电影历史英文

① 用英文介绍一下电影历史

早期无声片
软性电影
早期类型影片
费穆的“儒家电影”
传教电影
李香兰和“满映”电影
持摄影机的人们
先锋实验电影

自己翻译下

② 英文电影发展史

这个也太有难度了吧，非得专业人士不行啊，建议你还是直接娶你老师那边索要得了，呵呵，大不了请吃顿饭完事！

③ 英语电影 有关历史

近期的
百夫长Centurion (2010)
剧情
尹 胰 在公燥元117臣年，罗马试图埠入诸侵扦英迸国，跟随揩罗马赫争赫有泻名起的攀第楼九军攀团脂以及册军革团觉统帅“Virilus将臼军崖”箭远躲征英靖国的百喻夫瞎长昆图斯·哎迪牙亚斯馋（Quintus Dias），奉命瑟北上槽除掉丛匹谁克燃特族瞩人首臻领Gorlacon，墨并服将该棉族榴人狱斩滞尽刮杀伸绝。亩不过在茎匹克特雍人偷袭绷中，该忘军团全贯军癸覆灭，滁只有昆枚图斯·迪亚蹭斯椿得以幸存。投而欧嘉·柯诲瑞附兰寇饰骨演蹲的鹰艾嘘泰恩，因庸为与全家企被瓤罗勘马惭人杀害，她自惋己厦也被割掉了掀舌茹头，颐从而窑和昆嘘图斯典·迪缄亚斯一挚起走上了饿复仇办之路瓮。

分手信Dear John (2010)
剧情
影片改编自“美式纯爱系小说天王”尼古拉斯·斯帕克斯的小说，战争的创痛、爱情的心碎、成长的代价——种种际遇娓娓道来。

奇袭60阵地Beneath Hill 60 (2010)
剧情
奥利弗伍德沃德的非凡真实故事。这是1916年，德沃德泪别他的年轻女友，从军前往西部前线，其间还要穿越德国阵地。德沃德和他的团队从事秘密隧道工事，铺设炸药。他们的努力将改变战争的进程。

特殊关系The Special Relationship (2010)
剧情
影片聚焦的是1997年至2000年期间，当时的英国首相托尼·布莱尔与当时的美国总统比尔·克林顿之间的“亲密联系”。

国王的演讲The King's Speech (2010)
剧情
这部讲述伊丽莎白二世的父亲乔治六世国王生平的传记电影，在开拍伊始就被看好成为2011年各大奖项的种子选手。

公众之敌Public Enemies (2009)
剧情
在上世纪30年代的大萧条中，约翰·迪林格和同伙抢遍了美国的中西部银行，联邦调查局探员茂文·普维斯誓要将其捉拿归案。

本人非常推荐的
父辈的旗帜Flags of Our Fathers (2006)
剧情
改编自詹姆斯·布拉德利所著的小说《父辈的旗帜：硫黄岛战役的英雄们》，影片最值得关注的是伊斯特伍德怎样去展示“敌人”的故事

拯救大兵瑞恩Saving Private Ryan (1998)
剧情
当百万大军登陆诺曼底海滩时，一小队由约翰·米勒中尉（汤姆·汉克斯饰演）率领的美军士兵却深入敌区，冒著生命危险拯救一名士兵詹姆斯·雷恩（麦特·戴蒙饰演）。詹姆斯·雷恩是家中四兄弟的老幺，他的三名兄长都在这次战役中相继阵亡。美国作战总指挥部的将领为了不让这位不幸的母亲再承受丧子之痛，决定派一支特别小分队，将她仅存的儿子安全地救出战区。

风语者Windtalkers (2002)
剧情
二战中，纳瓦霍文被用作为最高机密的密码，因为日本军队没法解破它，因此保护纳瓦霍士兵加尔成了美国海军上尉乔的重要任务。

辛德勒的名单Schindler's List (1993)
剧情
德国投机商人辛德勒为了赚钱，在自己的工厂中使用廉价的犹太人。面对纳粹的屠杀，辛德勒开始想法保护尽可能多的犹太人。

肖申克的救赎The Shawshank Redemption (1994)
剧情
故事发厦生在1947匙年，橡银测行家倪安迪被篡当作假杀衙害妻仗子趾与悔情夫授的毡凶手送旗上斥法庭，犊安淋迪被竹判谓无期杉徙端刑根，纠这熔意赤味印着二他将狈在敢肖诣恩克监狱中渡郁过劈余生。

④ 美国电影史英文版

英译：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】
关于美国电影
长期以来，美国只把电影看作是娱乐手段，把好莱坞当成生产故事和幻想的工厂，因此首先注意影片的商业价值。但是，70年代前后，美国电影学术研究有了很大的发展。1967年，在华盛顿和洛杉矶两地成立了美国电影研究院（AFI）。电影资料馆遍布全美，其中重要的有纽约现代艺术博物馆、罗切斯特的伊斯曼电影数据馆、华盛顿国会图书馆、伯克利太平洋电影资料馆等。8大影片公司于60年代先后解体或转产之后，影片和档案大量捐赠给上述资料馆和各大学的电影研究中心，对研究本国电影传统、保护本国电影文物起着很大作用。

二十世纪的好莱坞：到1900年，好莱坞已经有一间邮局、一张报纸、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只有一条单轨的有轨电车。1902年，今天著名的好莱坞酒店的第一部分开业。1903年，此地升格为市，参加投票的177位有选举权的居民一致赞同以“好莱坞”为之命名。当年下的两条命令是：除药店外其他商店禁酒，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。
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。1910年代初，导演大卫·格里菲斯被Biograph公司派到西海岸来拍电影，他带着丽莲·吉许、玛丽·璧克馥等演员来到了洛杉矶。他们后来想寻找一块新的地盘，于是向北出发，来到了一个热情的小镇，那就是好莱坞。Biograph公司发现此地条件不错，于是在回纽约前又陆续拍了好几部电影。渐渐许多业内人士都知道了这块宝地，到好莱坞的电影剧组越来越多，美国电影业移师好莱坞的大转移开始，好莱坞向成为电影之都迈进。
1911年10月，一批从新泽西来的电影工作者在当地以为摄影师的带领下，来到一家叫布朗杜的小客栈，他们将租到的客栈改装成一家电影公司的样子。这样，他们创建了好莱坞的第一家电影制片厂——内斯特影片公司。
从那以后，许多电影公司在好莱坞落户，著名的电影公司有：米高梅电影公司（Metro Goldwyn Mayer，简称MGM）、派拉蒙影业公司（Paramount Pictures, Inc.）、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）、哥伦比亚影业公司（Columbia Pictures）。

⑤ 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。

⑥ 求英文的电影史

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.
李香兰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."

⑦ 求电影发展历史的资料，一定要英文的啊

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