World of fun 娱乐世界
Inventors and producers had tried from the very beginnings of moving pictures to marry the image with synchronous sound, but no practical method was devised until the late 1920s. Thus, for the first thirty years of their history, movies were more or less silent, although accompanied by live musicians and sometimes sound effects, and with dialogue and narration presented in intertitles.
从电影最初开始的时候,发明者和生产商就尝试着把影像和同步声音相结合,但是直到20世纪20年代后期才有人
设计
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出切实可行的办法。因此,在最初30年的历史中,电影差不多都是无声的,尽管有直播的音乐,有时候还有音响效果,以及显示在字幕上的对话和叙述。
Paris stage magician Georges Melies began shooting and exhibiting films in 1896. His stock-in-trade became films of fantasy and the bizarre, including A Trip to the Moon (1902),possibly the first movie to portray space travel. He pioneered many of the fundamental special effects techniques used in movies for most of the twentieth century, demonstrating that film had unprecedented power to distort visible reality rather than just faithfully recording it (Cook, 1990). He also led the way in making multi-scene narratives as long as fifteen minutes.
巴黎舞台魔术师乔治?梅利耶斯在1986年开始拍摄和推出影片。他的拿手好戏就是制作幻想奇异的电影,其中包括《登月之旅》(1902),这部电影可能是第一部描绘太空之旅的电影。他开创了20世纪大部分电影中使用的许多基本的特技效果技术,显示了电影具有空前的扭曲现实的能力,而不仅仅是忠实地记录它(库克,1990)。他也开创了长达15分钟的多场景故事模式。
Edwin S. Porter, Edison?s leading director in these years, pushed forward the sophistication of film editing in works like Life of an American Fireman and the first movie Western, The Great Train Robbery (both 1903). Porter arguably discovered that the basic unit of structure in a film is the shot, rather than the scene (the basic unit of structure in a play).
埃德温*S.波特,爱迪生电影业的主要导演这些年推动了作品中影片剪辑的复杂化,像《美国消防员的生活》,以及第一部西部电影《火车大劫案》(都是1903
年拍摄的)。可以说是波特发现了电影结构中的基本单位是镜头,而不是场景(戏剧结构中的基本单位)。
These helped establish the medium as more than a fad and encouraged the increase of nickelodeons, the first permanent movie theaters (“The oldest cinema in the world still in operation today is the Pionier Cinema which opened as the Helios on the September 1909 in Stettin, Germany (now Szczecin, Poland)”一Guinness World Records). There were 10,000 in the U.S. alone by 1908 (Cook, 1990). The previously anarchic industry increasingly became major business, which encouraged consolidation. The French Pathe Freres company achieved a dominant position worldwide through methods like control of key patents and ownership of theaters. In the U.S., Edison led the creation of the Motion Picture Patents Company, which achieved a brief, virtual monopoly there, using not just aggressive business tactics but sometimes violent intimidation against independent competitors (Parkinson, 1995).
这些不仅有利于奠定媒体仅仅作为一种时尚的地位,并且促进了第一个永久性电影院--五分钱电影院的增加(“世界上仍在运营的最古老的电影院是1909年9月26日在德国斯德丁,即现在的波兰什切青作为太阳神开业的先驱电影院” 一^?吉尼斯世界纪录)。到1卯8年,仅在美国就有1万家电影院(库克,1990)。以前毫无秩序的产业日益成为主要的商业形式,这鼓励了统一联合的步伐。法国百代兄弟公司通过控制基本专利权和电影院所有权等
方法
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在世界范围内占据
了主导地位。在美国,爱迪生创立了电影专利公司,在那里实现了短暂的实质性垄断,它采用的不只是侵略性的商业策略,有时还使用暴力恐吓独立的竞争对手(帕金森,1995)。
The standard length of a film remained one reel, or about ten to fifteen minutes, through the first decade of the century, partly based on producers? assumptions about the attention spans of their still largely working class audiences.
在20世纪的前10年,电影的
标准
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长度一直是一卷胶带,大概是10 ~ 15分钟,部分原因基于制作人设定他们的观众群体大部分是工人阶级。
The Australian film The Story of the Kelly Gang (also screened as Ned Kelly and His Gang) is widely regarded as the world s first “feature length” film. Its 80 minute running time was unprecedented when it was released in 1906. In 1906 Dan Barry and Charles Tait of Melbourne produced and directed …The Story of
the Kelly Gang . It wasn?t until 1911 that countries other than Australia began
to make feature films. By this time 16 full length feature films had been made in Australia.
澳大利亚电影《凯利帮的故事》(也按名为《内德?凯利和他的帮派》上映过)
被公认为是世界上第一部长篇电影。当它于1906年,上映时,其80分钟的放映时间是史无前例的。丨1川6年墨尔本的丹.巴里和查尔斯?泰特制作并导演了《凯利帮的故事》。直到1911年,澳大利亚以外的国家才开始制作长篇电影。此时,澳大利亚已经制作了16部完整的长篇电影。
Soon Europe created multiple-reel period extravagan/as that were even longer. With international box office successes like Queen Elizabeth (France, 1912), Quo Vadis (Italy, 1913) and Cabiria (Italy, 1914), the feature film began to replace the short as the cinema s central form.
不久,欧洲开始创作甚至更长的多卷胶带时代的大场面影片。随着像《女王伊丽莎白》(法国,1912年)、《暴君焚城录》(意大利,1913年)以及《卡比利亚
之夜》(意大利,1914年)等影片获得了世界票房的成功,长篇电影开始取代
短片作为电影的主要形式。
Leading this trend in America was director D.W. Griffith with his historical epics The Birth of a Nation (1915) and Intolerance (1916). Unprecedented in scale, they also did much to fix the developing codes of editing and visual storytelling that remain the foundation of mainstream film grammar. The former film was also notable as perhaps the first to inspire widespread racial controversy.
在美国,引导这一趋势的是导演 D.W?格里菲斯和他的史诗剧《一个国家的诞生》(1915年)以及《党同伐异》(1916年)。在
前所未有的规模之上,他们也对稳固发展中的剪辑代码和仍然是主流电影语法基础的视觉性的叙事方式做出了很大贡献。以前的电影也很值得注意,因为它们可能是最先引起普遍的种族纷争的。
Along with a boom in high-toned literary adaptations, these trends began to make the movies a respectable diversion for the middle class and gain them recognition as a genuine art form with a secure place in the emerging culture
of the twentieth century.
随着高调文学改编的迅速发展,这些趋势开始使电影的注意力大幅度地向中产阶级转移,并使它们作为一种真正的艺术形式获得认可,在20世纪新兴的文化中奠定了稳固的地位。
In France brothers Lafitte in 1907 created so-called Films dart. They were supposed to draw the higher classes of society into movie theaters. The more educated classes thought that film was just for uneducated people and preferred traditional theater. Films d art were theater plays shot with camera and played in movie theaters. People didn?t like them and the …experiment, showed that film has its own expressive language different from theater.
1907年,法国的拉菲特兄弟创造了所谓的艺术影片,它们应该吸引社会更髙阶层的人去电影院。但受教育程度更高的人认为电影只是为了给没受过教育的人看的,而且他们更喜欢传统剧院。艺术影片是用摄影机拍摄的戏剧场景,并在电影院放映。人们并不喜欢它们,这个“尝试”
表
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明电影有其自身不同于戏剧的语言表达。
Hollywood Triumphant
Until this point, the cinemas of France and Italy had been the most globally popular and powerful. But the United States was already gaining quickly when World War I (1914 —1918) caused a devastating interruption in the European film industries. The American industry, or “Hollywood,” as it was becoming known after its new geographical center in California, gained the position it has held, more or less, ever since:movie factory for the world, exporting its product to most countries on earth and controlling the market in many of them。By the 1920s, the U.S. reached what is still its era of greatest-ever output, producing an average of 800 feature films annually, or 82% of the global total (Eyman, 1997). The comedies of Charlie Chaplin and Buster Keaton, the swashbuckling adventures of Douglas Fairbanks and the romances of Clara Bow, to ci te just a few examples, made these performers? faces well-known on every continent. The Western visual norm that would become classical continuity editing was developed and exported—although its adoption was slower in some non-Western countries without strong realist traditions in art and drama, such as Japan.
当时,法国和意大利的电影院是全球最受欢迎的而且最强大的。但是当第一次
世界大战(1914一1918)在欧洲电影业中引起了毁灭性的中断时,美国却正在迅速地发展壮大。当美国电影业或者“好莱坞”成为加利福尼亚新的地理中心后变得闻名起来,从那时起就差不多获得了它现在拥有的地位:世界电影工厂,向世界上大部分国家出口其产品,并且控制了许多国家的市场。
This development was contemporary with the growth of the studio system and its greatest publicity method, the star system, which characterized American film for decades to come and provided models for other movie industries. The studios? efficient, top-down control over all stages of their product enabled a new and ever-growing level of lavish production and technical sophistication. At the same time, the system?s commercial regimentation and focus on glamorous escapism discouraged daring and ambition beyond a certain degree, a prime example being the brief but still legendary directing career of the iconoclastic Erich von Stroheim in the late teens and the 20s.
到20世纪20年代,美国达到了至今仍然是其最大产出的时代,每年平均制作800 部长篇电影,或是相当于全球82%的产量(伊曼,1997)。仅举几个例子,査理?卓别林和巴斯特?基顿的喜剧,道格拉斯?费尔班克斯的传奇冒险剧以及克拉拉?鲍的爱情剧使这些演员红极各大洲。发展和输出了将会成为古典的连续场景剪辑的西方视觉标准--尽管在一些艺术和戏剧方面没有强烈的现实主义传
统的非西方国家接受得较慢,比如日本。
The cultural avant gardes of a number of countries worked with experimental films, mostly shorts,that completely abandoned linear narrative and embraced abstraction,pure aestheticism and the irrational subconscious,most famously in the early work of Spanish surrealist Luis Buhuel. In some ways,in fact? this decade marked the first serious split between mainstream,“popular”film and “art” film.But even within the ma instream,refinement was rapid, bringing silent film to what would turn cmf to be its aesthetic summit. The possibilities of cinematography kept increasing as cameras became more mobile (thanks to new booms and dollies) and film stocks more sensitive and versatile. Screen acting became more of a craft, without its earlier theatrical exaggeration and achieving greater subtlety and psychological realism. As visual eloquence increased, reliance on intertitles decreased;the occasional film,such as F.W. Murnaus The Last Laugh (Germany, 1926) even eschewed them altogether. Paradoxically, at about this time, the silent cinema period ended.
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