美国电影发展史
美国电影发展史资料课件
默片时代的经典作品
《火车大劫案》
1903年，美国导演埃德温·鲍特拍摄的这部影片被认为是世界上最早的西部片 ，也是电影史上的经典之作。
《月球漫游记》
1902年，法国导演乔治·梅里埃斯拍摄的这部科幻片被认为是电影史上最早的科 幻电影之一。
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美国电影的黄金时代
好莱坞的崛起
好莱坞地区因其适宜的气候和 自然风光，逐渐成为电影制作 中心。
音乐设计
美国电影在音乐设计上注重与画面和情节的 配合，通过原创音乐或者经典音乐的运用， 增强情感表达和氛围营造。同时，美国电影 也善于运用音乐剪辑和混音技巧，让音乐与 画面更加协调和统一。
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美国电影的类型片体系对 全球电影产业产生了深远 影响，如西部片、歌舞片 、科幻片等。
跨国合作与交流
美国电影与世界各地的电 影制作机构进行合作，促 进了国际间的电影交流与 合作。
美国电影在全球的传播与接受
全球发行网络
美国电影拥有完善的全球 发行网络，覆盖各个国家 和地区，满足不同观众群 体的需求。
跨文化传播
商业考量
美国电影市场是一个庞大的产业链，涉及制片、发行、放映等多个环节。电影制作方需要考虑市场需 求、投资回报等因素，以确保电影项目的盈利。同时，市场营销和宣传也是电影成功的关键因素之一 。
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美国电影的风格与技巧
叙事结构与情节设计
叙事结构
美国电影在叙事结构上通常采用线性叙事，情节发展线索清晰，剧情紧凑，能够迅速吸引观众的注意力。同时， 美国电影也善于运用非线性叙事手法，通过倒叙、闪回等方式，打破时空顺序，给观众带来惊喜和悬念。
新一代导演与演员的影响
新一代导演与演员的出现，为美国电影注入了新的活力，促进了美国电 影的创新和发展。他们的影响力逐渐扩大，成为美国电影的重要力量。
论美国电影的发展历程
论美国电影的发展历程作者：刘丽娜来源：《北极光》2016年第06期摘要：美国电影行业，作为世界电影行业的领头羊，其艺术表现形式，拍摄技法，电影运营模式，创新思维等等值得我们中国电影行业学习。
本文从美国电影的发展历程出发，从不同历史时期分析美国电影的突出作品，为中国电影的发展提供理论基础。
关键词：美国电影；无声电影；有声电影；生产力当前世界电影工业发展的佼佼者当属美国的电影。
自1895年12月28日世界上第一部电影《工厂大门》诞生于法国开始，电影这一被称之为第七艺术的艺术形式在各国蓬勃发展。
电影的发展与生产力水平的提升是密不可分的。
1893年T.A.爱迪生发明电影视镜并创建“囚车”摄影场，被视为美国电影史的开端。
1896年，维太放映机的推出开始了美国电影的群众性放映。
纵观世界电影发展史，格里菲斯，卓别林等等一系列优秀的导演创作出的作品具有里程碑式的意义，给世界电影的发展起到了一定的推动作用。
格里菲斯的《一个国家的诞生》，《党同伐异》。
尤其是《党同伐异》中特有的“最后一分钟营救”即“平行蒙太奇”更是革新了电影的拍摄技法。
他将发生在不同地点的平行动作交替切入，摆脱实际时间的束缚，打破传统戏剧叙述原则，创造真正符合电影艺术规律的叙事时空。
美国电影的发展历程大致分为无声电影，早期有声电影，美国电影走向巅峰。
一、无声电影美国早期的无声电影因着严格的审查制度，其主要类型为喜剧片，历史片和西部片。
严格审查制度的由来是因着当时美国各个电影公司的明星行为不检点，于是招致了公众的广泛抨击，于是美国电影业成立了“美国制片人与发行人协会”。
在W.H.海斯的主持下这一组织制定了“伦理法典”这就是著名的海斯法典。
其主要职能是审查影片时剔除不合乎美国公众道德观念和生活方式的情节和场面。
于是从侧面推动了既能够娱乐大众的同时又不违背美国公众的道德观念和生活方式的喜剧片，历史片和西部片。
喜剧片的典型电影当属查理卓别林的电影。
肥裤子、破礼帽、小胡子、大头鞋，再加上一根从来都不舍得离手的拐杖，卓别林用他的表情和动作将美国默片带到最高峰。
美国动画发展史
• 1937年，迪斯尼公司推出了世界第一部动画电影长片《白雪公主和七个小矮 人》，片长74分钟，成为美国动画电影史上的创举，这是世界上第一部发行 原声音乐的电影，影片中绚烂的色彩和生动的人物动作都令当时的观众叹为 观止，从此动画片一举甩掉正片甜点的帽子，主打动画长片开始登堂入室。
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• 由于全部使用CG（Computer Graphics）技术，影片从制作到放映，没有出现 失真现象，也改变了胶片放映时银幕中间亮四周暗的缺陷，画面均匀度几乎完美。 同时该片色彩鲜艳、景深层次感极强，人物的动作和表情刻画的惟妙惟肖，给观众 造成极强的视觉冲击。
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三维动画
• 随后美国各大动画电影公司纷纷加入到制作三维电脑动画的行列，三维电脑动 画来势汹汹并大行其道，如《海底总动员》、《虫虫危机》、《小蚁尖兵》、 《冰河世纪》、《怪物史莱克》、《怪兽公司》、《超人特工队》、《料理鼠 王》等影片均采用CG技术，几乎每一部影片都获得满堂喝彩，而且票房纪录 不断被刷新。
人物性格从简单到复杂，从完美到缺憾
• 在早期的美国动画电影中，人物性格比较单一，刻画比较粗糙，对人物的心理 世界描写也不是那么深刻。
• 20世纪90年代之后，随着梦工场、皮克萨工作室、20世纪福克斯、时代华纳 等电影制作公司的加入，美国动画电影对角色的塑造日臻成熟，影片中的人物 性格也变得更加复杂更有层次，人物也从原来的英雄、美女变成邻家大哥和大 姐、甚至怪兽，人物变得更加平民化，更贴近大众，他们也有自己的小缺点， 也有人世间的烦恼和忧愁。
双人搭档模式
• 雨果曾说过：“世界上有两种人，一类是铁，一类是磁铁。”电影中的主角当 然是铁，而配角是磁铁，为了刻画主角的个性特征，美国动画影片中总是塑造 一个或两人配角陪伴在主角左右，既可以推动剧情的发展，又可以增加一些噱 头来娱乐大众，美国动画影片已经形成了双人搭档模式。
美国动画发展史华纳兄弟电影公司
•
1938～ 1943年是迪斯尼动画长片。
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1943 ～1949年战争时期短片
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1950 ～1966年黄金时期。
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1967 ～1988年是蛰伏时期。
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1989 ～至今是第二次黄金时期
美国动画发展史
• 一、1907～ 1937年是开创阶段 • 1、布莱克顿：动画雏形发明者 • 1907年，第一部动画片《一张滑稽面孔的幽默姿态》由美
带给全世界人民的不仅仅是
一个迪斯尼公司，而且是一
个崭新的美国动画神话的开
启。32座奥斯卡奖、7座格
莱美奖、950项全球范围的
奖项有利地证明了他为人类
动画事业所作的贡献。
• 奥斯卡金像奖，也称奥斯卡奖，原名学院奖，正 式名称是“电影艺术与科学学院奖”，设立于 1927年，每年一次在美国洛杉矶举行。
• 格莱美音乐奖于1958年诞生，因其奖杯形状酷似 一架老式的留声机而得名并流传至今，该奖宗旨 是献给那些在录音艺术和技术方面做出突出贡献 的音乐人。
国人布莱克顿拍摄完成，美国动画片史正式开始。这一时 期的动画影片只有短短的5分钟左右，用于正式电影前的 加演，制作比较简单粗糙。
• 之后布莱克顿在《闹鬼的旅馆》（1906年）、《魔术的喷 泉笔》（1907年）以及其他一些动画影片中，进行着各种 各样的实验，例如溶叠、重复曝光等技术。
美国动画发展史
• 2、温瑟·麦克凯：为动画着色、设定动画情节、发展全动画第一人 • 麦克凯1911年制作的第一部动画《小尼姆》，1912年又完成了《蚊子
美国动画发展史
• 五、1967年～1988年蛰伏时期 • 《森林王子》是迪斯尼参与制作的最后一部片子，1966年
美国电影发展史
美国电影发展史Of all the products of popular culture, none is more sharply etched in our collective imagination than the movies. Most Americans instantly recognize images produced by the movies: Charlie Chaplin, the starvin g prospector in The Gold Rush, eating his shoe, treating the laces like spaghetti. Paul Muni, the jobless World War I veteran in I am a Fugitive from a Chain Gang, who is asked how he lives and replies, "I steal." Gloria Swanson, the fading movie goddess in Sunset Boulevard, belittling suggestions that she is no longer a big star: "It's the pictures that got small."Movies are key cultural artifacts that offer a window into American cultural and social history. A mix ture of art, business, and popular entertainment, the movies provide a host of insights into Americans' shi fting ideals, fantasies, and preoccupations. Like any cultural artifact, the movies can be approached in a variety of ways. Cultural historians have treated movies as sociological documents that record the look an d mood of particular historical settings; as ideological constructs that advance particular political or moral values or myths; as psychological texts that speak to individual and social anxieties and tensions; as cul tural documents that present particular images of gender, ethnicity, class romance, and violence; and as vi sual texts that offer complex levels of meaning and seeing.Beside Macy's Department Store in Herald Square New York City there is a plaque commemorating t he first public showing of a motion picture on a screen in the United States. It was here, on April 23, 1896, at Koster and Bial's Music Hall in New York City, that Thomas Alva Edison presented a show in cluded scenes of the surf breaking on a beach, a comic boxing exhibition, and two young women dancin g. A review in The New York Times described the exhibition as "all wonderfully real and singularly exh ilarating."The first successful efforts to project lifelike images on a screen took place in the mid-seventeenth ce ntury. By 1659, a Dutch scientist named Christiaen Huygens had invented the magic lantern, the forerunn er of the modern slide projector, which he used to project medical drawings before an audience.The first true moving images appeared in the 1820s, when the concept of the p ersistence of vision wa s used to create children's toys and other simple entertainments. The thaumatrope, which appeared in 182 6, was a simple disk with separate images printed on each side (for example, a bird on one side and a cage on another). When rapidly spun, the images appeared to blend together (so that the bird seemed tobe inside the cage). A simpler way to display movement was the flip book, which became popular by th e late 1860s. Each page showed a subject in a subtly different position. When a reader flipped the book' s pages, the pictures gave the illusion of movement.In 1887, Thomas Edison gave William K.L. Dickson, one of his leading inventors, the task of develop ing a motion picture apparatus. Edison envisioned a machine "that should do for the eye what the phono graph did for the ear." Dickson initially modeled his device on Edison's phonograph, placing tiny pictures on a revolving drum. A light inside the drum was supposed to illuminate the pictures. Then he decided to use the flexible celluloid film that George Eastman had invented in 1880 and had begun to use in hi s Kodak camera. Dickson added perforations to the edge of the film strip to help it feed evenly into his camera.To display their films, Dickson and Edison devised a coin-operated peepshow device called a "kinetosc ope." Because the kinetoscope could only hold fifty feet of film, its films lasted just 35 to 40 seconds. This was too brief to tell a story; the first kinetoscope films were simply scenes of everyday life, like th e first film "Fred Ott's Sneeze," reenactments of historical events, photographed bits of vaudeville routines, and pictures of well-known celebrities. Nevertheless, the kinetoscope was an instant success. By 1894, c oin-operated kinetoscopes had begun to appear in hotels, department stores, saloons, and amusement arcad es called nickelodeons. In 1894, the Lumiere brothers introduced the portable motion picture camera and projector.Finally recognizing the potential of the motion picture projector, Edison entered into an agreement wit h a Washington, D.C. realtor, Thomas Armat, who had designed a workable projector. In April, 1896, th e two men unveiled the Vitascope and presented the first motion pictures on a public screen in the Unit ed States.Competition in the early movie industry was fierce. To force their competitors out of the industry, mo viemakers turned to the courts, launching over two hundred patent infringement suits. To protect their pro fits and bring order to the industry, Edison and a number of his competitors decided to cooperate by est ablishing the Motion Picture Patents Company in 1909, consisting of six American companies and two Fr ench firms. Members of the trust agreed that only they had the right to make, print, or distribute cameras, projectors, or films. The trust also negotiated an exclusive agreement with Eastman Kodak for commer cial quality film stock.During film's first decade from 1896 to 1905 movies were little more than a novelty, often used as a "chaser" to signal the end of a show in a vaudeville theater. These early films are utterly unlike anythi ng seen today. They lasted just seven to ten minutes -too brief to tell anything more than the simplest st ory. They used a cast of anonymous actors for the simple reason that the camera was set back so far th at it was impossible to clearly make out the actors' faces. As late as 1908, a movie actor made no more than $8 a day and received no credit on the screen.In 1905, hundreds of little movie theaters opened, called nickelodeons, since they sold admission nicke l by nickel. By 1908, there were an estimated 8,000 to 10,000 nickelodeons. Contrary to popular belief, t he nickelodeon's audience was not confined to the poor, the young, or the immigrant. From the start, the aters were situated in rural areas and middle class neighborhoods as well as working-class neighborhoods. Nevertheless, the movies attracted audiences of an unprecedented size, as a result of their low admission prices, "democratic" seating arrangements, convenient time schedules (films were shown again and again), and lack of spoken dialogue, which allowed non- English speaking immigrants to enjoy films.By 1907, narrative films had begun to increase in number. But most films still emphasized stunts and chases and real life events-like scenes of yacht races or train crashes--and were rented or sold by the f oot regardless of subject matter. Exhibitors were expected to assemble scenes together to form a larger s how.The formation of the movie trust ushered in a period of rationalization within the film industry. Came ra and projecting equipment was standardized; film rental fees were fixed; theaters were upgraded; and th e practice of selling films outright ended, which improved the quality of movies by removing damaged p rints from circulation. This was also a period intense artistic and technical innovation, as pioneering direc tors like David Wark Griffith and others created a new language of film and revolutionized screen narrati ve.By focusing the camera on particular actors and actresses, Griffith inadvertently encouraged the develo pment of the star system. As early as 1910, newspapers were deluged with requests for actors' names. But most studios refused to divulge their identities, fearing the salary demands of popular performers. But the film trust's leading opponent, Carl Laemmle, was convinced that the key to the financial stability lay in producing films featuring popular stars. As one industry observer put it, "In the 'star' your producer gets not only a 'production' value...but a 'trademark' value, and an 'insurance' value which are...very poten t in guaranteeing the sale of this product." In 1910, Laemmle produced the first star; he lured Florence Lawrence, the most popular anonymous star, away from Biograph, and launched an unprecedented publicit y campaign on her behalf. As the star system emerged, salaries soared. In the course of just two years, t he salary of actress Mary Pickford rose from less than $400 a week in 1914 to $10,000 a week in 191 6.During the second decade of the twentieth century, immigrants like Laemmle and Zukor came to domi nate the movie business. Unlike Edison and the other American-born, Protestant businessmen who had co ntrolled the early film industry, these immigrant entrepreneurs had a better sense of what the public want ed to see. Virtually all of these new producers emigrated to the United States from central Europe and were Jewish. Less conservative than the American-born producers, they were more willing to experiment with such innovations as the star system and feature-length productions. Since many had come to the fil m industry from the garment and fur trades where fashions change rapidly and the successful businessma n is one who stays constantly in touch with the latest styles, they tried to give the public what it wante d.As Samuel Goldwyn, one of the leading moguls, noted, "If the audience don't like a picture, they hav e a good reason. The public is never wrong. I don't go for all this thing that when I have a failure, it i s because the audience doesn't have the taste or education, or isn't sensitive enough. The public pays mo ney. It wants to be entertained. That's all I know." With this philosophy the outsiders wrestled control ov er the industry away from the American-born producers.During the 1920s and 1930s, a small group of film companies consolidated their control. Known as the " Big Five" - Paramount, Warner Brothers, RKO, 20th Century-Fox, and Lowe's (MGM) and the "Little Th ree" - Universal, Columbia, and United Artists, they formed fully integrated companies. With the exceptio n of United Artists, which was solely a distribution company, the "majors" owned their own production f acilities, ran their own worldwide distribution networks, and controlled theater chains that were committedto showing the company's products. And at the head of each major studio was a powerful mogul such giants as Adolph Zukor, Wiliam Fox, Louis B. Mayer, Samuel Goldwyn, Carl Laemmle, Harry Cohn, Jos eph Schenck, and the Warner Brothers who determined what the public was going to see. It was their vi sion--patriotic, sentimental, secular, and generally politically conservative which millions of Americans sha red weekly at local movie theaters.During the 1920s, movie attendance soared. By the middle of the decade, 50 million people a week went to the movies - the equivalent of half the nation's population. In Chicago, in 1929, theaters had en ough seats for half the city's population to attend a movie each day.In 1926, Warner Brothers released the film Don Juan--the first film with a synchronized film score--al ong with a program of talking shorts. The popularity of The Jazz Singer, which was released in 1927, er ased any doubts about the popular appeal of sound, and within a year, 300 theaters were wired for soun d.The arrival of sound produced a sharp upsurge in movie attendance, which jumped from 50 million a week in the mid-20s to 110 million in 1929. But it also produced a number of fundamental transformati ons in the movies themselves. As Robert Ray has shown, sound made the movies more American. The i ntroduction of sound also encouraged new film genres--like the musical, the gangster film, and comedies that relied on wit rather than slapstick.In addition, the talkies dramatically changed the movie- going experience, especially for the working cl ass. Where many working class audiences had provided silent films with a spoken dialogue, movie-goers were now expected to remain quiet. As one film historian has observed: "The talking audience for silent pictures became a silent audience for talking pictures. "Moreover, the stage shows and other forms of liv e entertainment that had appeared in silent movie houses increasingly disappeared, replaced by newsreels and animated shorts.The film industry changed radically after World War II, and this change altered the style and content of the films made in Hollywood. After experiencing boom years from 1939 to 1946, the film industry be gan a long period of decline. Within just seven years, attendance and box receipts fell to half their 1946 levels.During the 1940s, a new film genre--known as film noir-- arose, which gave tangible expression to th e psychic confusion of a nation that had won the largest war in history but faced even greater uncertaint ies in peacetime. Though film noir received its named from French film critics and was heavily influence d by German expressionist film making techniques, it stands out as one of the most original and innovati ve American movie genres.After the war, Hollywood's audience not only shrank, it also fragmented into distinct subgroups. An a udience interested in serious social problem films expanded. During the postwar period Hollywood produc ed a growing number addressing such problems as ethnic and racial prejudice, anti-Semitism, sufferings o f maltreated mental patients, and the problems of alcohol and drug addiction. The growing popularity of science fiction thrillers also reflected the emergence of the youth market and the spread of a certain para noid style during the Cold War years.As the 1960s began, few would have guessed that the decade would be one of the most socially cons cious and stylistically innovative in Hollywood's history. Among the most popular films at the decade's st art were Doris Day romantic comedies like That Touch of Mink (1962) and epic blockbusters like The L ongest Day (1962), Lawrence of Arabia (1962), and Cleopatra (1963). Yet, as the decade progressed, Hol lywood radically shifted focus and began to produce an increasing number of anti-establishment films, lac ed with social commentary, directed at the growing youth market. Two films released in 1967--Bonnie an d Clyde and The Graduate--awoke Hollywood to the size and influence of the youth audience.A number of most influential films of the late '60s and early '70s sought to revise older film genres--like the war film, the crime film, and the western--and rewrite Hollywood's earlier versions of American history from a more critical perspective. Francis Ford Coppola's The Godfather (1972) revised and enhanc ed the gangster genre by transforming it into a critical commentary on an immigrant family's pursuit of t he American dream.During the mid- and late-70s, the mood of American films shifted sharply. Unlike the highly politicize d films of the early part of the decade, the most popular films of the late 1970s and early 1980s were e scapist blockbusters like Star Wars (1977), Superman (1978), and Raiders of the Lost Ark (1981)-- featur ing spectacular special effects, action, and simplistic conflicts between good and evil--inspirational tales ofthe indomitable human spirit, like Rocky (1976)--or nostalgia for a more innocent past--like Animal Hou se (1978) and Grease (1978).In a 1992 bestseller Hollywood vs. America, Michael Medved, co-host of public television's Sneak Previe ws, described Hollywood as a "poison factory," befouling America's moral atmosphere and assaulting the country's "most cherished values." Today's films, he argued, use their enormous capacity to influence opin ion by glamorizing violence, maligning marriage, mocking authority, promoting sexual promiscuity, ridiculi ng religion, and bombarding viewers with an endless stream of profanity, gratuitous sex, and loutish form s of behavior. Where once the movies offered sentiment, elegance, and romance, now, Medved contends, ideologically-motivated producers and directors promote their own divisive agenda: anti-religion, anti-famil y, anti-military.Nevertheless, as the movie industry enters its second century, many Americans worry about Hollywood 's future. Medved is not alone in complaining that "they don't make movies like they used to." A basic problem facing today's Hollywood is the rapidly rising cost of making and marketing a movie: an averag e of $40 million today. The immense cost of producing movies has led the studios to seek guaranteed hi ts: blockbuster loaded with high-tech special effects, sequels, and remakes of earlier movies, foreign films, and even old TV shows.For a century, the movie industry has been the nation's most important purveyor of culture and enterta inment to the masses, playing a critical role in the shift from Victorian to distinctively modern, consumer values; from a world of words to a visual culture; from a society rooted in islands of localities and eth nic groups to a commercialized mass culture. The movies taught Americans how to kiss, make love, con ceive of gender roles, and understand their place in the world. Whether film will continue to serve as th e nation's preeminent instrument of cultural expression--reflecting and also shaping values and cultural ide als--remains to be seen.1893年，T.A.爱迪生发明电影视镜并创建“囚车”摄影场，被视为美国电影史的开端。
美国电影史资料
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鲍特与《火车大劫案》
《火车大劫案》是一部 以真实的自然环境作为叙事 背景，以强盗抢劫火车上的 旅客的钱财最终被警察追击 而受到惩罚的故事作为依托， 突出地表现了一个具有强烈 而紧张的外部动作和冲突的 作品。 影片共分 13 段，每一段 都是由一个镜头拍摄下来的 完整事件中的一部分。
卓别林共拍摄了 80 余部影片，他的一生、全部献给 了电影艺术。 晚年曾接受了来自全世界的，特别是英、法、美等 国家给予他的各种荣誉。 1962年英国牛津大学授予他荣誉学位。 1971年在第二十五届戛纳电影节上法国政府授予他荣 誉军切高级缓带。 1972年卓别林重返好莱坞并接受了奥斯卡荣誉金像奖。 1975年伊丽沙白女王授予他“爵士”称号。 1977年圣诞夜，当卓别林磕然长逝之后，世界各国的 报刊都以显著的位置刊登了这一消息，各个不同的民族以 不同的语言都给予了这位电影喜剧大师以极高的赞美和评 价。
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《小凯撒》
《公敌》
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（5）科幻片 这类影片往往以科学幻想为主要内容，在故 事情节的进程中对未来的世界或遥远的过去的情 景作幻想式的描述。 特点： 科幻片起源于法国，革新于德国，全盛于美 国。它基于科学，驰骋幻想，以特技手段展现科 技领域和大千世界的无穷奥妙以及人与物的异化， 时空无限，景物有数。 比如《地球停转之日》（ 1951 ）、《X 放射线》 （ 1953 ）、《火星人入侵》（ 1953 ）、《外星人 大战地球》（1953）等。
好莱坞电影发展史及美国电影概述 ppt课件
Charlie Chaplin 1889-1977
Chaplin is a world-famous comedian. with rich life experience, profound social insight, he created highest achievements of silent film for mankind.
Leonardo DiCaprio 莱昂纳多·迪卡普里奥
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返回目录
1974年11月11日出生于美国加利福尼亚州洛杉矶，美国影视演员、制作人。1990年，16岁的他参加了电视剧《成长的烦 恼》，1997年，莱昂纳多主演了《泰坦尼克号》。2010，他出演了《盗梦空间》，2016年，凭借电影《荒野猎人》获得第73 届金球奖最佳男主角奖和第88届奥斯卡金像奖最佳男主角奖。
African American stepfather raised, disel ‘s childhood have been working in the theatre.He wants to be a
Hollywood actor for his dream and give up high school, graduated from high school, he got hunter
college admission, he majored in English at school writers in the school three years later, he decided to
leave for the movie, from 1997, he wrote, directed and acted in a small investment film "lost" in 2017,
电影发展简史
1887年，发明家爱迪生受到显示器的启发，制成了第一台“放映 机”。 1895年：无声电影电影的出现 法国科学家奥古斯特•卢米埃尔和路易•卢米埃尔兄弟俩对电影的 研制也很感兴趣，一次偶然的机会，路易发现缝纫机的原理和电 影放映机相似，经试验，路易的想法果然可行。后来奥古斯特在 一篇文章中说：“我的弟弟在一个夜晚就发明了活动电影机。”
重要作品
• 《月球之旅》A Trip to the Moon 1900／梅里叶／法国／ 黑白 • 《美国消防员的生活》The Life of an American Fireman 1903／爱德温．波特／美国／黑白 • 《火车大劫案》The Great Train Robbery 1903／爱德 温．波特／美国／黑白 第一部西部片的诞生。 • 《灵犬救主记》Rescued by Rover 1905／西希．赫普渥 斯／英国／黑白 开创在屏幕上说故事的技巧，是葛里菲 斯之前剪辑最巧妙的作品。 • 《鹰巢历险记》The Eagle's Nest 1908／爱德温．波特／ 美国／黑白 内容描述营救被老鹰捉去的婴儿的过程，葛 里菲斯演出并在此片中学习到导演的技巧。
《一个国家的诞生》
《摩登时代》
卓別林
卓别林（1889—1977）， 20世纪最伟大的批判现实主义 电影艺术家，世界上最著名的 喜剧电影明星。他作为伟大的 喜剧电影艺术家，最大的贡献 是把为笑而笑的庸俗“闹剧”， 提到批判现实主义艺术的高度。 他以独特的喜剧艺术表演风格 和辛辣的讽刺，尖锐地批判了 资本主义社会的罪恶。 卓别林一生主演过80多部 影片。1972年，美国影艺学院 特别颁了奥斯卡奖表扬卓别林 对影坛的特殊贡献。
(一)十九世纪30年代，电影开始了它的诞生前 的技术准备期，也叫做发明期。
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美国电影
漫长的发展历史——新老对比
1997年影片《泰坦尼克号》以 3D形式再次亮相大银幕。导演詹 姆斯-卡梅隆(James Cameron)透 露了制作计划和五大看点。在3D 新片《阿凡达》(Avatar)的制作过 程中，詹姆斯-卡梅隆受到启发， 决定用这一高科技手段重新制作当 年由凯特-温斯莱特(Kate Winslet) 和莱昂纳多-迪卡普里奥(Leonardo DiCaprio)主演，颇受赞誉的影片 《泰坦尼克号》。整个制作过程用 时约一年至十四个月，于2012年4 月10日登陆中国电影院。
美国电影
漫长的发展历史——不得不说的洛杉矶
；洛杉矶好莱坞
位于美国西海岸加利福尼亚州洛杉矶郊外的好莱坞，这是一个依山傍水， 景色宜人的地方。 最早是由摄影师寻找外景地所发现的，大约在20世纪初，这里便吸引了 许多拍摄者，而后是一些为了逃避专利公司控制的小公司和独立制片商们 纷纷涌来，逐渐形成了一个电影中心。在第一次世界大战之前以及之后的 一段时间内，格里菲斯和卓别林等一些电影大师们为美国赢得了世界名誉， 华尔街的大财团插手电影业，好莱坞电影城迅速兴起，恰恰适应了美国在 这一时期的经济飞速发展的需要，电影也进一步纳入经济机制，成为谋取 利润的一部分。资本的雄厚，影片产量的增多，保证了美国电影市场在世 界上的倾销，洛杉矶郊外的小村庄最终成为一个庞大的电影城，好莱坞也 在无形中成为美国电影的代名词。
钢铁侠国电影
漫长的发展历史——动画片 迪 士 尼 和 唐 老 鸭 ， 米 老 鼠
美国电影
漫长的发展历史——动画片
美国的动画当然 也与总不同。看过后 同样让人心潮澎湃。
美国电影
漫长的发展历史——动作片
说起美国的动作片，当然起初缺少中国元素。但是随 中国功夫 着李连杰和成龙的崛起，美国电影也刮起了中国风。
近10年美国电影的蜕变
美国电影
漫长的发展历史
屏仍美 形在式 象继电 ，续影 家，给 喻纷人 户繁的 晓复视 。杂觉 的冲 荧击
美国电影
漫长的发展历史
美国电影拥有漫长的发展历史， 精彩的情节，刺激的特效，震撼的大场景， 这或许是美式大片所独有的也是做得最好的一面。
美国电影
漫长的发展历史
依都不 旧在管 热这你 卖里反 。，对 爱与 与否 不美 爱式 它电 都影
美国电影
漫长的发展历史——新老对比
新老泰坦尼克 你怎么看？
美国电影
漫长的发展历史——新老对比
1912年4月10日，泰坦尼克号从英国南安普敦 （Southampton）出发，途经法国 瑟堡-奥克特维尔 （Cherbourg-Octeville）以及爱尔兰昆士敦 （Queenstown），计划中的目的地为美国纽约 （New York），开始了这艘“梦幻客轮”的处女航。 4月14日晚11点40分，泰坦尼克号在北大西洋撞上冰 山（大约在41°43„55.66“N 49°56‟45.02”W附近）， 两小时四十分钟后，4月15日凌晨2点20分沉没，由 于只有20艘救生艇，1523人葬身海底，造成了当时 在和平时期最严重的一次航海事故。电影《泰坦尼 克号》就是根据这一真实海难而改编 。
美国电影
漫长的发展历史——新老对比
作为上世纪最卖座的电影，泰坦尼克 当之无愧。 97年的时候该片是当时电影史 上第一昂贵的电影，全球票房收入为18亿 3540万美元 。并且电影将灾难与爱情融在 一起，赚了不少人的眼泪。
美国电影
漫长的发展历史——新老对比
过去的早已 成为经典，现在 的也将写入历史。 但是不得不说， 新老交替我们总 会发现新的东西， 比如3D电影的到 来。
美国电影
漫长的发展历史
要要事 学美实 习国就 。的是 电这 影样 ，， 我我 们们 需需
这种类型的电影是 绝对不会让陌生的，起 码对观众这种类型的荧 幕英雄形象不会生疏。
美国电影
漫长的发展史——英雄主义
什么是英雄主义？这几乎成为美式电影的招牌，就像某座城市的地标。 回顾近10年那些电影，我们不难发现，英雄主义为题材的大片依旧热卖。 我们仍旧期盼着超人能拯救地球，当然这并不唯一。
美国电影
漫长的发展历史——新的崛起
奥斯 卡—— 电影的 终极殿 堂
美国电影
漫长的发展历史——新的崛起
各种大片 眼花缭乱
美国电影
漫长的发展历史——新的崛起
让我们期 待美国电影新 的崛起，期待 更多的大片， 冲击我们的眼 球。当然也希 望国产电影能 早日跟上脚步。