美国电影发展历程英文

Ⅰ 谁能讲一讲美国恐怖电影的发展史

恐怖片是30年代作为一个电影类型出现在美国电影中的，当时美国的片场系统已然确立，使得Universal等公司能在Dracula与Frankenstein大获成功后迅速流水线产出一大批恐怖电影。视听风格上这类影片偏gothic，实际上受德国表现主义（德国表现主义_网络）的影响【因为纳粹上台导致不少欧洲(尤其德国)导演，摄影师涌入美国，其中对这个类型影响最大的当属导演Paul Leni，Edgar G. Ulmer，摄影师/导演Karl Freund，演员Conrad Veidt，虽然其中一些实际上活跃在20年代，但其影响是显而易见的】。另一恐怖来源自然是“人物”--往往是面目狰狞的Monster。
除了上面提到的几位，美国著名的则有导演Tod Browning，James Whale, 演员Lon Chaney，Bela Lugosi，Boris Karloff等。

Universal （环球唱片_网络）40年代仍在大量产出恐怖片，但已非31-36年的黄金时代可比【Universal在36年因为举债投资拍摄未能如期还款，最终导致片场易手，新东家对于恐怖片的兴趣不那么大，加之观众的热情也已衰减，此类型的衰退势所必然】。

40年代最好的恐怖片由RKO的Val Lewton B Unit打造【执导影片的则是Jacques Tourneur等人】，这一系列的影片强调气氛的营造与优美的摄影，从视听语言上说，我以为是最好的美国恐怖片。

二战以后片场体系很快面临一系列的问题，最主要的是观众的流失。低成本的独立制作开始风行【当然，以前的恐怖片也都是B级制作，但片场制下制作毕竟有一定的质量底线】。50-60年代在冷战/核战阴影下诞生了大量廉价的scifi-horror，充斥银幕的是各种畸形或者外星的Monster。与此同时，恐怖片的种类也趋多元化；而随着海斯法案（海斯法案_网络 ）的取缔，恐怖片在性与暴力的尺度上迅速放开，青少年渐成恐怖片的主要消费者。这一时期最有影响的恐怖片片场是英国的Hammer与美国的AIP【由Roger Cormen掌舵】。

新好莱坞时期Exorcist与Rosemary's Baby的大获成功使得恐怖片重新开始有了A级制作，且不乏优秀作品，不过B级仍是主流。

70年代的恐怖片更为多元，但其中最重要的亚类型可能是70年代末开始崛起并风靡了近十年的slasher。这类影片以青少年为主人公【很明显地面向青少年市场】，强调凶杀的惨烈多样与特效的真实，并大量运动凶手视点的主观镜头【显然受意大利giallo的影响】。同一时期，zombie片也开始流行，虽然不像slasher那样流行，但始终保持着旺盛的生命力。
著作权归作者所有，转载请联系作者获得授权。

除了上面提到的几位，美国著名的则有导演Tod Browning，James Whale, 演员Lon Chaney，Bela Lugosi，Boris Karloff等。

Universal （环球唱片_网络）40年代仍在大量产出恐怖片，但已非31-36年的黄金时代可比【Universal在36年因为举债投资拍摄未能如期还款，最终导致片场易手，新东家对于恐怖片的兴趣不那么大，加之观众的热情也已衰减，此类型的衰退势所必然】。

40年代最好的恐怖片由RKO的Val Lewton B Unit打造【执导影片的则是Jacques Tourneur等人】，这一系列的影片强调气氛的营造与优美的摄影，从视听语言上说，我以为是最好的美国恐怖片。

二战以后片场体系很快面临一系列的问题，最主要的是观众的流失。低成本的独立制作开始风行【当然，以前的恐怖片也都是B级制作，但片场制下制作毕竟有一定的质量底线】。50-60年代在冷战/核战阴影下诞生了大量廉价的scifi-horror，充斥银幕的是各种畸形或者外星的Monster。与此同时，恐怖片的种类也趋多元化；而随着海斯法案（海斯法案_网络 ）的取缔，恐怖片在性与暴力的尺度上迅速放开，青少年渐成恐怖片的主要消费者。这一时期最有影响的恐怖片片场是英国的Hammer与美国的AIP【由Roger Cormen掌舵】。

新好莱坞时期Exorcist与Rosemary's Baby的大获成功使得恐怖片重新开始有了A级制作，且不乏优秀作品，不过B级仍是主流。

70年代的恐怖片更为多元，但其中最重要的亚类型可能是70年代末开始崛起并风靡了近十年的slasher。这类影片以青少年为主人公【很明显地面向青少年市场】，强调凶杀的惨烈多样与特效的真实，并大量运动凶手视点的主观镜头【显然受意大利giallo的影响】。同一时期，zombie片也开始流行，虽然不像slasher那样流行，但始终保持着旺盛的生命力。
而在随着电影业的发展，新兴的拍摄手法也层出不穷，典型的有《女巫布莱尔》（女巫布莱尔_网络），以家用手提摄相机拍摄的低成本电影，却因其实逼真的镜头画面感和强大的代入感，让观众产生了前所未有的恐怖体验。而后这种拍摄手法带动了一波流行，近年来的《鬼影实录》《隔离区》更是达到了此类影片的顶峰。

Ⅱ 西方电影的发展史

一：电影的的发明

1895月12月28日，卢米埃尔兄弟在巴黎卡铺辛路十四号的“大咖啡馆”地下室中第一次公开售票播放电影，标志着电影的正式诞生。

此后，电影影响愈大，被成为“机械文艺女神”。

其诞生和成长的历 史，也即是连续摄影的机器、坚韧敏感的胶片和连续放映的机器这三种技术手段改进的过程。

（一）视觉残留原理（0.1s~~0.4s)

比利时：普拉托

（二）照相技术

1.1824年，法国：尼艾浦斯——《餐桌》（世界第一张照片）

2.英国：穆布里奇——第一个将照相术用于活动摄影

3.法国：马莱——1882年，第一次用一台摄影机拍摄电影

——1888年，第一架电影摄影机诞生

（三）动画

1888年，法国：雷诺——光学影戏机

（四）胶片

1889年，爱迪生vs伊斯曼工厂合作创制

（五）放映机

1.1894年，迪克逊vs爱迪生——电影视镜

2.法国：奥古莫斯

3.法国：卢米埃尔兄弟——活动电影放映机

二：电影美学思潮与流派

（一）写实主义

1.朴素写实主义（电影是“重现生活的机器”）

卢米埃尔兄弟——《工厂的大门》《婴儿的午餐》《火车进站》

2.纪录片派

(1)美国：弗拉哈迪（人类学纪录流派）——《北方的纳努克》

(2)维尔托夫（电影眼睛派）——《电影真理报》《电影眼睛》《前进吧，苏维埃》《在世界六分之一的土地上》

(3)英国：约翰*格里尔逊

《飘网渔船》《从乡村来到城市》《夜邮》

(4)荷兰：尤里斯*伊文思——《桥》《雨》《四万万人民》《风》

3.德国新客观派（即“街道电影”）

卡尔*格吕纳——《街道》

乔治*派勃斯特——《没有欢乐的街》

布鲁诺*拉恩——《街头惨剧》

4.法国诗意现实主义派

(1)先驱者

雷内*克莱尔 让*维果

(2)代表人物

让*雷诺阿——《母狗》《游戏规则》（最终确立世界电影写实主义传统并形成系统的写实主义电影语法）

5.意大利新现实主义

(1)口号颂仔伍

“还我普通人”“把摄影机扛到大街上”

(2)诞生标志

1945年，罗西里尼——《罗马，不设防的城市》

(3)代表人物

罗西里尼 维斯康蒂 德*西卡 西柴烈*柴伐梯尼 德*桑蒂斯

(4)代表作

《偷自行车的人》《罗马11时》《艰辛的米》《温别尔托*D》

6.心理式写实主义

（二）现代主义

1.欧洲先锋电影运动（以法国先锋电影运动为主）

(1)创始人

法国：路易*德吕克

(2)代表作

《机械戚改舞蹈》《幕间休息》《一条安达鲁狗》《卡里加里博士》

2.法国“新浪潮”电影运动

(1)代表人物

安德烈*巴赞（精神之父） 特吕弗 戈达尔 夏布罗尔 雅克*里维特

(2)代表作

《精疲力尽》《四百下》

(#)注：左岸派——《广岛之恋》《去年在马里昂巴德》

3.意大利现代主义电影运动

(1)米*安东尼奥尼——《奇遇》《夜》《蚀》《红色沙漠》《放大》

(2)费德里科*费里尼——《道路》《八部半》

（三）娱乐电影

1.重要人物

梅里爱 爱森斯坦 普多夫金

格里菲斯——《一个国家的诞生》

2.中心：好莱坞

（四）政治电影

1.法国

(1)代表人

雷内*阿利奥 卡兰*卡尔兹 雷内*伏几埃

(2)代表作

《 *** 中的铁路员工》《这仅仅是开始》《温德尔工厂的复工》

2.意大利

(1)代表人

塔维亚尼兄弟 弗朗西斯野或科*罗西

(2)代表作

《怀疑》《奎伊玛达》《马太伊事件》《一个警察局长的自白》《对一个不受怀疑的公民的调查》《工人阶级上天堂》《希特勒的最后十天》《墨索里尼的最后行动》《我们曾如此相爱》三：好莱坞电影

（一）好莱坞影都简史

1.1909年11月，“好莱坞之父”格里菲斯率领剧组至此拍摄影片

2.八大影片公司

米高梅(MGM) 派拉蒙 华纳兄弟 20世纪福克斯

雷电华(RKO) 环球 联美 哥伦比亚

3.好莱坞制片业五大基本特征

高成本 高科技 高片酬 高收入 高利润

（二）好莱坞电影发展史

1.默片时期(1896~~1923)

卓别林——《淘金记》《城市之光》《摩登时代》《大独裁者》

勃斯特*基顿(喜剧电影奇才)(石面人)——《航海家》《将军号》

哈洛德*苏埃德

哈莱*兰登

2.有声电影时期(1923~~1932)

(1)1926年，华纳：《唐璜》

(2)1927年，华纳：《爵士歌王》

(3)1927年，《纽约之光》(标志有声电影正式诞生)

3.蓬勃发展时期(1932~~1941)

(1)演员

MGM：葛丽泰*嘉宝 克拉克*盖博 瑙玛*希拉 费雯*丽

华纳：卑蒂*戴维斯 亨弗莱*鲍嘉

派拉蒙：玛琳*黛德丽 克劳黛*考尔白 贾利*古柏(英雄明星)

电影神童：奥逊*威尔斯

(2)代表作

《安娜*克里斯蒂》《瑞典女王》《茶花女》《乱世佳人》《一夜风流》

《告密者》《公民凯恩》《一个明星的诞生》《红衫泪痕》

《绿野仙踪》《呼啸山庄》《关山飞渡》《费城故事》《蝴蝶梦》 《青山翠谷》

4.二战时期(1939~~1945)

《血雨腥风》《大独裁者》《纳粹间谍的自白》《希特勒的子孙》

《纳粹党徒》《卡萨布兰卡》

5.二战后时期(1945~~20C70S末)

威廉*惠勒——《黄金时代》

约翰*休斯敦——《宝石岭》

金*维多——《太阳浴血记》

贾利*古柏——《弗吉尼亚人》《永别了，武器》《战地钟声》《正午》

亨弗莱*鲍嘉——《非洲皇后号》《马耳它之鹰》《黑道》《夜长梦多》

奥黛丽*赫本——《罗马假日》《战争与和平》《窈窕淑女》

玛丽莲*梦露

伊丽莎白*泰勒

凯瑟琳*赫本

6.20C70S末~~20C80S末

《克莱默夫妇》《普通人》《母女情深》《坠入情网》

《金色池塘》《雨人》《为黛西小姐开车》

乔治*卢卡斯《星球大战》系列

斯蒂芬*斯皮尔伯格《E*T外星人》《第三类接触》《大白鲨》《夺宝奇兵》

《紫色》《太阳帝国》

7.20C90S~~

《木乃伊》《骇客帝国》《第六感》《女巫布莱尔》《诺丁山》《落跑新娘》《间谍奥斯汀》《老爸向前冲》《将军的女儿》《美国派》《泰山》《花木兰》《狮子王》《沉默的羔羊》《阿甘正传》《肖恩克的救赎》《勇敢的心》《楚门的世界》《泰坦尼克号》

斯蒂芬*斯皮尔伯格《辛德勒名单》《侏罗纪公园》《拯救大兵瑞恩》

（三）好莱坞电影业的特色

1.制片厂制度

2.明星制

3.独立制片人制度

1977年，伍迪*艾伦《安女尼*霍尔》

斯派克*李

昆廷*塔伦蒂诺

斯蒂文*索德伯格

卡梅隆*克罗

科恩兄弟

4.类型片

(1)西部片

1903年，埃德温*鲍特《火车大劫案》(奠定西部片基本特点)

1939年，约翰*福特《关山飞渡》(西部片特点全面形成)

《大地惊雷》《约克军曹》《正午》

《不可饶恕》(20C90S西部片复苏标志之一)

《与狼共舞》(20C90S西部片复苏标志之一)

(2)科幻片

梅里爱《月球旅行记》

德国：弗里茨*朗格《大都市》(世界第一部现代科幻片)

英国：《侏儒》

1968年，斯坦利*库布里克《2001：漫游太空》(美国第一科幻片)

《第三类接触》《星球大战》《侏罗纪公园》《天地大冲撞》《骇客帝国》

(3)歌舞片

《爵士歌王》《百老汇旋律》

勃斯比*伯克莱《第42街》

弗雷德*艾斯蒂尔——《高帽》《巡回演出》

金*凯利——《雨中曲》(第一歌舞片)

(4)犯罪片

1927年，《黑社会》

《疤面大盗》《教父》

阿尔弗雷德*希区柯克(悬念大师)《三十九级台阶》《失踪的女人》《蝴蝶梦》《爱德华夫人》《美人计》《后窗》《晕眩》《西北偏北》《精神病患者》《群鸟》

（一）法国电影简史

1.卢米埃尔兄弟

《工厂的大门》《婴儿的午餐》《火车进站》《出港的船》《水浇园丁》

2.梅里爱

《贵妇人的失踪》《橡皮头人》《管弦乐队指挥》《月球旅行记》

《太空旅行记》《爱德华七世加冕典礼》

3.拉菲特兄弟

《吉斯公爵的被刺》《俄狄浦斯王》《哈姆雷特》《麦克白》

4.印象派(20C20S)

路易·德吕克《狂热》《沉默》《西班牙的节日》《流 *** 》

谢尔曼·杜拉克《微笑的布德夫人》

阿倍儿·冈斯《车轮》《拿破仑传》

让·爱浦斯坦《红色旅店》

莱皮埃《黄金国》

5.抽象主义(20C20S)

费尔南多·莱谢尔《机械舞蹈》

雷内·克莱尔《幕间节目》

6.超现实主义(20C20S)

谢尔曼·杜拉克《僧侣与贝壳》

布努艾尔《一条安达鲁狗》

7.诗意现实主义(20C30S)

雷内·克莱尔《巴黎屋檐下》《百万法郎》《自由属于我们》《七月十四日》

让·维果《尼斯景象》《塔利斯》《操行零分》《驳船亚特兰特号》

让·雷诺阿《母狗》《幻灭》《游戏规则》《吾土吾民》

8.新浪潮运动(1958~~1962)

夏布罗尔《漂亮的塞尔其》

特吕弗《淘气鬼》《四百下》

戈达尔《筋疲力尽》

9.左岸派

阿仑·雷乃《广岛之恋》《去年在马里昂巴德》

亨利·科尔皮《长别离》

罗布·格里叶《横跨欧洲的特快列车》

玛格丽特·杜拉《印度之歌》

Ⅲ 帮忙找电影发展史的英语版本，万分感谢

History of Motion Pictures
I INTRODUCTION

History of Motion Pictures, historical development of the visual medium known as motion pictures, film, cinema, or the movies. This article covers the medium’s history as a technology, as a business, as an art form, and as a means of delivering entertainment and information to audiences in theaters and at home. It discusses major filmmakers and their films, principal fiction and nonfiction genres, and film instries in the United States and throughout the world. For more information on the technical aspects involved in creating a film, see Motion Picture.

II ORIGINS

In the early 19th century scientists took note of a visual phenomenon: A sequence of indivial still pictures, when set in motion, can give the illusion of movement. These scientists attributed this experience to what they called persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. The eye’s retention of a visual image, now known as positive afterimage, has long been considered a founding principle of motion pictures, even though its relationship to the perception of motion is still not well understood.

A Early Experiments

The persistence of vision concept stimulated experimentation with motion-picture devices throughout the 19th century. Among the first such devices was a slotted disk with a sequence of drawings around its perimeter. When a person spun the disk in front of a mirror and looked through the slots, the drawings appeared to move. The zoetrope, a device developed in the 1830s, was a hollow drum with a strip of pictures around its inner surface. When spun, it proced the same effect. In the 1870s French inventor Émile Reynaud improved on this idea by placing mirrors at the center of the drum. A few years later he developed a projecting version, using a reflector and a lens to enlarge the moving images. In 1892 he began holding public screenings in Paris at his Théâtre Optique, with hundreds of drawings on a reel that he wound through his apparatus to construct moving images that continued for 15 minutes.

Inventors began to conceive of combining the principles of these moving-image devices with the photographic recording of actual movement soon after the development of still photography in the 1830s. The most famous experiment occurred in the 1870s in California, where railroad tycoon Leland Stanford hired British photographer Eadweard Muybridge to settle a bet on whether a galloping horse ever had all four feet off the ground. Muybridge set up 12 cameras along a racetrack and spread threads across the track with a contact to each camera’s shutter. Moving along the track, the horse broke the threads and caused a sequence of photographs to be taken. The photos showed the horse with all four feet off the ground, and Muybridge went on a lecture tour showing his photographs on a moving-image device he called the zoopraxiscope.

Muybridge’s endeavors stimulated French scientist Étienne-Jules Marey to devise equipment for recording and analyzing animal and human movement. He built what he called a chronophotographic camera that could take multiple images superimposed on one another. His work was aided in turn by developments in photographic materials. In 1885 American inventor George Eastman introced sensitized paper roll “film” in place of the indivial glass plates then in use. In 1889 Eastman replaced the paper roll with celluloid, a synthetic plastic material coated with a gelatin emulsion.

B Thomas Alva Edison and William K. L. Dickson

Legendary American inventor Thomas Alva Edison drew upon the work of Muybridge, Marey, and Eastman when he turned his attention to motion pictures in the late 1880s. In his laboratories in West Orange, New Jersey, Edison assigned to a British employee, William K. L. Dickson, the task of constructing a machine for recording actual movement on film and another machine for viewing the resulting images. By 1891 Dickson had proced a motion-picture camera, called the Kinetograph, and a viewing machine, bbed the Kinetoscope.

The Kinetograph was operated by an electric motor that moved the celluloid film roll past the camera lens. Motor-driven cameras, which were bulky and stationary, were soon replaced by movable hand-cranked cameras. Dickson’s key contribution was a sprocket mechanism linked to the camera’s shutter, which momentarily stopped the film roll for each exposure. These separate still photographic images came to be called frames. Early cameras used a number of different speeds for exposing frames, but by the advent of sound film in the late 1920s the standard had become 24 frames per second.

In early 1893 Edison constructed a motion-picture studio on his laboratory grounds, bbed the Black Maria by his staff who thought it resembled police patrol wagons known by that nickname. On May 9, 1893, he held the first public exhibition of films shot using the Kinetograph in the Black Maria. But only one person at a time could use his viewing machine, the Kinetoscope. This boxlike structure contained a motor-and-shutter mechanism similar to the camera’s. It ran a loop of positive film past an electric light source, illuminating a tiny image, which the viewer observed through a small window. Kinetoscope viewing parlors containing many machines for indivial viewing began to open in cities in 1894. Edison and Dickson apparently gave little thought to a single machine that could project moving images to a large audience, something Reynaud had achieved in his Théâtre Optique. Reynaud, however, had displayed drawings rather than images photographed by a motion-picture camera.

C The Lumière Brothers

In France, the brothers Auguste and Louis Lumière, who ran a factory in Lyons that manufactured photographic equipment, sought to improve on Edison’s accomplishment. By 1895 they developed a lightweight, hand-held camera that used a claw mechanism to advance the film roll. They named it the Cinématographe, and they soon discovered that it could also be used to show large images on a screen, when linked with projecting equipment. Throughout 1895 they shot films and projected them for select groups. Their first screening for the general public was held in Paris in December 1895.

Elsewhere other inventors were also busy. In Germany, the brothers Emil and Max Skladanowsky devised an apparatus and projected films in Berlin in November 1895. In Britain, a machine developed by Birt Acres and Robert W. Paul was used to project films in London in January 1896. In the United States, a projector called the Vitascope was constructed around the same time by Charles Francis Jenkins and Thomas Armat. Armat then entered into a commercial alliance with Edison to manufacture the Vitascope, and the device exhibited projected motion pictures in New York City in April 1896.

The Lumière brothers held a unique place among all these simultaneous efforts, since they were innovative filmmakers as well as inventors and manufacturers. The many films they made ring 1895 and 1896, though very short, are considered pivotal in the history of motion pictures. Arroseur et arrosé (Waterer and Watered, 1896), a brief comedy drawn from a newspaper cartoon, shows a gardener getting drenched with a hose as the result of a boy’s prank. La sortie de l’usine Lumière à Lyon (Workers Leaving the Lumiere Factory, 1895) and Arrivée d’un train en gare (Arrival of a Train at La Ciotat, 1896), which shows a train coming to a station and passengers getting off, were among the so-called actuality films—films that depicted actual events rather than a story told by actors—for which the Lumières became noted.

III ONE-REELERS

During the decade following the advent of projected motion pictures, films were shown as part of vaudeville or variety programs, at carnivals and fairgrounds, in lecture halls and churches, and graally in spaces converted for the exclusive exhibition of movies. Most films ran no longer than 10 to 12 minutes, which reflected the amount of film that could be wound on a standard reel for projection (hence the term one-reelers). Many were comedies or actualities, following the Lumière brothers’ example. Their purpose was spectacle—to show something astounding, unusual, titillating, or perhaps newsworthy. But filmmakers also struck out in new directions, especially toward fantasy and narrative.

French magician and filmmaker Georges Méliès was the outstanding creator of fantasy films in early cinema. Méliès exploited the new medium to enhance his magic acts through techniques such as stop-motion photography—interrupting the camera’s action and moving or substituting people and objects—so that, for example, a woman appeared to turn into a skeleton. He created elaborate backdrops with multiple scenes and costume changes for these so-called trick films that were widely emulated by other filmmakers. Of the hundreds of works he made between 1896 and 1912, perhaps the best-known is Le voyage dans la lune (A Trip to the Moon, 1902), which in one scene features the animated human face of the moon being struck in the eye by a rocket.

In the United States, a former projectionist and traveling exhibitor, Edwin S. Porter, took charge of motion-picture proction at Edison’s company in 1901 and began making longer films that told a story. As with Méliès’s films, these required multiple shots that could be edited into a narrative sequence. Porter’s most notable film—and the most famous work of early cinema—was The Great Train Robbery (1903), which is credited with establishing movies as a commercial entertainment medium. With its rapid shifts of location, including action on a moving train, this film offered spectators a breadth and immediacy of vision that became hallmarks of the cinema experience.

Spurred by The Great Train Robbery and subsequent story films, film exhibition greatly expanded in the United States around 1905. One phenomenon was the proliferation of nickelodeon theaters, converted storefronts in instrial cities that charged 5 cents for admission and attracted working-class audiences. Demand from these theaters increased the volume of film proction and the profits for procers, but it also brought forth criticism from reformers concerning unsanitary or unsafe conditions in theaters and immoral subject matter in films. In 1908 Edison took the lead in establishing the Motion Picture Patents Company (MPPC), a consortium of procers with common goals: controlling proction and distribution so as to eliminate cheap theaters, raising admission prices, cooperating with censorship bodies, and preventing film stock from getting into the hands of nonmember procers. However, the independent procers excluded from the MPPC continued to obtain materials and make the most popular films. They also led the way toward multireel, feature-length films. By 1915 the MPPC was under attack by the U.S. government as an illegal monopoly (although an ineffectual one), and the independents were combining into the companies that would dominate American filmmaking for decades to come.

IV SILENT MOVIES

With a few experimental exceptions, motion pictures from their earliest days until the late 1920s lacked synchronous sound (sound that matches the action). But silent movies were rarely silent. Early films almost always were projected with piano or organ accompaniment, and sometimes also with a narrator or live actors behind the screen. As feature-length films (four reels, with a running time of 40 to 50 minutes or more) became the norm in the 1910s, live orchestras began to play in larger theaters, frequently using music written specifically for the film.

Until World War I (1914-1918) European filmmakers dominated the world film market. France was considered the leading film-procing country, though Italy, Denmark, and other countries also played a significant role. However, the war, fought on European soil, disrupted commercial filmmaking there. With a sudden drop in European film exports, some regions, such as Latin America, experienced a brief surge in film proction. But U.S. companies soon took over markets overseas, using the same tactics of high-volume proction and lower prices that the Europeans had. By the 1920s some three-quarters of films screened around the world came from the United States.

A American Silent Movies

Even before the war, the United States had made its mark on the world filmmaking scene with epics and comedies. Moreover, U.S. moviemakers had begun to congregate in southern California in the Los Angeles suburb of Hollywood (see The Move to Hollywood, below), creating a film community apart from older urban centers of politics and the arts, and a magical new symbol for popular entertainment and glamour.

A1 D. W. Griffith

The work of D. W. Griffith exemplifies the transformation of motion pictures from the early days of one-reelers to an era of Hollywood’s worldwide dominance. Starting out as an actor in films directed by Edwin S. Porter, Griffith in 1908 became a director at the American Mutoscope and Biograph Company in New York City. He was initially responsible for turning out two one-reel films a week, and between 1908 and 1913 he directed nearly 500 films. Amidst this breakneck schele, he and his co-workers developed many of the cinema’s basic storytelling conventions: moving the camera close to the action, using many separate shots, and editing the shots to cut back and forth among different actions. All these techniques served to shape a narrative, rather than present a spectacle as earlier films had tended to do. Griffith also nurtured performers such as Mary Pickford and Lillian Gish and emphasized an intimate, restrained style of acting suitable for camera close-ups.

Leaving Biograph in 1913 to make full-length features, Griffith planned a historical epic of the American Civil War (1861-1865). The Birth of a Nation (1915), three hours in length, stunned audiences with its dazzling spectacle of a still-recent event and established motion pictures as an art form for cultured spectators. Yet the film’s racist presumptions—specifically, its defense of white supremacy to protect racial purity—was controversial in its own time and remains repugnant decades later. Griffith made another epic, Intolerance (1916), which intertwined four stories about victims of prejudice, and continued to work as an independent filmmaker into the 1920s. Eventually, financial pressures forced him to become a director at a Hollywood studio, and he made his last film in 1931.

字数限制，没办法全发给你，如需要请留言。

Ⅳ 好莱坞电影的发展历史

1853年，好莱坞只有一栋房子。

1870年，这里已成为一片兴旺的农田。

1886年，从房地产生意发财的富商哈维·亨德申·韦尔考克斯在这里买下了0.6平方公里的土地。好莱坞这个名字来自英语的“holly”（冬青）。韦尔考克斯的夫人一次旅行时，听到她旁边的一个人说她来自俄亥俄州的一个叫做好莱坞的地方。她很喜欢这个名字，回到加州后就将她丈夫的农庄改称为好莱坞了。韦尔考克斯计划在这里建造一座小城。

1887年2月1日他在地区政府正式注册此名。在他夫人的帮助下他铺设了今天的好莱坞大街做为城市的主街，在这条大街和其它大街的两旁种了胡椒树并开始出售产权。他的夫人募资建了两座教堂、一座学校和一座图书馆。为了使好莱坞名符其实，他们还进口了一些英国冬青，但这些植物在加州的气候下没有存活很久。

1900年，好莱坞已经有一间邮局、一家报社、一座旅馆和两个市场，其居民数为500人。10万人口的洛杉矶位于市东11公里处。在好莱坞和洛杉矶间有一条单轨的有轨电车，但这辆电车的运行不准时，每程时间为两小时。

1902年，今日著名的好莱坞酒店的第一部分开业。

1903年，好莱坞成为一个镇。当年下的两个命令是：除药店外其他商店禁酒，以及不准在街上驱赶数量多于200的牛群。

1904年，一条新的被称为好莱坞大街的有轨电车开业，使好莱坞与洛杉矶间的往返时间大大缩短。

1910年，好莱坞的居民投票决定加入洛杉矶。原因是这样他们可以通过洛杉矶取得足够的饮水和获得排水设施。

1960年，女演员乔安娜·伍德沃德得到了第一颗星的殊荣。

1985年，好莱坞的商业和娱乐区被正式列入美国受保护的历史性建筑名单。

1999年，洛杉矶的地铁开通到了好莱坞。

2001年，柯达剧院(Kodak Theatre)在Highland大道开业，成为奥斯卡奖颁奖礼新的举办场所。

2002年，一些好莱坞居民发动了一个让好莱坞自主独立，不再是洛杉矶一部分的运动。好莱坞市政府决定让所有洛杉矶居民投票表决。独立运动被以绝大多数否决。

(4)美国电影发展历程英文扩展阅读：

电影工业——

20世纪初，纽约和新泽西的电影公司开始迁向加州，原因是这里的天气好，日照时间长。虽然当时已经有电灯了，但当时的电灯还不够亮，当时最好的光源是阳光。除此之外，加州视野宽广，有各种不同的自然风景。此外当时托马斯·爱迪生持有电影的专利，而加州离新泽西非常远，因此爱迪生很难在这里控制他的专利权。

在美国东岸，独立的电影公司经常被爱迪生和他的代理人诉讼。在遥远的加州没有那么多爱迪生的部下。即使他派人来加州，他的人往往比其消息来的晚，这样一来这里的电影制造商就可以及时躲到附近的墨西哥去了。

1911年第一个电影工作室在好莱坞开业，同年已有15个其它的工作室在这里定居，成千上万的梦幻制造者紧随而至。

1923年，今天成为好莱坞象征之一的白色大字“HOLLYWOOD”被树立在好莱坞后的山坡上，本来这个字后面还有“LAND”四个字母，是一家建筑厂商为了推销新建好的的住宅社区设置的广告看板。但它们被树立起来以后就没有人去管它们，以致渐渐荒废。

一直到1949年，好莱坞商会将后面的四个字母去掉，并将其它字母修复。这个招牌今天受到商标保护，没有经过好莱坞商会的同意，无人有权使用它。

1929年5月16日，奥斯卡金像奖第一次颁发，当时的门票是十美元，共有两百五十人参加。

Ⅳ 好莱坞的历史是什么

好莱坞位于美国加利福尼亚州洛杉矶市郊区，美国著名的电影生产基链帆地。

1886年，房地产商哈维·维尔克特斯在洛杉矶郊区买下了一块地，他的夫人将苏格兰运来的大批冬青树栽在这里，就有了好莱坞这个名字（在英语中，Hollywood是冬青树林的意思）。

1907年，导演弗朗西斯·伯格斯带领他的摄制组来到洛杉矶，拍摄《基督山伯爵》。

他们发现，这里明媚的自然风光、充足的光线和适宜的气候是拍摄电影的天然场所。

从1909年开始，著名的制片人格里菲斯在好莱坞以天然背景拍摄了好几部影片。

当时，美国电影的中心在东部，纽约是大本营。

从此以后，许多电影公司纷纷来这里拍片，开始了美国电影业移师好莱坞的大转移。

1912年起，许多电影公司在好莱坞落户，著名的电影公司有：米高梅公司（Metro?Goldwyn?Mayer，简称MGM）、派拉蒙公司（Paramount）、二十世纪福克斯公司（20th Century Fox）、华纳兄弟公司（Warner Brothers）、雷电华公司（Radio?Keith?Orpheum，简称RKO）、环球公司（Universal）、联美公司（United Artists）、哥伦比亚公司（Columbia Pictures）。

早期，电影全是无声电影，这一时期的电影都是喜剧，最著名的喜剧演员有查理·卓别林。

他的《城市之光》《摩登时代》《大独裁者》等已经成为名垂青史的优秀影片告滑。

1923年，有声电影问世，好莱坞空前繁荣起来。

1927年，在米高梅影业公司老板路易斯·B·梅耶的指导下，美国电影艺术与科学学院正式成立。

不久，梅耶建议设立学院奖来鼓励并表彰那些对电影事业做出突出成就的电影人。

于是，1929年5月16日，在好莱坞的罗斯福大酒店举行了第一届学院奖。

学院奖的奖品是一尊身高13.5英寸的锡铜合金的镀金裸体人像。

1931年，当学院的图书管理员看到这尊金像时吃袜唤腊惊地说：“它真像我的叔叔奥斯卡！”从此，奥斯卡这个名字就传开了。

从第七届起，学院奖正式更名为奥斯卡奖。

奥斯卡奖分为两大类：成就奖和特别奖。

成就奖包括：最佳影片、最佳剧本、最佳导演、最佳表演、最佳摄影、最佳美工、最佳音乐、最佳音响、最佳化妆、最佳短片、最佳纪录片、最佳动画片和最佳外语片等。

在当今世界名目繁多的各种电影大奖中，奥斯卡奖无疑是最具权威、最有影响、设奖范围最广的电影奖。

它象征着美国电影艺术的最高成就。

几十年来，好莱坞拍出了许多脍炙人口的电影。

如二十世纪三十年代拍的《乱世佳人》《公民凯恩》、第二次世界大战期间拍的《卡萨布兰卡》、五十年代的《教父》、七八十年代的《克莱默夫妇》《金色池塘》《星球大战》、九十年代的《辛德勒名单》《侏罗纪公园》《拯救大兵瑞恩》和《泰坦尼克号》。

如今，好莱坞在美国文化中已经具有了重大的象征意义。

可以说，好莱坞的发展史就是美国电影的发展史。

好莱坞生产的影片不仅满足美国电影市场的需要，还出口到世界各地，不仅输出了美国的文化，更为好莱坞投资人带来了丰厚的利润

Ⅵ 求一篇电影发展史的作文，大学的，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电影的发展历史

Tiger Child 老虎的孩子(March 15,1970)
North of Superior (1971)
Garden Isle花园之岛 (August 1973)
（注：第一部穹幕电影）(First OMNIMAX film.)
Catch the Sun 追赶太阳(1973)
Volcano 火山爆发(1973)
Standing Up Country (1973)
Circus World 马戏世界(1974)
To Fly! 为了飞翔(July 1, 1976)
Genesis 一个乐队(1978)
Living Planet 活力星球(1979) The Eruption of Mount St. Helens! 圣海伦火山(1980)The Great Barrier Reef 大堡礁(1981)
Hail Columbia! 哥伦比亚万岁(1982)
El pueblo del sol (People of the Sun) 太阳的人民(1983)
Christine 克莉丝汀(1983)
An American Adventure 美国式冒险(1983)
Speed 速度(1984)
（注：不是那部大名鼎鼎的生死时速）
Grand Canyon: The Hidden Secrets 大峡谷(June 16, 1984)
Chronos 时空(1985)
The Dream Is Alive (OMNIMAX) 执着的梦想(1985)
(注：穹幕电影)
We Are Born of Stars 我们生为明星(3D) (1985)
Niagara: Miracles, Myths, and Magic 飞越尼加拉瓜大瀑布(1986)
Transitions (3D) (1986)
Seasons (1987)
Beavers 海狸(1988)
The First Emperor of China 秦始皇(1989)
To the Limit 冲向极限(1989) 1990
Blue Planet 蓝色星球(1990)
1991
Ring of Fire 火山？响火？(January 19, 1991)
Antarctica 南极物语(October 18, 1991)
1992
Fires of Kuwait 科威特之火(1992)
Momentum 超感应战将(1992) (First IMAX HD film.)
Mountain Gorilla 山地大猩猩(1992)
Tropical Rainforest 热带雨林(1992)
Rolling Stones to the MAX 滚石乐队(1992)
1993
Hidden Hawaii 探索夏威夷(1993)
The Discoverers 发现者(1993)
The Secret of Life on Earth 生命的秘密(1993)
Flight of the Aquanaut 潜水之旅(1993)
1994
Destiny in Space 宇宙心(1994)
Into the Deep 走进深渊(3D) (1994)
Yellowstone 黄石公园(1994)
Africa: The Serengeti 非洲：塞伦盖蒂国家公园(April 1, 1994)
1995
Mystery of the Maya 神秘的玛雅(1995)Search for the Great Sharks 鲨鱼探索(1995)
The Living Sea 生命的海洋(February 1995)
Titanica 铁达尼号大搜查(April 1995)
Wings of Courage 某某的翅膀？(3D) (June 16, 1995)
Stormchasers 风暴之舰(October 1995)
Across the Sea of Time 穿越时间之海(3D) (October 20, 1995)
1996
Cosmic Voyage 宇宙之旅(1996)
Survival Island 活魂岛(1996)
The Magic of Flight 飞行的魔术(1996)
Zion Canyon: Treasure of the Gods 锡安(1996)
Special Effects: Anything Can Happen 特别效果：一切皆有可能(July 4, 1996)
L5: First City in Space L5：第一个太空城市(3D) (October 11, 1996)
Hearst Castle, Building the Dream 梦幻城堡(1996)
1997
Alaska: Spirit of the Wild 阿拉斯加：野生动物的精神(1997)Amazon 亚马逊(1997)
Super Speedway 高速公路(1997)
Whales: An Unforgettable Journey (1997)
The Hidden Dimension 鲸奇之旅(3D) (May 9, 1997)
Thrill Ride: The Science of Fun (July 11, 1997)
Mission to Mir 别了.和平号(October 17, 1997)
The IMAX Nutcracker 胡桃钳王子(3D) (November 27, 1997)
1998
Mysteries of Egypt 埃及秘辛(1998)
The Greatest Places 胜地(1998)
Mark Twain's America 马克吐温的美国？(1998)
Everest 珠穆朗玛(March 6, 1998)
T-Rex: Back to the Cretaceous 回到白垩纪(3D) (October 23, 1998)
1999
Alien Adventure 外星人地球历险记(3D) (1999)
Hemingway: A Portrait 海明威肖像(usually shown as a double-feature with The Old Man and the Sea) (1999)
注：通常与《老人与海》两场联映
Siegfried & Roy: The Magic Box 白老虎秀‧神奇的魔法盒(3D) (1999)
The Old Man and the Sea 老人与海(usually shown as a double-feature with Hemingway: A Portrait) (1999)
注：通常与《海明威肖像》两场联映
Wolves 狼(March 1, 1999)
Encounter in the Third Dimension 三度空间的奇幻世界(3D) (March 31, 1999)Island of the Sharks 鲨鱼岛(April 30, 1999)
Extreme 末日(June 11, 1999)
Amazing Journeys 惊异之旅(October 15, 1999)
Galapagos 大龟群岛(October 27, 1999) 2000
Fantasia 2000 幻想曲2000(January 1, 2000)
Cirque Soleil: Journey of Man 太阳马戏团：人生之旅3D (2000)
Ultimate G's 飞行之梦(2000)
Dolphins 海豚(April 14, 2000)
Michael Jordan to the MAX 极限乔丹(May 5, 2000)Adventures in Wild California 加利福尼亚(May 12, 2000)
Ocean Oasis 海洋绿洲(September 13, 2000)
Solarmax 活力太阳(September 15, 2000)
Cyberworld 守护世界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 绝境斗士(February 10, 2001)
Haunted Castle 蓝精灵(3D) (February 23, 2001)
Journey into Amazing Caves 别有洞天(March 2001)
The Princess and the Pea 豌豆公主(May 19, 2001)
All Access: Front Row. Backstage. Live. 摇滚名人堂(May 20, 2001)
China: The Panda Adventure 与熊猫共探险(June 9, 2001)
The Human Body 人体(October 14, 2001)
Ski to the Max (October 18, 2001)
2002
Lewis & Clark: Great Journey West 刘易斯.克拉克与通向太平洋之路(2002)
SOS Planet 拯救星球(3D) (2002)
Star Wars Episode II: Attack of the Clones: The IMAX Experience 星战大战2-克隆人的进攻(2002) (First IMAX DMR film.)
（注：第一部IMAX数字电影）
Straight Up: Helicopters in Action 直升机在行动(2002)
Beauty and the Beast: Re-Release 美女与野兽(January 1, 2002)
Kilimanjaro: To the Roof of Africa 乞力马扎罗山-非洲之巅(March 1, 2002)
Space Station 3D 宇宙空间站(April 27, 2002)
Ultimate X: The Movie 极限运动(May 6, 2002)
Australia: Land Beyond Time 澳大利亚：跨越时间之地(May 25, 2002)
India: Kingdom of the Tiger 印度-老虎王国(June 14, 2002)
Apollo 13: The IMAX Experience 阿波罗13号(September 12, 2002)
Pulse: A Stomp Odyssey 破铜烂铁2：脉动冲击(October 17, 2002)
Jane Goodall's Wild Chimpanzees 珍古德的野生黑猩猩(October 25, 2002)
Santa vs. the Snowman 圣诞老人与雪人3D (November 1, 2002)
Treasure Planet: The IMAX Experience (November 27, 2002)
The Lion King: Re-Release 狮子王(December 25, 2002)
2003
Misadventures in 3D 新成长的烦恼(2003)
Roar: Lions of the Kalahari狮王争霸(2003)
Texas: The Big Picture 大图？(2003)Ocean Wonderland 海洋仙境3D (February 11, 2003)
Coral Reef Adventure 珊瑚礁(February 14, 2003)
Ghosts of the Abyss 深渊幽魂(3D) (April 11, 2003)
Adrenaline Rush: The Science of Risk 极限飞跃：冒险的内涵(April 18, 2003)
Country Music: The Spirit of America 乡村音乐：美国的灵魂(June 2, 2003)
The Matrix Reloaded: The IMAX Experience 黑客帝国2：重装上阵(June 6, 2003)
Bugs! A Rainforest Adventure 热带雨林里的昆虫(3D) (July 25, 2003)
Volcanoes of the Deep Sea 深海火山(September 14, 2003)
The Matrix Revolutions: The IMAX Experience 黑客帝国3：矩阵革命(November 5, 2003)
Young Black Stallion 黑神驹前传(December 7, 2003)
2004
Sharks 大鲨鱼3D (2004)
NASCAR 3D: The IMAX Experience 超级三维赛车(March 12, 2004)
Spider-Man 2: The IMAX Experience 蜘蛛侠2(July 23, 2004)
Harry Potter and the Prisoner of Azkaban: The IMAX Experience 哈利·波特与阿兹卡班的囚徒(June 4, 2004)
Fighter Pilot: Operation Red Flag 蓝天铁翼-红旗军演(December 2, 2004)
The Polar Express: The IMAX 3D Experience 极地特快(November 10, 2004) (First feature-lengthfilm to be released in both 35 mm and IMAX 3D.)
（注：第一部35mm和IMAX混合放映的3D电影？）
2005
Wild Safari 3D 盾甲龙(2005)
Aliens of the Deep 深海异形(3D) (January 28, 2005)
Mystic India 神秘印度(February 2005)
Mystery of the Nile 尼罗河的秘密(February 17, 2005)
Robots: The IMAX Experience 机器人历险记(March 11, 2005)
Batman Begins: The IMAX Experience 蝙蝠侠IMAX大电影(June 15, 2005)
Charlie and the Chocolate Factory: The IMAX Experience 查理和巧克力工厂(July 15, 2005)
Magnificent Desolation: Walking on the Moon 3D 月球漫步记(September 23, 2005)
Harry Potter and the Goblet of Fire: The IMAX Experience 哈利波特与火焰杯(November 18, 2005)
Wired to Win (December 2005)
2006
Hurricane on the Bayou 海湾的飓风(2006)
Roving Mars 漫游火星(January 27, 2006)
Greece: Secrets of the Past 希腊迷城(February 16, 2006)
Deep Sea 3D 深海(March 3, 2006)
V for Vendetta: The IMAX Experience V字仇杀队(March 17, 2006)
Poseidon: The IMAX Experience 海神号历险记(May 12, 2006)
Superman Returns: The IMAX 3D Experience 超人归来(partial 3D) (June 28, 2006)
The Ant Bully: The IMAX 3D Experience 别惹蚂蚁(July 28, 2006)
Open Season: The IMAX 3D Experience 丛林大反攻(September 29, 2006)
Happy Feet: The IMAX Experience 快乐的大脚(November 17, 2006)
Night at the Museum: The IMAX Experience 博物馆奇妙夜(December 22, 2006)
2007
The Alps 阿尔卑斯(2007)
300: The IMAX Experience 斯巴达300勇士(March 9, 2007)
Dinosaurs Alive 3D 恐龙再现(March 30, 2007)
Dinosaurs: Giants of Patagonia 恐龙3D：巴塔哥尼亚(3D) (April 5, 2007)
African Adventure: Safari in the Okavango 非洲冒险(3D) (May 1, 2007)
Spider-Man 3: The IMAX Experience 蜘蛛侠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·波特与凤凰社(partial 3D) (July 11, 2007)
Transformers: The IMAX Experience 变形金刚(September 21, 2007)
Sea Monsters: A Prehistoric Adventure 与海怪同行-史前探险(3D) (October 5, 2007)
Beowulf: The IMAX 3D Experience 贝奥武夫(November 16, 2007)
I Am Legend: The IMAX Experience 我是传奇(December 14, 2007)
2008
Dolphins and Whales 3D: Tribes of the Ocean 海洋部落：鲸鱼与海豚(2008)Grand Canyon Adventure: River at Risk 大峡谷(2008)
Wild Ocean 3D 海洋世界(2008)
U2 3D (January 23, 2008)
The Spiderwick Chronicles: The IMAX Experience 奇幻精灵历险记(February 14, 2008)
Shine a Light: The IMAX Experience 闪亮之光(April 4, 2008)
Speed Racer: The IMAX Experience 极速赛车手(May 9, 2008)
Kung Fu Panda: The IMAX Experience 功夫熊猫(June 6, 2008)
The Dark Knight: The IMAX Experience 蝙蝠侠(July 18, 2008)
Fly Me to the Moon: The IMAX 3D Experience (August 8, 2008)
Steep 险峰(September 26, 2008)
Eagle Eye: The IMAX Experience 鹰眼(September 26, 2008)
Madagascar: Escape 2 Africa: The IMAX Experience 马达加斯加2(November 7, 2008)
The Day the Earth Stood Still: The IMAX Experience 地球停转之日(December 12, 2008)
2009
Under the Sea 3D 海底世界3D(February 13, 2009)
Jonas Brothers: The 3D Concert Experience 乔纳斯兄弟(February 27, 2009)
Watchmen: The IMAX Experience 守望者(March 6, 2009)
Monsters vs. Aliens: The IMAX 3D Experience 异形大战铁血战士(March 27, 2009)
Star Trek: The IMAX Experience 星际迷航(May 8, 2009)
Night at the Museum: Battle of the Smithsonian: The IMAX Experience 博物馆奇妙夜2(May 22, 2009)
Transformers: Revenge of the Fallen: The IMAX Experience 变形金刚2(June 24, 2009)
Harry Potter and the Half-Blood Prince: The IMAX 3D Experience 哈利·波特与混血王子(partial 3D) (July 29, 2009)
Cloudy with a Chance of Meatballs: The IMAX 3D Experience 美食从天降(September 18, 2009)
Where the Wild Things Are: The IMAX Experience 野兽家园(October 16, 2009)
Michael Jackson's This Is It: The IMAX Experience 就是这样(October 28, 2009)
A Christmas Carol: The IMAX 3D Experience 圣诞颂歌(November 6, 2009)
Avatar: The IMAX 3D Experience 阿凡达(December 18, 2009) 2010
Alice in Wonderland: The IMAX 3D Experience 爱丽丝梦游仙境(March 5,2010)
How to Train Your Dragon: The IMAX 3D Experience 驯龙记(March 26, 2010)
Iron Man 2: The IMAX Experience 钢铁侠2(May 7, 2010)
Shrek: The Final Chapter: The IMAX 3D Experience 怪物史莱克(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 玩具总动员3(June 18, 2010)
The Twilight Saga: Eclipse: The IMAX Experience 暮光之城：月食(June 30, 2010)
Inception: The IMAX Experience 盗梦空间(July 16, 2010)
Resident Evil: Afterlife: The IMAX 3D Experience 生化危机4(September 10, 2010)
Legend of the Guardians: The Owls of Ga'Hoole: The IMAX 3D Experience 猫头鹰王国：守卫者传奇(September 24, 2010)
Harry Potter and the Deathly Hallows (Part I): The IMAX 3D Experience 哈利·波特与死亡圣器(上)(November 19, 2010)
Tron Legacy: The IMAX 3D Experience 电子世界争霸战2(December 17, 2010)
2011
Sucker Punch: The IMAX 3D Experience 美少女特工队(March 25, 2011)
Kung Fu Panda 2: The Kaboom of Doom: The IMAX 3D Experience 功夫熊猫2(June 3, 2011)
Transformers 3: The IMAX 3D Experience 变形金刚3(July 1, 2011)
Harry Potter and the Deathly Hallows (Part II): The IMAX 3D Experience 哈利·波特与死亡圣器（下）(July 15, 2011)
Cowboys & Aliens: The IMAX 3D Experience 牛仔与外星人(July 29, 2011)
Happy Feet 2: The IMAX 3D Experience 快乐的大脚2(November 18, 2011)
2012年及之后
The Avengers: The IMAX 3D Experience 复仇者联盟(May 4, 2012)
Madagascar 3: The IMAX 3D Experience 马达加斯加3(May 18, 2012)
Untitled Spider-Man Reboot: The IMAX 3D Experience 超凡蜘蛛侠(July 3, 2012)
Batman 3: The IMAX Experience 蝙蝠侠3(July 20, 2012)
Mad Max 4: Fury Road: The IMAX Experience 疯狂的麦克斯4(2012-2013)
Dark Shadows: The IMAX Experience 黑暗阴影(2012-2013)
The Hobbit: The IMAX 3D Experience 霍比特人(2013)
The Man of Steel: The IMAX 3D Experience 超人：钢铁之躯(2012-2013)
Jurassic Park IMAX3D 侏罗纪公园IMAX3D （August8，20，2013）3D重映
（注：以上列表均为编者整理其他网站内容，中文翻译为本人依次查找网络及其对手获知，基本保证了中文译名的准确性，但由于本人经历及阅历有限，许多老电影没有查到，欢迎大家继续整理添加————————————————编者注）
为什么不是所有的IMAX影片都采用IMAX 3D？
拍摄或是转换成一部影片到IMAX 3D的决定要根据计划而定，并且要考虑诸多因素。《极地特快：IMAX 3D体验》的成功，以及许许多多其他3D影片亮相于IMAX影院，IMAX将致力于发展尽可能多的IMAX 3D影片。
中国IMAX电影
《唐山大地震》2010年7月22日
《建党伟业》2011年6月15日
《龙门飞甲3D》2011年12月16日
《太极：从零开始3D》2012年9月27日
《太极：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
《一代宗师》2013年1月8日
《太极侠》 2013年7月5日
《狄仁杰之神都龙王3D》2013年9月28日