大学英语电影赏析考试重点

《Holy Bible》圣经《King Arthur》亚瑟王《Greek Myths》希腊神话

判断、简答题

1.五大电影公司：

Warner Brothers; Loew’s-MGM; Fox; Radio-Keith-Orpheum (RKO); Paramount

三小电影公司：

Columbia; Universal; United Artists

2.Sound and Color

Sound– was introduced by Warner Brothers in Don Juan.

在华纳公司的《唐璜》中引进

Color– was initially limited by its expense and crudity; yet by the 1930s the quality had improved.

最初受制于费用而且生硬,但到了1930年代质量得到了改善。

3.角色

The main character is the most important character in a film, and the character of greatest interest. Usually the main character is also the “protagonist”, the character whose actions trigger the chain of causes and effects that drive the plot forward.

主要角色是电影中最重要的角色，也是最具吸引力的角色。主要人物通常就是主角，其行动引起的原因，产生的影响推动着情节的发展。

Secondary characters are those who interact with the protagonist and have significant impact on the development of the narrative. They can often be divided into three main functions: the opposition character, the mirror character, and the romance character.

次要人物与主角交互，影响着叙事的发展。它们通常可以分为三个主要功能：反派角色，镜像角色和浪漫角色。

The mirror character also known as the “support” is the character most clearly aligned with, and supportive of the protagonist. Mirror characters offer support to the protagonist through the difficulties he encounters, often because they share with him certain beliefs and attitudes. They have important dramatic function of engaging

in regular dialogue with the protagonist, helping him to formulate his goals and at the same time helping the audience to better understand the protagonist’s character and situation.

性格最明确，且赞同和支持主角的角色称为镜像角色。镜像角色帮助主角度过难关，往往是因为他们与主角分享他们的某些信念和态度。他们有着重要的戏剧功能，定期对话主角，帮助主角制定目标，同时帮助观众更好地了解主角的性格和处境。

4.叙述

Narrative refers to the way that a story is told. It is principally concerned with the way that events are organized in time and space – the way in which the scriptwriter and director take the raw elements of a story and arrange them in the most attractive and interesting way.

Narrative– a chain of events in cause-effect relationships occurring in time and space.

叙述是指讲述一个故事的方式。它主要关注的是事件在时间和空间上的组织方式 - 编剧和导演以最有吸引力和最有趣的方式安排故事的原始元素。

叙述——在时间和空间上发生的一连串事件的因果关系。

5.九大故事

Achilles, Candide, Cinderella, Circe, Faust, Orpheus, Romeo and Juliet, Tristan, and the Wandering Jew.

阿喀琉斯（跟腱），老实人，灰姑娘，塞丝，“浮士德”，奥菲斯，“罗密欧与朱丽叶”，特里斯坦，流浪的犹太人。

6.主题

Stated simply, the theme of a film is its main point; it is what the

scriptwriter and director want to tell us. In more precise terms, theme is the controlling idea of the film.

In addition to constituting a general comment about life, the theme is also the central and controlling idea. It is that center of gravity around which all the other elements of the film (genre, character, narrative, style) imperceptibly revolve. It would be wrong to assume that there is only one theme in every film. It is quite possible that scriptwriter/director has intentionally allowed for the coexistence of more than one theme.

简单说来，一部电影的主题是其主要的点，它是编剧和导演想告诉我们的东西。更精确的讲，主题是电影的控制思想。

除了构成一个关于生活的总体评价，主题也是中央和控制思想。它是重心，围绕这部电影的所有其他元素（流派，人物，叙事，风格）不知不觉地转换。假设一部电影只有一个主题这是错误的。这很可能是编剧/导演有意允许多个主题共存。

7.七大主题

Broad Human Concerns

Life Philosophies

Religious and Ethical Concerns

Historical Issues

Nations and National Characteristics

Social/Cultural/Technological Changes

Social Problems

广泛的人权问题

人生哲理

宗教和伦理问题

历史问题

联合国和民族特色。

社会/文化/技术变革

社会问题

8.动作片特征

The chief characteristics of the action film are:

the domination of the cinematic, the image, and technology;

the simplification of narrative, characterization, dialogue and theme. The non-action elements of cinema undergo considerable simplification in the action genre. Narrative structure is reduced to the basic formula of chase followed by chase. Characters are not psychologically well developed; they are used instead as agents

and/or victims of the next spectacular event.

The self-deprecating humor. The tone of action film is light-hearted and irreverent; they self-consciously make fun of themselves. The injection of humor into the action film has the effect of making its violence and destruction seem comic and unreal.

9.爱情片的核心

The essence of the romantic film is the “force opposed to love ” that, by presenting obstacles to the lovers, turns a love affair into a story. In the past force has taken the form of so-called “blocking characters”. Traditionally, the blocking characters would be the parents of the lovers. As parental control over children has relaxed, and as the possibility of divorce has arisen, neither of these forces is sufficiently convincing as an obstacle, and scriptwriters have had to employ other mechanisms for impeding the course of true love.

Another method employed by romantic films is to start from the so-called “unlikely couple” scenario. The unlikely couple consists of two characters who are thoroughly ill-matched, perhaps because they come from different class or racial backgrounds, are of very different ages or occupations, or are temperamentally opposite, and thus would not normally be expected to become lovers. The differences between the two central characters thus become the source of the conflict and difficulties that drive the plot forward.

浪漫电影的本质是“力量反对爱”，把阻碍恋人转变为一个反对恋情的故事。在过去，力量已经有“阻碍角色”的称谓了。传统上，阻碍角色是恋人的父母。作为父母对子女的控制放宽，离婚可能性的兴起，这两种力量足够成为有说服力的障碍，在阻碍真爱的过程中，编剧不得不采用其他机制。

浪漫的电影采用的另一种方法是从所谓的“不可能的情侣”的情况下开始。彻头彻尾不匹配的两个角色组成不可能的夫妇，也许是因为他们来自不同的阶级或种族背景，是非常不同的年龄或职业，或性情相反的，因此通常不会被预期成为恋人。两个主要角色之间的差异成为推动情节向前的冲突和困难的来源。

10.科幻片的特点

Science fiction films rules out the use of anything as material which violates established science fact, laws of nature, call it what you will. It must be possible to the universe as we know it. The world of science fiction may be unreal, but usually it will be logically coherent.

Science fiction films have a prophetic quality and try to anticipate or predict the future. The predictions they offer are commonly based on a form of extrapolation: that is, they predict the future based on the assumption that trends in contemporary society will continue indefinitely.

Science fiction film is a warning. This is what might happen if we carry on this way. In particular, science fiction films express social anxiety about the rate and direction of technological change, doubt about the ability of mankind to predict the consequences of this change, and skepticism about the motives of those who push for technological advancement.

Science fiction films display a profoundly ambiguous attitude towards science and technology.

Often there is a veiled political subtext to science fiction, with the aliens representing the political , racial, or ethnic “other”.

Science fiction films force us look at ourselves and our choices from the perspective of an imagined future or from the perspective of an alien race, and thus

to consider them afresh. It is this intellectual “openness” to new ideas and experiences that most strongly marks science fiction as a genre, and distinguishes it from the “closed” stance of other genre.

科幻电影排除任何违反既定的科学事实为材料的使用规则和自然规律之外，什么都可以调用它。它必须是可能的宇宙，因为我们知道它。科幻世界可能是不真实的，但通常它会在逻辑上连贯。

科幻电影有一个有质量的预言，并尝试预测或预测未来。他们提供的预测通常是基于一种外推：那就是，他们预测未来是在当代社会的发展趋势将继续下去的基础上的假设。

科幻电影是一个警告。如果我们继续这样下去可能会发生什么。科幻电影，尤其是表达社会对技术变革的速度和方向的焦虑，怀疑人类能够预测这种变化的后果，以及那些推动技术进步的动机表示怀疑。

科幻片显示对科学和技术的深刻的暧昧态度。

经常有一个含蓄的政治含意科幻小说,外星人代表政治、种族、“其它”种族。

科幻电影迫使我们想象以未来的角度，或从一个外星种族的角度来看我们自己和我们的选择，从而重新考虑它们。正是这种知识的“开放”，以新的思路和经验，标志着最强烈的一个流派科幻小说的产生，它区别于其他类型的“封闭”立场。

11.恐怖片的三种叙述模式

Narratives concerning madmen and mentally disturbed individuals;

Narratives about horrific imaginary monsters;

Narratives about abnormal hostile forces entering the lives of human beings.

叙述疯子和精神病人;

叙述可怕的假想怪物;

叙述进入人类生活的异常敌对势力，。

《Brave heart》对白

I am William Wallace. And I see a whole army of my countrymen here in defiance of tyranny. You have come to fight as free men, and free men you are. What would you do without freedom? Will you fight?

我是William Wallace,我现在看到的是一支为了反对英格兰暴政而聚集的,我的同胞的军队.你们为自由来作战,你们将会自由.可是,没有自由你们怎么办?你们会打吗?

Wallace: Aye, fight and you may die. Run and you'll live -- at least a while. And dying in your beds many years from now, would you be willing to trade all the days from this day to that for one chance, just one chance to come back here and tell our enemies that they may take our lives, but they'll never take our freedom.

战斗,你们可能会死.逃跑可以存活----至少能有一会,很多年后,死在床上.你会愿意用这些年的机会来交换一个机会,仅仅一个,回到这里,告诉敌人,他们可以夺走我们的生命,但是,绝对夺不走我们的自由

It‘s you she takes after.

她跟你太像了

It‘s just that I saw you staring at me and I didn‘t know who you were.

只是我看见你盯着我，我却不知道你的名字．

Sorry, I suppose I was. Are you in the habit of riding off in the rain with strangers?

对不起．我以为我……你有在雨中与陌生人骑马的习惯？

It was the best way to make you leave.

这是赶你离开的最佳方法．

Well, if I can ever work up the courage to ask you again, I‘ll send you a written warning first

好吧，如果我可以有勇气再问你，我会给你警告．

It wouldn‘t do you much good. I can‘t read.

那对你没好处，我不识字．

Can you not?

你不识字？

No.

不会

Well,that‘s something we shall have to remedy, isn‘t it.

这是我们应该补偿的，对吧？

Are you showing off now?

你在卖弄？

That‘s right. Are you impressed yet?

是的，佩服了？

No. Why should I be?

没有，我有那个必要么？

Yes. Because every single day I thought about you.

是的，我无时无刻不在想你．

William Wallace's father: Your heart is free. Have the courage to follow it.

你的心灵是自由的，用尽勇气去追随吧．

There's a difference between us. You think the people of this land exist to provide you with position. I think your position exists to provide those people with freedom. And I go to make sure that they have it.我们间的区别就是，你们认为这片土地的人民生存是为了供养你们阶级，我却认为你的阶级应该给你的人民自由．我走了，确认他们是否得到了。

The king desires peace.

国王渴望和平

Longshanks desires peace?

长脚渴望和平？

He declares it to me, I swear it. He proposes that you withdraw your attack. In return he grants you title, estates, and this chest of gold which I am to pay to you personally

他向我保证．，我发誓．他承诺你放弃进攻，他给你爵位和财产，这些钱是我个人的馈赠．

A lordship and titles. Gold. That I should become Judas?

爵位和金钱，我就要当犹大？

Peace is made in such ways

和平有多种方式促成．

Slaves are made in such ways. The last time Longshanks spoke of peace I was a boy. And many Scottish nobles, who would not be slaves, were lured by him under a

flag of truce to a barn, where he had them hanged. I was very young, but I remember Longshank's notion of peace.

William Wallace: I came home to raise crops, and God willing, a family. If I can live in peace, I will.

Wallace: It's all for nothing if you don't have freedom.

William Wallace: Go back to England and tell them there, that the daughters and sons of Scotland are yours no more. Tell them Scotland is free.

奴隶同样如此铸成！上一次长脚提出和平时我还是孩子．很多苏格兰贵族，不愿意作奴隶的，被他引诱到谷仓，全部绞死．我那时很小，但是，我知道长脚所谓的和平．我回家，种地，如果上帝保佑，一家人可以的话．如果我可以和平的生存，我会的．如果没有自由，一切都是虚幻．回到英格兰，告诉他们，苏格兰的儿女不是你们的奴隶，苏格兰自由了！

I have nothing. Men fight for me because if they do not, I throw them off my land and I starve their wives and children. Those men who bled the ground red at Falkirk fought for William Wallace.He fights for something that I never had. And I took it from him, when I betrayed him. I saw it in his face on the battlefield and it's tearing me apart .

我什么都没有，人民跟我作战，只是如果不这样，我会没收土地，饿死他们的妻儿．为William Wallace浴血奋战的人，他们为了我没有的东西殊死斗争，我出卖他时，我在他脸上看到了让我汗颜的东西

All men betray! All lose heart.

所有人被出卖，所有人失去信念

I don't want to lose heart! I want to believe as he does!

我不想失去！我希望有和他一样的信念！

Why do you help me?

为什么帮我

Because of the way you are looking at me now。

“你眼中的豪情。”

The king will be dead in a month and his son is a weakling. Who do you think

is going to rule this kingdom。