美國電影的起源英語怎麼說

1. 講座的內容是簡要介紹美國電影業的歷史英語

作文吧

2. 急急急！！十分鍾！電影各種信息（電影的起源等）要英文的 簡短的

History of Motion Pictures
I INTRODUCTION

History of Motion Pictures, historical development of the visual medium known as motion pictures, film, cinema, or the movies. This article covers the medium』s history as a technology, as a business, as an art form, and as a means of delivering entertainment and information to audiences in theaters and at home. It discusses major filmmakers and their films, principal fiction and nonfiction genres, and film instries in the United States and throughout the world. For more information on the technical aspects involved in creating a film, see Motion Picture.

II ORIGINS

In the early 19th century scientists took note of a visual phenomenon: A sequence of indivial still pictures, when set in motion, can give the illusion of movement. These scientists attributed this experience to what they called persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. The eye』s retention of a visual image, now known as positive afterimage, has long been considered a founding principle of motion pictures, even though its relationship to the perception of motion is still not well understood.

A Early Experiments

The persistence of vision concept stimulated experimentation with motion-picture devices throughout the 19th century. Among the first such devices was a slotted disk with a sequence of drawings around its perimeter. When a person spun the disk in front of a mirror and looked through the slots, the drawings appeared to move. The zoetrope, a device developed in the 1830s, was a hollow drum with a strip of pictures around its inner surface. When spun, it proced the same effect. In the 1870s French inventor Émile Reynaud improved on this idea by placing mirrors at the center of the drum. A few years later he developed a projecting version, using a reflector and a lens to enlarge the moving images. In 1892 he began holding public screenings in Paris at his Théâtre Optique, with hundreds of drawings on a reel that he wound through his apparatus to construct moving images that continued for 15 minutes.

Inventors began to conceive of combining the principles of these moving-image devices with the photographic recording of actual movement soon after the development of still photography in the 1830s. The most famous experiment occurred in the 1870s in California, where railroad tycoon Leland Stanford hired British photographer Eadweard Muybridge to settle a bet on whether a galloping horse ever had all four feet off the ground. Muybridge set up 12 cameras along a racetrack and spread threads across the track with a contact to each camera』s shutter. Moving along the track, the horse broke the threads and caused a sequence of photographs to be taken. The photos showed the horse with all four feet off the ground, and Muybridge went on a lecture tour showing his photographs on a moving-image device he called the zoopraxiscope.

Muybridge』s endeavors stimulated French scientist Étienne-Jules Marey to devise equipment for recording and analyzing animal and human movement. He built what he called a chronophotographic camera that could take multiple images superimposed on one another. His work was aided in turn by developments in photographic materials. In 1885 American inventor George Eastman introced sensitized paper roll 「film」 in place of the indivial glass plates then in use. In 1889 Eastman replaced the paper roll with celluloid, a synthetic plastic material coated with a gelatin emulsion.

B Thomas Alva Edison and William K. L. Dickson

Legendary American inventor Thomas Alva Edison drew upon the work of Muybridge, Marey, and Eastman when he turned his attention to motion pictures in the late 1880s. In his laboratories in West Orange, New Jersey, Edison assigned to a British employee, William K. L. Dickson, the task of constructing a machine for recording actual movement on film and another machine for viewing the resulting images. By 1891 Dickson had proced a motion-picture camera, called the Kinetograph, and a viewing machine, bbed the Kinetoscope.

The Kinetograph was operated by an electric motor that moved the celluloid film roll past the camera lens. Motor-driven cameras, which were bulky and stationary, were soon replaced by movable hand-cranked cameras. Dickson』s key contribution was a sprocket mechanism linked to the camera』s shutter, which momentarily stopped the film roll for each exposure. These separate still photographic images came to be called frames. Early cameras used a number of different speeds for exposing frames, but by the advent of sound film in the late 1920s the standard had become 24 frames per second.

In early 1893 Edison constructed a motion-picture studio on his laboratory grounds, bbed the Black Maria by his staff who thought it resembled police patrol wagons known by that nickname. On May 9, 1893, he held the first public exhibition of films shot using the Kinetograph in the Black Maria. But only one person at a time could use his viewing machine, the Kinetoscope. This boxlike structure contained a motor-and-shutter mechanism similar to the camera』s. It ran a loop of positive film past an electric light source, illuminating a tiny image, which the viewer observed through a small window. Kinetoscope viewing parlors containing many machines for indivial viewing began to open in cities in 1894. Edison and Dickson apparently gave little thought to a single machine that could project moving images to a large audience, something Reynaud had achieved in his Théâtre Optique. Reynaud, however, had displayed drawings rather than images photographed by a motion-picture camera.

C The Lumière Brothers

In France, the brothers Auguste and Louis Lumière, who ran a factory in Lyons that manufactured photographic equipment, sought to improve on Edison』s accomplishment. By 1895 they developed a lightweight, hand-held camera that used a claw mechanism to advance the film roll. They named it the Cinématographe, and they soon discovered that it could also be used to show large images on a screen, when linked with projecting equipment. Throughout 1895 they shot films and projected them for select groups. Their first screening for the general public was held in Paris in December 1895.

Elsewhere other inventors were also busy. In Germany, the brothers Emil and Max Skladanowsky devised an apparatus and projected films in Berlin in November 1895. In Britain, a machine developed by Birt Acres and Robert W. Paul was used to project films in London in January 1896. In the United States, a projector called the Vitascope was constructed around the same time by Charles Francis Jenkins and Thomas Armat. Armat then entered into a commercial alliance with Edison to manufacture the Vitascope, and the device exhibited projected motion pictures in New York City in April 1896.

The Lumière brothers held a unique place among all these simultaneous efforts, since they were innovative filmmakers as well as inventors and manufacturers. The many films they made ring 1895 and 1896, though very short, are considered pivotal in the history of motion pictures. Arroseur et arrosé (Waterer and Watered, 1896), a brief comedy drawn from a newspaper cartoon, shows a gardener getting drenched with a hose as the result of a boy』s prank. La sortie de l』usine Lumière à Lyon (Workers Leaving the Lumiere Factory, 1895) and Arrivée d』un train en gare (Arrival of a Train at La Ciotat, 1896), which shows a train coming to a station and passengers getting off, were among the so-called actuality films—films that depicted actual events rather than a story told by actors—for which the Lumières became noted.

III ONE-REELERS

During the decade following the advent of projected motion pictures, films were shown as part of vaudeville or variety programs, at carnivals and fairgrounds, in lecture halls and churches, and graally in spaces converted for the exclusive exhibition of movies. Most films ran no longer than 10 to 12 minutes, which reflected the amount of film that could be wound on a standard reel for projection (hence the term one-reelers). Many were comedies or actualities, following the Lumière brothers』 example. Their purpose was spectacle—to show something astounding, unusual, titillating, or perhaps newsworthy. But filmmakers also struck out in new directions, especially toward fantasy and narrative.

French magician and filmmaker Georges Méliès was the outstanding creator of fantasy films in early cinema. Méliès exploited the new medium to enhance his magic acts through techniques such as stop-motion photography—interrupting the camera』s action and moving or substituting people and objects—so that, for example, a woman appeared to turn into a skeleton. He created elaborate backdrops with multiple scenes and costume changes for these so-called trick films that were widely emulated by other filmmakers. Of the hundreds of works he made between 1896 and 1912, perhaps the best-known is Le voyage dans la lune (A Trip to the Moon, 1902), which in one scene features the animated human face of the moon being struck in the eye by a rocket.

In the United States, a former projectionist and traveling exhibitor, Edwin S. Porter, took charge of motion-picture proction at Edison』s company in 1901 and began making longer films that told a story. As with Méliès』s films, these required multiple shots that could be edited into a narrative sequence. Porter』s most notable film—and the most famous work of early cinema—was The Great Train Robbery (1903), which is credited with establishing movies as a commercial entertainment medium. With its rapid shifts of location, including action on a moving train, this film offered spectators a breadth and immediacy of vision that became hallmarks of the cinema experience.

Spurred by The Great Train Robbery and subsequent story films, film exhibition greatly expanded in the United States around 1905. One phenomenon was the proliferation of nickelodeon theaters, converted storefronts in instrial cities that charged 5 cents for admission and attracted working-class audiences. Demand from these theaters increased the volume of film proction and the profits for procers, but it also brought forth criticism from reformers concerning unsanitary or unsafe conditions in theaters and immoral subject matter in films. In 1908 Edison took the lead in establishing the Motion Picture Patents Company (MPPC), a consortium of procers with common goals: controlling proction and distribution so as to eliminate cheap theaters, raising admission prices, cooperating with censorship bodies, and preventing film stock from getting into the hands of nonmember procers. However, the independent procers excluded from the MPPC continued to obtain materials and make the most popular films. They also led the way toward multireel, feature-length films. By 1915 the MPPC was under attack by the U.S. government as an illegal monopoly (although an ineffectual one), and the independents were combining into the companies that would dominate American filmmaking for decades to come.

IV SILENT MOVIES

With a few experimental exceptions, motion pictures from their earliest days until the late 1920s lacked synchronous sound (sound that matches the action). But silent movies were rarely silent. Early films almost always were projected with piano or organ accompaniment, and sometimes also with a narrator or live actors behind the screen. As feature-length films (four reels, with a running time of 40 to 50 minutes or more) became the norm in the 1910s, live orchestras began to play in larger theaters, frequently using music written specifically for the film.

Until World War I (1914-1918) European filmmakers dominated the world film market. France was considered the leading film-procing country, though Italy, Denmark, and other countries also played a significant role. However, the war, fought on European soil, disrupted commercial filmmaking there. With a sudden drop in European film exports, some regions, such as Latin America, experienced a brief surge in film proction. But U.S. companies soon took over markets overseas, using the same tactics of high-volume proction and lower prices that the Europeans had. By the 1920s some three-quarters of films screened around the world came from the United States.

A American Silent Movies

Even before the war, the United States had made its mark on the world filmmaking scene with epics and comedies. Moreover, U.S. moviemakers had begun to congregate in southern California in the Los Angeles suburb of Hollywood (see The Move to Hollywood, below), creating a film community apart from older urban centers of politics and the arts, and a magical new symbol for popular entertainment and glamour.

A1 D. W. Griffith

The work of D. W. Griffith exemplifies the transformation of motion pictures from the early days of one-reelers to an era of Hollywood』s worldwide dominance. Starting out as an actor in films directed by Edwin S. Porter, Griffith in 1908 became a director at the American Mutoscope and Biograph Company in New York City. He was initially responsible for turning out two one-reel films a week, and between 1908 and 1913 he directed nearly 500 films. Amidst this breakneck schele, he and his co-workers developed many of the cinema』s basic storytelling conventions: moving the camera close to the action, using many separate shots, and editing the shots to cut back and forth among different actions. All these techniques served to shape a narrative, rather than present a spectacle as earlier films had tended to do. Griffith also nurtured performers such as Mary Pickford and Lillian Gish and emphasized an intimate, restrained style of acting suitable for camera close-ups.

Leaving Biograph in 1913 to make full-length features, Griffith planned a historical epic of the American Civil War (1861-1865). The Birth of a Nation (1915), three hours in length, stunned audiences with its dazzling spectacle of a still-recent event and established motion pictures as an art form for cultured spectators. Yet the film』s racist presumptions—specifically, its defense of white supremacy to protect racial purity—was controversial in its own time and remains repugnant decades later. Griffith made another epic, Intolerance (1916), which intertwined four stories about victims of prejudice, and continued to work as an independent filmmaker into the 1920s. Eventually, financial pressures forced him to become a director at a Hollywood studio, and he made his last film in 1931.

字數限制，沒辦法全發給你，如需要請留言。

3. 電影起源用英語怎麼說 跪求！！ 在線等！！ 好的追加分！！

the source of moive

4. 世界電影的起源英文介紹

The world film "founded in 1952, formerly known as the motion picture arts clump of translation", is China film home association's hosting of the film professional bimonthly for years heavily influenced by the vast majority of the reader's love, known as stand up to test of time. Domestic comprehensive introced into the world film culture and the first issue of the study.

以下無視之
我是一條傲嬌的小尾巴！
我是一條可愛的小尾巴！
我是一條單純的小尾巴！
我是一條全能的小尾巴！
我是一條天然的小尾巴！
我是一條漂亮的小尾巴！
我是一條溫柔的小尾巴！
我是一條愛笑的小尾巴！

5. 電影的英語怎麼說

cinema
film
kinema
cine
movie
silver
spoon
以上都是
在英文中，電影和影院、電影行業、膠片等，有時概念是混用的
movies和film比較常用吧

6. 電影英文怎麼說

電影英文：Movie（美式） 或 Film（英式）。

電影是19世紀美國國家生活水平上升大眾產生新需求的娛樂產物。電影根據視覺暫留原理，運用照相（以及錄音）手段把外界事物的影像（以及聲音）攝錄在膠片上，通過放映（同時還原聲音），用電的方式將活動影像投射到銀幕上（以及同步聲音）以表現一定內容的現代技術。

電影是一種視覺及聽覺藝術，利用膠卷、錄像帶或數位媒體將影像和聲音捕捉，再加上後期的編輯工作而成。

電影是一種綜合的現代藝術，亦正如藝術本身，有著復雜而繁多的科系。電影有很多類型，也有多種分類方法。

電影從有聲電影開始發展，目前已經到了電影的特技時代了。運用大量的電腦特技製作出來的電影，受廣大中年以下的朋友歡迎。

國外電影廣告在美國和英國的電影廣告中，有這樣八種標記：

（1）美國X——禁止未成年者觀看的影片，G——所有觀眾可看片，R——十七歲以下禁止觀看，PG——一般觀眾可看。

（2）英國U——內容正派片，A——一般觀眾可看片，X——18歲以下青少年禁看片，AA——少年兒童禁看的兇殺片。

(6)美國電影的起源英語怎麼說擴展閱讀

中國最早放映的電影——1896年8月11日法國商人在上海徐園「又一村」茶樓內放映的「西洋影戲」。

中國第一部電影是戲曲片京劇《定軍山》，內有《請纓》、《舞刀》等片斷，1905年（清光緒三十一年），由北京豐泰照相館攝制。無聲片，長約半小時。

中國第一部短故事片是《難夫難妻》（又名《洞房花燭》），1913年在上海拍攝，無聲片，鄭正秋編劇，鄭正秋和張石川聯合導演。此片是由亞細亞影戲公司開張後的第一部作品，首開家庭倫理劇之先河。

中國第一部長故事片——1921年中國影戲研究社在上海拍攝第一部長故事片《閻瑞生》。

中國現存最早的一部可放映電影——1922年由張石川導演的《勞工之愛情》又名《擲果緣》，是現存尚可放映的最早的一部中國電影，也是中國現存最早的故事片。

中國第一部有聲電影是《歌女紅牡丹》，明星影片公司1931年攝制，該片採用的是蠟盤配音的技術。

中國第一部開創電影奇跡的影片《破艙》，是完全一個人攝制的、零成本、即興創作（先拍攝後寫劇本）的電影長片，2013年楊誠俊導演電影。

中國第一部獲得國際大獎的影片是20世紀30年代由蔡楚生導演的《漁光曲》，它在1935年莫斯科國際電影節上獲「榮譽獎」。

7. 英文電影發展史

這個也太有難度了吧，非得專業人士不行啊，建議你還是直接娶你老師那邊索要得了，呵呵，大不了請吃頓飯完事！

8. 美國英語的起源與特點

在北美特殊的文化、歷史及社會環境里形成了若干獨特的形式和含義。 用現代語言學的術語來說，美國英語是英語的一種變體，是近四百年來英語使用於北美這個特殊的地理環境，受美國社會多元文化影響以及不斷創新而形成的一種變體（蔡昌卓，2002）。 美國英語源於伊莉莎白時期的英語，其歷史和美國的移民史有著非常密切的聯系， 美國移民史可以追述到300多年前。1607年，約翰·史密斯（John Smith）等首批殖民者120人乘三艘大船橫越大西洋，在弗吉尼亞州（Virginia）的詹姆斯河口建立了詹姆斯城（Jamestown）。 隨後不久，在1620年，從英國東部諾福克郡和沙福克郡來的清教徒乘坐「五月花號」（May Flower）船駛抵馬薩諸塞州（Massachusetts）的東南部普利茅斯（Plymouth）， 建立了殖民地。 當時的英國正處於伊莉莎白一世時期，從英語發展史來看，正處於現代英語的早期開始階段。 在最早移居新英格蘭的清教徒中有一百多名還是牛津大學和劍橋大學的畢業生，他們將伊莉莎白時期的英語帶到了北美新大陸，成為美國英語的起點。 從這時起，兩國都說伊莉莎白時代的英語。 故而在很長一段時間里，美國英語和英國英語之間並沒有什麼顯著不同。
早在英國殖民時期，美國的英國移民起初還和故鄉保持著緊密聯系，他們的語言尚隨其英國本土語的變化而變化， 但隨著時間的推移，美洲的英國殖民地也產生了一種不同於英國本土語的英語。
從十七世紀初英國清教徒踏上美國的土地到後來很長的一段時間里，美國的英語和英國的英語沒有什麼明顯的差異。美國獨立戰爭的勝利是一個歷史性的轉折點，它標志著一種嶄新的美國英語的產生?革命者們試圖在各個生活領域脫離英國的統治。 其中，本傑明·富蘭克林發表的題為《美國採用新字母表和改革拼寫模式的計劃》的文章，雖然方案沒被採納，但卻給詞彙學家和辭典編纂家諾亞·韋伯斯特（Noah Webster）產生了巨大的影響他的理論使得一些單詞有了新的拼寫方法，如honor取代了honour，theater取代了theatre。 可以說富蘭克林是一位英語發展史的先驅者。
諾亞·韋伯斯特是美國最負盛名的詞典學家.1828年，出版了他的《美語詞典》（American Dictionary of English Language） ，這標志著他對美國英語的貢獻達到了一個頂峰時期。 他系統地和全面地把美語單詞的形成、意義和用法都固定下來，美國規范化的民族語言終於形成。 這為以後美國英語的發展和對世界的影響均打下了堅實的基礎， 美國人從此有了一本完全屬於自己語音的詞典。 美國語言體現了美國社會特徵，多樣性體現多元的文化特徵，俚語是美國英語生動的體現
作為一個移民國家，美國一直被譽為「nation of nations」，但其主流文化仍是Anglo-Saxon文化。 任何新移民，為了在新大陸生活下去，不得不接受或適應這種主流文化。 同時，美國人民為自己的文學和語言的獨立和形成所進行的斗爭，實際上是政治斗爭的繼續與發展。美國英語的形成的過程是漫長而曲折的.第一次世界大戰前後的時期是美國英語和英國英語關系的轉折點（turning point）， 在此之前的傾向是美國英語偏離英國英語，在此之後的主要傾向是英國英語向美國英語靠攏。
如今的英語分為美國英語和英國英語。英國英語為澳大利亞，紐西蘭，西印度群島，愛爾蘭，南非使用，美國英語為美國和加拿大使用。
美國英語是英國英語的一種區域語言變體，它起源於17~18世紀的英國英語。從1607年英國人在美洲建立第一個殖民地———詹姆士城到1775年美國獨立戰爭爆發為止，英國在北美地區先後建立了13個殖民地，同時英國殖民者也把莎士比亞（Shakespeare）和彌爾頓（Milton）的英語帶到了美洲。此時，人們通常稱之為「北美英語」（English in North America）或殖民地英語（Colonial English） 。這種古老的語言在新的環境中吸收了印第安人的土語和其他歐洲移民的語言，在新大陸繼續發展最終形成了一種成熟的語言混合體——美語。當然，不同的歷史環境賦予它不同的名稱。獨立戰爭後，民族主義興起，美國人把自己的語言命名為「美利堅合眾國的語言」（English in the USA）或「美國創用語」（Americanism）。1806年，諾亞·韋伯斯特（Noah Webster）首創American English，這個詞語就成了美國英語的固定表達形式。1828年，由韋伯斯特花費後半生心血編寫的《美國英語詞典》，開美國英語編纂之先河，一直被後人看成是美國英語形成的重要標志，隨著美國經濟、政治、軍事等各方面的高速發展，美國成為首屈一指的世界強國，兩次世界大戰的爆發更是奠定了美國在世界舞台舉足輕重的地位，美國英語作為美國的一種文化輸出方式，其影射力和傳播范圍涉及到了世界的每一個角落。但是美國英語與別的語言交流時也會受到異族語言的影響。
一般來說，語言的發展發生在語音、語法、詞彙三個方面。語音、語法的變化小而慢，詞彙的變化迅速。從語言學和詞彙學的角度著眼，縱觀美國英語的發展歷史，美國英語主要有以下幾大特色。 美國英語是在17世紀英格蘭所用的語言，即莎士比亞、彌爾頓、班揚時期所用的語言基礎上發展起來的。與現在標準的倫敦英語相比，美國英語具有很大的古老性。其古老性主要表現在用詞方面，它保留並復活了在英國英語中已經成為「廢語」的許多詞彙，典型的例子有:I guess，用作I think，I suppose，I believe，如I guess you are wrong.（我想你錯了），這種用法在17世紀的英國廣泛流行，現在不再使用，而美國英語卻把它保留下來；mad用作angry講，如：He was mad about losing the chance（丟掉這次機會他氣得要命），這一用法在莎士比亞時期人們頻繁地使用；railroad作railway，18世紀的英國只有木軌（wooden rails）作鐵路運輸時使用的詞彙，19世紀時就已經被railway取代，美語卻保留至今。另外還有，sick（ill），poor（lean），dry（thirsty），allow（affirm）。美國英語中還保留了許多生動。形象的古老名詞，如：fall，意為「秋天」，來源於the fall of leaves（落葉時節），而標准英語從喬叟（Geoffrey Chaucer，約1346~1400年）就開始用「autumn」一詞（來自古法語）表示「秋天」，bug一詞在美國英語中泛指「蟲子」，而現在在英國英語中卻專指「臭蟲」，此詞原來在英國英語中有泛指的意義，後詞義縮小，美國英語保留該詞的原意，用bedbug指稱臭蟲？Loan這個詞語用作及物動詞時，許多英語詞典特意在它後面標注為Americanism。實際上，它的動詞用法也起源於英國公元1200年前後，作「貸款；借出」。另外，有的詞在標准英國英語中已不再使用，只限於英國方言中，而在美國卻還是通用詞語，如deck（一副紙牌），drool（開玩笑），shoat（小豬，豬仔），polliwog（蝌蚪）等等。
另外，美國英語的語音和標準的倫敦音相比，也有點老式，具有17和18世紀英國英語的特點。例如，美國普通話中，保留有r的捲舌音/r/，這也是莎士比亞時代的英語語音特點繼承下來的結果，又如，美國人把bath、fast、path等單詞中的字母a的扁平音/æ/保留，而英國卻遠在18世紀末在英格蘭南部就廢除了這種發音（現在英格蘭已將這寫單詞中的「a」發成開後不圓唇母音/ɑː/。 2.1 創造一些原本根本不存在的新詞
如，一種具有刺激性吸引力的人開始被人們稱之為pizzazz（時髦派頭的人），早期的殖民者創造的詞彙也不少，如bellhop（俱樂部男侍），debunk（揭露真相），blurb（說明），cahoots（共謀），skyscraper（摩天大樓），由於科技的發展，一系列科學理論詞彙也相繼誕生，如black hole（黑洞），cinerama（全景電影），plication（錄像機），space walk（太空行走）。最近，中國太空人的出現也使美語又有了一個新詞，taikonaut（太空人）以示區別astronaut（宇航員）。
2.2 在舊詞的基礎上，自由地運用詞綴，或者運用拼綴法（blending）和逆生法（backformation）來創造新詞
如debug（尋找並除去導致錯誤的原因），defog（除霧），defrost（除霜），racist（種族主義者），smog（煙霧）來自於smoke（煙）和fog（霧），medicare（醫療照顧）是由medical和care混合而成的，brunch（早午餐）是由breakfast和lunch的混合體。
美國英語頻繁地運用轉類法（conversion），尤其是從名詞轉化為動詞，如to engineer（設計），to style（命名），to resurrect（使復活），to holiday（度假），to model（當模特）等，形容詞轉化為名詞也常出現，如a depressive（沮喪的人），a mod erate（溫和派），friendlies（友好的人），hostiles（敵人）。

9. 美國電影的起源用英語怎麼說

我所知道的有以下幾部：1.挑戰星期天英文名稱：Any Given Sunday別名：再戰星期天發行時間：1999年12月16日導 演：奧利弗·斯通 Oliver Stone 主 演：查爾頓·赫斯頓 Charlton Heston 卡梅倫·迪亞茲 Cameron Diaz 阿爾·帕西諾 Al Pacino 奧利弗·斯通 Oliver Stone 詹姆斯·伍茲 James Woods 安-瑪格麗特 Ann-Margret 勞恩·霍利 Lauren Holly 馬修·摩丁 Matthew Modine 上 映：1999年12月16日 ( 美國 ) 地 區：美國 ( 拍攝地 ) 對 白：英語 評 分：6.4/10 (22,719 votes) 顏 色：彩色 聲 音：DTS Dolby Digital SDDS 時 長：150 分鍾 類 型：劇情托尼·德·阿馬托是達拉斯騎士隊的總經理，克里斯蒂娜·帕格尼亞西是他的合夥人。由於經營原因，俱樂部負債累累，面臨倒閉。面對人心惶惶的球隊，托尼和克里斯蒂娜不得不尋求一種新的途徑使俱樂部走出危機。但他們在經營理念上的差異使得兩人產生嚴重分歧。托尼面臨人生和事業的抉擇，此時老隊員們紛紛提出轉會，唯有隊長傑克·羅尼站在俱樂部這一邊。三人於是意識到，團結是幫助俱樂部度過難關的最有效辦法……幕後花絮： 奧立佛·斯通可謂多面手導演，他執導的影片有反戰題材的《生於七月四日》、《野戰排》到社會題材的《天生殺人狂》、《不準調頭》甚至白宮題材的《尼克松》。這回他的目光又投向了運動題材，我們無法得知他是否還象以前那樣運用鏡頭，使用他純熟的表現手法，不過從預告片來看，本片是一部絕對另類的體育電影。 一個年老的橄欖球隊老闆面對現代愈發激烈的賽事感到無比的壓力。這個劇情斯通已經琢磨了十多年。好萊塢為這位爭議人物開了綠燈，他便吸引來了繁星滿天的演員陣容，他們中的許多人還接受了片酬削減以將就5500萬美元的成本。斯通把演員們送到橄欖球訓練營練了10周，要簽約得有點球場經驗，表現好才行。斯通說有數名演員被拒絕，因為他們並不象自己說的那樣身強力壯。2.加油！馬歇爾 (We Are Marshall)IMDB編號：0758794 類型：運動 / 劇情 發行年代：2006 導演：McG 編劇：Jamie Linden / Cory Helms 其他中文片名：後繼有人 其他影片別名：Untitled Marshall University Football Project (USA) (working title) 演員表： 大衛·斯特雷澤恩 .... Donald Dedmon 馬修·麥康納 .... Coach Jack Lengyel Ian McShane .... Paul Griffen Brett Rice .... Lloyd Boone Mike Pniewski .... Bobby Bowden 色彩：彩色 國家/地區：美國 對白語言：英語 級別：USA:PG 上映日期：美國：2006-11-10 / 巴西：2007-01-05 / 宣傳語：From the ashes we rose MPAA評級：Rated PG for emotional thematic material, a crash scene, and mild language. 官方網站： http://wearemarshall-themovie.warnerbros.com1970年11月14日，一架從北卡羅萊納州飛返西維吉尼亞州的客機在預備降落在三州機場的一分鍾內突然失控撞向阿巴拉契亞山脈，機上全體人員無一生還，其中包括剛結束一季球賽趕回家的37位馬歇爾大學橄欖球隊球員、球隊教練和教職人員，以及25位特意隨行為球隊加油的亨廷頓市民。一夜之間，十八個孩子成了孤兒，許多家庭痛失親友，馬歇爾大學也因此宣布無限期延遲參加比賽的時間，這對視橄欖球為生活一部分的亨廷頓市民來說更是雙重打擊。就在人們仍被意外的陰霾籠罩時候，一個與此事毫無關系的外鄉人Jack Lengyel（馬修