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 starving 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 Sunt 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 mixture of art, business, and popular entertainment, the movies provide a host of insights into Americans' shifting 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 and mood of particular historical ttings; 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 cultural documents that prent particular images of gender, ethnicity, class romance, and violence; and as visual texts that offer complex levels of meaning and eing.
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Beside Macy's Department Store in Herald Square New York City there is a plaque commemorating the 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 prented a show included scenes of the surf breaking on a beach, a comic boxing exhibition, and two young women dancing. A review in The New York Times described the exhibition as "all wonderfully real and singularly exhilarating."
The first successful efforts to project lifelike images on a screen took place in the mid-venteenth century. By 1659, a Dutch scientist named Christiaen Huygens had invented the magic lantern, the forerunner of the modern slide projector, which he ud to project medical drawings before an audience.
The first true moving images appeared in the 1820s, when the concept of the persisten
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ce of vision was ud to create children's toys and other simple entertainments. The thaumatrope, which appeared in 1826, was a simple disk with parate 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 emed to be inside the cage). A simpler way to display movement was the flip book, which became popular by the 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. jenga
连锁反应英文版 In 1887, Thomas Edison gave William K.L. Dickson, one of his leading inventors, the task of developing a motion picture apparatus. Edison envisioned a machine "that should do for the eye what the phonograph 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 suppod to illuminate the pictures. Then he decided to u the flexible celluloid film that George Eastman had invented in 1880 and had begun to u in his Kodak camera. Dickson added perforations to the edge of the film strip to help it feed evenly into his camera. mountain lion
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高中留学首选睿励人生留学 To display their films, Dickson and Edison devid a coin-operated peepshow device called a "kinetoscope." Becau the kinetoscope could only hold fifty feet of film, its films lasted just 35 to 40 conds. This was too brief to tell a story; the first kinetoscope films were simply scenes of everyday life, like the 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, coin-operated kinetoscopes had begun to appear in hotels, department stores, saloons, and amument arcades called nickelodeons. popular的反义词In 1894, the Lumiere brothers introduced the portable motion picture camera and projector.
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Finally recognizing the potential of the motion picture projector, Edison entered into an agreement with a Washington, D.C. realtor, Thomas Armat, who had designed a workable projector. In April, 1896, the two men unveiled the Vitascope and prented the first motion pictures on a public screen in the United States.
Competition in the early movie industry was fierce. To force their competitors out of the
industry, moviemakers turned to the courts, launching over two hundred patent infringement suits. To protect their profits and bring order to the industry, Edison and a number of his competitors decided to cooperate by establishing the Motion Picture Patents Company in 1909, consisting of six American companies and two French 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 commercial quality film stock.
During film's first decade from 1896 to 1905 movies were little more than a novelty, often ud as a "char" to signal the end of a show in a vaudeville theater. The early films are utterly unlike anything en today. They lasted just ven to ten minutes -too brief to tell anything more than the simplest story. They ud a cast of anonymous actors for the simple reason that the camera was t back so far that 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.
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