note that the movie business value. However, after 70 years, the American film has been great development in academic research. In 1967, both in Washington and Los Angeles have established the American Film Institute (AFI). Film Archive, throughout the United States, including important ones are the New York Museum of Modern Art, Rochester's Eastman Film Archive, the Library of Congress, Washington, Berkeley Pacific Film Archive. 8 large film company has disintegrated or converting 60 years after the
A large number of film and archives donated to the museum and the University Film Studies Center, the study of national film traditions, protect their heritage plays a significant role in the film.

By 1900, Hollywood has a post office, a newspaper, a hotel and two markets, its residents number 500. 100,000 population in Los Angeles in the city, 11 kilometers east. In Hollywood and Los Angeles have only a single-track tram. 1902 Hollywood hotel, now known as the first part of the opening. In 1903, here upgraded to the city's 177 voting residents of the right to vote unanimously endorsed by the "Hollywood," named after whom. That year under the two commands are: In addition to pharmacies in other stores outside the prohibition, and no amount of driving in the streets more than 200 cattle. 1904
A new so-called Hollywood Avenue streetcar opened, so that between the Hollywood and Los Angeles round-trip time significantly shortened. In 1910, Hollywood residents voted to join the Los Angeles. The reason is so that they can be in Los Angeles drinking water and access to adequate drainage facilities.
In 1907, director Francis Burgess led his crew arrived in Los Angeles, filming "Count of Monte Cristo." They found that, where beautiful natural scenery, plenty of light and suitable climate is the natural place for filming. The early 1910s, director David Griffith Biograph company was sent to the West Coast to make a film, he took Lillian Gish, Mary-bi g-fu and other actors came to Los Angeles. They were then looking for a new site, so proceed north, came a warm small town, and that is Hollywood. Biograph company found here in good condition
So back to New York before they filmed several movies. Graally many people in the instry know that invaluable piece of land, to the increasing number of Hollywood movie crew, the U.S. film instry moved to Hollywood's big movement started, Hollywood movies have to be forward.
October 1911, a group from New Jersey to film-makers on the ground that under the leadership of the photographer came to a small Inn called Bu Lang, they will rent the inn converted into a studio look. In this way, they created Hollywood's first film studio - Ernest Pictures.
Since then, many film companies settled in Hollywood, the famous film companies: MGM (Metro Goldwyn Mayer, called MGM), Paramount Pictures (Paramount Pictures, Inc.), Twentieth Century Fox (20th Century Fox), Warner Bros. (Warner Brothers), RKO (Radio Keith Orpheum, referred to as RKO), Universal (Universal), United Artists Corporation (United Artists), Columbia Pictures (Columbia Pictures).

【中文】
關於美國電影
長期以來，美國只把電影看作是娛樂手段，把好萊塢當成生產故事和幻想的工廠，因此首先注意影片的商業價值。但是，70年代前後，美國電影學術研究有了很大的發展。1967年，在華盛頓和洛杉磯兩地成立了美國電影研究院（AFI）。電影資料館遍布全美，其中重要的有紐約現代藝術博物館、羅切斯特的伊斯曼電影數據館、華盛頓國會圖書館、伯克利太平洋電影資料館等。8大影片公司於60年代先後解體或轉產之後，影片和檔案大量捐贈給上述資料館和各大學的電影研究中心，對研究本國電影傳統、保護本國電影文物起著很大作用。

二十世紀的好萊塢：到1900年，好萊塢已經有一間郵局、一張報紙、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只有一條單軌的有軌電車。1902年，今天著名的好萊塢酒店的第一部分開業。1903年，此地升格為市，參加投票的177位有選舉權的居民一致贊同以「好萊塢」為之命名。當年下的兩條命令是：除葯店外其他商店禁酒，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。
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。1910年代初，導演大衛·格里菲斯被Biograph公司派到西海岸來拍電影，他帶著麗蓮·吉許、瑪麗·璧克馥等演員來到了洛杉磯。他們後來想尋找一塊新的地盤，於是向北出發，來到了一個熱情的小鎮，那就是好萊塢。Biograph公司發現此地條件不錯，於是在回紐約前又陸續拍了好幾部電影。漸漸許多業內人士都知道了這塊寶地，到好萊塢的電影劇組越來越多，美國電影業移師好萊塢的大轉移開始，好萊塢向成為電影之都邁進。
1911年10月，一批從新澤西來的電影工作者在當地以為攝影師的帶領下，來到一家叫布朗杜的小客棧，他們將租到的客棧改裝成一家電影公司的樣子。這樣，他們創建了好萊塢的第一家電影製片廠——內斯特影片公司。
從那以後，許多電影公司在好萊塢落戶，著名的電影公司有：米高梅電影公司（Metro Goldwyn Mayer，簡稱MGM）、派拉蒙影業公司（Paramount Pictures, Inc.）、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）、哥倫比亞影業公司（Columbia Pictures）。

⑤ 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。

⑥ 求英文的電影史

A sense, is an incomplete film history is the history of three-quarters of the film. Who constitute a large number of the nation's precious memory by destroying the image and key and forgotten, into the mainstream of history to write the "missing persons."
I used the "missing persons" and have a al meaning: one sense refers to the physical disappearance of the film (war, political burned, technology, the loss of people, changes in natural conditions, etc.), they are taking time through archaeological , to locate and repair to reproce, in which one of the few substantive breakthroughs; one refers to the sense of writing and rhetoric of the disappearance of (ideological writing film history, history of science rational deviation), which is the largest Chinese film history the "characteristics": This is a been repeatedly torn film history, a number of rare in this kind of preposterous history have surfaced, such as the ghost.
Following these films we will never be able to see some figures that we had never heard of --
Early silent films
From "dingshangjun" began, the Chinese film proction boom continues. To 1926, the National 175 size film company, procing a large number of funny short films, scenes of life films and so on in 1922 is now only one of the "labor of love" (also known as "throwing fruit geo") be retained and become part of our to see the earliest images of China. Around 1927, a grand and spectacular scale of "costume dramas" campaign launched a film of a commercial crisis. Today we see the first one ishouyaodirector in 1927's "Romance of the Western Chamber." Lai Man-wai, who is also the strong financial support of the shooting was a "large" " has also been. 20 era has been an "advocate for the film movement", resulting in a large number of excellent works. Lai Man-wai, studies in recent years, more and more obvious its outstanding contribution to China's film will not only be regarded as "Father of Hong Kong film", but also by critics of the tree as "the father of Chinese film." In Shanghai in 1920 proced "Health" as China's first successful commercial film. Most of these films were lost in the war and the impermanence of things.
"Soft films"
This is a group of beautiful film, which embodies the well-ecated population was the most fun of intellectuals and members of the public pleasure. March 1933, Liu Naou, Mr Lester Jammu and others founded the "Modern Film" magazine, as a modernist writer, they claim, "the film is to the eyes eat ice cream, which are open to the soul of the sofa chairs to sit." They insist on film "film" in nature, the introction of "Anthurium Night," "the embodiment of girl" and "humanitarianism" and "pink dream" and other films. But at the time it was the left-wing critic of the severe criticism, even the mainland later rejected orthodox film history. A long time, they only left-wing films as the family exists, even if these "soft film" part of film criticism in the years to survive, in fact from the film history has been "disappeared." From the present to see a few films, we can feel that these films were well received by European and American mainstream films of the impact of interest, pay attention to the form of skills and a sense of the audience pay attention to the effect. In the film toward the market today, we should re-evaluate the film and even encourage these positive experiences, to re-examine those most familiar with the city's film writer's ideas, to complement our film ecological imbalance. This work should never be re-used and "The Left" In contrast to old ideas.
Early types of videos
Such as "streets", "Long live the Mountain" and other comedy films, some mainstream films ignored the history of the martial arts, the Genie film "hongliansifire" (1928). "Onehouliansifire, 'let the immeasurable number of Jianying, 'out into the martial arts film theater door wall', 3 years, 1 Set 1 Set to continued film continues, as many as 18 sets of and more. "from 1928 to 1931 showing a total of 227 Chinese martial arts film Genie. They definitely was the largest film proction varieties, however, has not made film history in its rightful place. In "the development of Chinese film history", they are as "dross" and was critical. So far, we have never seen the seriousness of their evaluation and analysis. Perhaps, you can look forward to a century of film history major renovation project will consider this matter. Unfortunately, a lot of video it is precisely the disappearance of the former generation of the hands of those who made history. This film history "biblioclast" behavior has not yet been clarified.
the "Confucian movie"
Really have systematically explore in depth the expression of film culturepossibility of noise in that era, probably only one person. Cultural decision temperament, temperament determines form. We tend to over-expressed in the form of stunning him, but ignore that he is trying to become a "movie of Confucianism," the worldly passions. Early in 1948,in another movie of my leisure time 3 months finishing the "Springtime in a Small Town", released after the response is not soon be forgotten. In 1983, the Hong Kong Arts Center and the Hong Kong Film Culture Center organized the "age of 20-40 Chinese Film Retrospective" order "Springtime in a Small Town" heavy drums. Since then, the film become China's film instry recognized classic. One Hundred Years of Film in the world, the film not only was named Chinese Film 90-year, one of 10 classic works, but also by the Hong Kong film critics as the world's hundred years of film history, one of 10 classic. Participation in his life director and procer of 21 films, only the existing 10. By the Center Stage starring "City Night", "Life" and "Xiangxue sea" has been less than a watch, and he shot on the battlefield of the war documentary "North Jingjhong recorded the battlefield" and dedicated it to "gold-plated city", "Hole pedant, "" beautiful rivers and mountains "have been separated. Only the war film "Bounty," starring Mei Chinese first film opera film "Sengsihen" and "Springtime in a Small Town." In 1980, the British Film Institute's warehouse found the "Family" of the pieces, pieces from this period, we can Glimpse into the "movie of Confucianism," a series of works of Vision: gentle, the ideal harmony between man and nature in this life , and this reflects the inherent qualities of elegant form and fun. In the orthodox "history of the development of Chinese films" China, the world attention was a pioneer of Oriental films only a few lines of Gray's comments.
Missionary Movies
A large number of "Gospel director" (many of them are amateur director) filming of "Missionaries of the film", because proction of crude and means of a single, but also e to the lack of attractiveness of commercial films, it is difficult to enter the film historian's perspective. But they record the value, beliefs and values, and even the value of narrative, there are places worthy of study. Many big Hollywood director, in fact, can also be seen as "good news director." Of faith loyalty, devotion to truth, of viewing the effect of extreme importance, it is Hollywood movies from the Gospel learn the outcome of the film. This video focuses on some of Hong Kong and Taiwan, also had a number of major directors, such as Kuan Hsin-hui, such as Xian Qi Ran. And the early Chinese movies, it also uses the film to do good tradition, the most typical is "Chuan Wu Xun," the. Although the film before and after the addition of the occasion's "turned a deaf ear to" article, but the tablets to see is a grassland in Shandong hunchbacked hunchbacked lone in the "Saints" image.
李香蘭and "Young Man" movie
This is a piece of history, "no man's land." As we have referred to large rivers and mountains of the Northeast that year for the puppet "Manchukuo", we do not consider this land of film proction is truly "national cinema." Chinese film history has so far only in the Lee Road, a new book to be involved in these films. August 1937, "Pictures Corporation Manchuria Association" was formally established, referred to as "the full video." It is the puppet "Manchukuo" management filmmakers, distribution and screening of the specialized agencies. Man Ying-proced video is divided into "public entertainment", "Kai Man" and "current" three videos. "Kai Man" film is the direct embodiment of the film thinking of national policy-chip types of the early video shot over the "progress of States", "Concord Youth," "bright Earth" are of such films. In the feature film proction in order to plot a strong, relatively short promotional video-based entertainment. Japan surrendered in 1945, full meal Masahiko Gan Ying-chairman of the suicide, "full video" The ensuing disintegration. "Young Man" in which the existence of 8 years, shooting a total of 108 feature films, ecational films, 189 documentaries. Film part of the information was lost to the former Soviet Union, the Japanese found out bought back after the film, into a 30-episode video tapes, on sale in Japan. After representations to the Japanese side, in May 1995, Japan agreed to give some of the information the Chinese government. "Man-Ying" period is representative ofLiXiangLan, she was born in China of the Japanese, starring the "Man-Ying" period, many of the film, she sang the "Tuberose" has been popular in the South and the North river, was the film instry and music particularly dazzling star. After Japan's defeatLiXiangLan,charged with "crimes traitor," a death sentence, because the identity of the Japanese booklet proved to be recognized. February 1946, was acquitted after the Nationalist government returned to Japan. To resume in 1947, whose real name is Yoshiko Yamaguchi, Japan back to the performing arts sector, and was active in Hollywood.
"The people holding the camera"
In 2003, the China Film Archive in Shicheng found a number of shots in the 20th century era film information 30,40. The video has been finishing as many as 61, all taken in the 20th century on behalf of three to four decades. The videos were recorded in different regions in China, people of different ethnic customs and geography of the humanities and the living conditions of interest. The photographer shot the film is a film record of the pioneers in China - Sun Ming by. He is a film ecation in Chinese universities pioneers, founded China's modern higher ecation in the history of the first film professional, and independent record of 49 shot film, the auspices of the Department proced a record of more than 100 scientific and ecational films and movies, bbed the 66 foreign films, complete video of up to 50,000 feet. However, 50 In the late 20th century, Sun Ming, as the history of the name from the film mysteriously disappeared. He filmed the movie "farmers Spring" in July 23, 1935 held in Brussels, Belgium rural film won the top award at international competition section 3, this is the first Chinese film in the international film festival awards. Unfortunately, the film copies have been lost. In 1998, the first Taiwan International Documentary Biennial display for the first time another documentary from the unknown author Liu Naou by shooting a two-volume documentary "human vol" and "Volume." After several years of efforts, Taiwan Film Archive refresher grandson of Liu Naou Mr. Lin Jianxiang provided documentary Liu Naou 5 volumes, including "human vol", "vol", "Landscape vol", "Guangdong Volume" and "Tokyo Volume . " The first two volumes of a documentary, probably taken in 1933 to 1934. Liu these himself referred to as "holding the camera man" films, the basic content is displayed Liu Naou family life in Taiwan temple grand parade, Fengtian scenery sidelights, ships left the port situation, Guangdong scenery sidelights, the army will such as fuck. Possession of these early documentaries over the years in various Chinese Film Archive of the basement, silence so far.
Experimental film pioneer
China open to any one film history, we can not find apart from the mainstream narrative film other than film types: We have always thinking of the film as a tool for expression and ecation, pure forms of pondering as bourgeois style. Form is the content of this argument which in reality never truly be understood. These films include: the film's U.S. game, civil non-film works experimental works of the artist's image is being "disappeared" of the contemporary independent film (the sixth generation, civil images). At present, only founded in August 2003 in Guangdong Film Archive video collection that these "outside the system" films. However, how the collections, we can not tell, because it is not open to the public.
The above is only able to find some "missing persons" part of the track. Chinese films of the damage and loss of information, no matter how immeasurable not be overemphasized. At present, China Film Archive collection of Chinese and foreign film near 25,000, of which the previous 1949 film collection is rich in an era that proced 15% (less than 400). Most of the early films were destroyed in the war either, or the loss of civil society, and ultimately disappeared, or simply is the "destruction" or "possession of silencers," the. For those survivors, if not timely protection, probably also inevitable "disappearance" of the fate - most precious film storage life is already in a critical state, flammable, faded, such as preservation of technical problems has not been cooking. Advanced foreign technology had not been extended to film restoration.
In recent years, the Film Archive has become "the missing person was found" major "field": This shows that in the physical sense, a lot of videos and have never left from our perspective, we are still treated as some closely-guarded secret of the name and age Like used to years of time to wait for them go away, so, in the grand narrative of history, the difficult to see their names. This is a humiliation. Humiliation is not the parties, but our children and grandchildren of these unscrupulous humiliation. Film is such a perishable and fragile lives. Of the above "does not exist in the movie" The concern, in fact, is the respect of video memory. After all, they in a generation, a group of people, and even a person's life to live existed. One day, we can finally be forgotten ring this time "to reproce."

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