《魂断蓝桥影视欣赏》PPT课件

TheSwayLoveinWar ALoveStoryMeetattheWaterloobridgeTokensofloveonthebridgeRespectively,fromthebridge MyraisastrugglingballerinainlovewitharichguyabouttogoofftoWWI. WarmakesseperationHegoesofftowarandisassumedtobelost…… NoChoiceButforLiving Bettermissthanmeet. VivianMaryHartleywasbornonNovember5,1913,inDarjeeling,India,astrangeplaceforoneoftheworld'smostcelebratedactressestobeborn.Shediedattheageof53afterasevereboutoftuberculosisonJuly7,1967. ThingsAreLookingUp WaterlooBridge Abeautifulandsadlovestory,atouchinglovesong.Shouldauldacquaintancebeforgot,andneverbroughttomind?Shouldauldacquaintancebeforgot,forthesakeofauldlangsyne.Ifyoueverchangeyourmind,butIliving,livingmebehind,knockoffwatches,ohbringittome,bringmeyoursweetloving,bringithometome.bringithometome.Yeah~Yeah~agoodlovestorywiththisbeautifulsoundtrackithometome.Forauldlangsynemydear,forauldlangsyne,we'lltakeacupofkindnessIt'smyfavorit.Thankyoufordownload.Iwannabeyourfriend,pleaseaddmeI'llgiveyoujewelryandmoneytoo.That'sallallI'lldoforyou.DarlingyouknowIlaughedwhenyouleft,butnowIknowthatIonlyhurtmyself.Pleasebringittome,bringyoursweetsweetlove,bringithometome,bringetforthesakeofauldlangsyne. Afterwatchingthefilm,Iwasshockeddeeply.Whyloverscan’tkeepalong?EverytimeIsee,Iamsad.IlovetheeyesofVivienLeigh,becauseitlookslikeasmartcat.Inthefilm,actressnotonlyleftherlifeonthisbridge,butalsoputtheirlove,faithandsoultogetherinthisbridge... themajor genres features of movies in different stages Montageisatechniqueinfilmeditinginwhichaseriesofshortshotsareeditedintoasequencetocondensespace,time,andinformation.Itisusuallyusedtosuggestthepassageoftime,ratherthantocreatesymbolicmeaningasitdoesinSovietmontagetheory.Fromthe1930stothe1950s,montagesequencesoftencombinednumerousshortshotswithspecialopticaleffects(fades,dissolves,splitscreens,doubleandtripleexposures)danceandmusic.Theywereusuallyassembledbysomeoneotherthanthedirectorortheeditorofthemovie. Inthenewspaperone,therearemultipleshotsofnewspapersbeingprinted(multiplelayeredshotsofpapersmovingbetweenrollers,paperscomingofftheendofthepress,apressmanlookingatapaper)andheadlineszoomingontothescreentellingwhateverneedstobetold.TherearetwomontageslikethisinItHappenedOneNight.Inatypicalrailroadmontage,theshotsincludeenginesracingtowardthecamera,giantenginewheelsmovingacrossthescreen,andlongtrainsracingpastthecameraasdestinationsignszoomintothescreen.... FilmcriticEzraGoodmandiscussesthecontributionsofSlavkoVorkapić,whoworkedatMGMandwasthebest-knownmontagespecialistofthe1930s:“Hedevisedvividmontagesfornumerouspictures,mainlytogetapointacrosseconomicallyortobridgeatimelapse.Inamatterofmoments,withimagescascadingacrossthescreen,hewasabletoshowJeanetteMacDonald'srisetofameasanoperastarinMaytime(1937),theoutbreakoftherevolutioninVivaVilla(1934),thefamineandexodusinTheGoodEarth(1937),andtheplagueinRomeoandJuliet(1936).” From1933to1942,DonaldSiegel,lateranotedfeaturefilmdirector,wastheheadofthemontagedepartmentatWarnerBrothers.Hedidmontagesequencesforhundredsoffeatures,includingConfessionsofaNaziSpy;KnuteRockne,AllAmerican;BluesintheNight;YankeeDoodleDandy;Casablanca;ActionintheNorthAtlantic;GentlemanJim;andTheyDriveByNight.SiegeltoldPeterBogdanovichhowhismontagesdifferedfromtheusualones.. “Montagesweredonethenasthey'redonenow,oddlyenough—verysloppily.Thedirectorcasuallyshootsafewshotsthathepresumeswillbeusedinthemontageandthecuttergrabsafewstockshotsandwalksdownwiththemtothemanwho'soperatingtheopticalprinterandtellshimtomakesomesortofmishmashoutofit.Hedoes,andthat'swhat'slabeledmontage Incontrast,Siegelwouldreadthemotionpicture'sscripttofindoutthestoryandaction,thentakethescript'sonelinedescriptionofthemontageandwritehisownfivepagescript.Thedirectorsandthestudiobosseslefthimalonebecausenoonecouldfigureoutwhathewasdoing.Leftalonewithhisowncrew,heconstantlyexperimentedtofindoutwhathecoulddo.Healsotriedtomakethemontagematchthedirector'sstyle,dullforadulldirector,excitingforanexcitingdirector.TheEnd.