美国电影的起源英语怎么说

1. 讲座的内容是简要介绍美国电影业的历史英语

作文吧

2. 急急急！！十分钟！电影各种信息（电影的起源等）要英文的 简短的

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.

字数限制，没办法全发给你，如需要请留言。

3. 电影起源用英语怎么说 跪求！！ 在线等！！ 好的追加分！！

the source of moive

4. 世界电影的起源英文介绍

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.

以下无视之
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我是一条可爱的小尾巴！
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我是一条全能的小尾巴！
我是一条天然的小尾巴！
我是一条漂亮的小尾巴！
我是一条温柔的小尾巴！
我是一条爱笑的小尾巴！

5. 电影的英语怎么说

cinema
film
kinema
cine
movie
silver
spoon
以上都是
在英文中，电影和影院、电影行业、胶片等，有时概念是混用的
movies和film比较常用吧

6. 电影英文怎么说

电影英文：Movie（美式） 或 Film（英式）。

电影是19世纪美国国家生活水平上升大众产生新需求的娱乐产物。电影根据视觉暂留原理，运用照相（以及录音）手段把外界事物的影像（以及声音）摄录在胶片上，通过放映（同时还原声音），用电的方式将活动影像投射到银幕上（以及同步声音）以表现一定内容的现代技术。

电影是一种视觉及听觉艺术，利用胶卷、录像带或数位媒体将影像和声音捕捉，再加上后期的编辑工作而成。

电影是一种综合的现代艺术，亦正如艺术本身，有着复杂而繁多的科系。电影有很多类型，也有多种分类方法。

电影从有声电影开始发展，目前已经到了电影的特技时代了。运用大量的电脑特技制作出来的电影，受广大中年以下的朋友欢迎。

国外电影广告在美国和英国的电影广告中，有这样八种标记：

（1）美国X——禁止未成年者观看的影片，G——所有观众可看片，R——十七岁以下禁止观看，PG——一般观众可看。

（2）英国U——内容正派片，A——一般观众可看片，X——18岁以下青少年禁看片，AA——少年儿童禁看的凶杀片。

(6)美国电影的起源英语怎么说扩展阅读

中国最早放映的电影——1896年8月11日法国商人在上海徐园“又一村”茶楼内放映的“西洋影戏”。

中国第一部电影是戏曲片京剧《定军山》，内有《请缨》、《舞刀》等片断，1905年（清光绪三十一年），由北京丰泰照相馆摄制。无声片，长约半小时。

中国第一部短故事片是《难夫难妻》（又名《洞房花烛》），1913年在上海拍摄，无声片，郑正秋编剧，郑正秋和张石川联合导演。此片是由亚细亚影戏公司开张后的第一部作品，首开家庭伦理剧之先河。

中国第一部长故事片——1921年中国影戏研究社在上海拍摄第一部长故事片《阎瑞生》。

中国现存最早的一部可放映电影——1922年由张石川导演的《劳工之爱情》又名《掷果缘》，是现存尚可放映的最早的一部中国电影，也是中国现存最早的故事片。

中国第一部有声电影是《歌女红牡丹》，明星影片公司1931年摄制，该片采用的是蜡盘配音的技术。

中国第一部开创电影奇迹的影片《破舱》，是完全一个人摄制的、零成本、即兴创作（先拍摄后写剧本）的电影长片，2013年杨诚俊导演电影。

中国第一部获得国际大奖的影片是20世纪30年代由蔡楚生导演的《渔光曲》，它在1935年莫斯科国际电影节上获“荣誉奖”。

7. 英文电影发展史

这个也太有难度了吧，非得专业人士不行啊，建议你还是直接娶你老师那边索要得了，呵呵，大不了请吃顿饭完事！

8. 美国英语的起源与特点

在北美特殊的文化、历史及社会环境里形成了若干独特的形式和含义。 用现代语言学的术语来说，美国英语是英语的一种变体，是近四百年来英语使用于北美这个特殊的地理环境，受美国社会多元文化影响以及不断创新而形成的一种变体（蔡昌卓，2002）。 美国英语源于伊莉莎白时期的英语，其历史和美国的移民史有着非常密切的联系， 美国移民史可以追述到300多年前。1607年，约翰·史密斯（John Smith）等首批殖民者120人乘三艘大船横越大西洋，在弗吉尼亚州（Virginia）的詹姆斯河口建立了詹姆斯城（Jamestown）。 随后不久，在1620年，从英国东部诺福克郡和沙福克郡来的清教徒乘坐“五月花号”（May Flower）船驶抵马萨诸塞州（Massachusetts）的东南部普利茅斯（Plymouth）， 建立了殖民地。 当时的英国正处于伊莉莎白一世时期，从英语发展史来看，正处于现代英语的早期开始阶段。 在最早移居新英格兰的清教徒中有一百多名还是牛津大学和剑桥大学的毕业生，他们将伊莉莎白时期的英语带到了北美新大陆，成为美国英语的起点。 从这时起，两国都说伊莉莎白时代的英语。 故而在很长一段时间里，美国英语和英国英语之间并没有什么显著不同。
早在英国殖民时期，美国的英国移民起初还和故乡保持着紧密联系，他们的语言尚随其英国本土语的变化而变化， 但随着时间的推移，美洲的英国殖民地也产生了一种不同于英国本土语的英语。
从十七世纪初英国清教徒踏上美国的土地到后来很长的一段时间里，美国的英语和英国的英语没有什么明显的差异。美国独立战争的胜利是一个历史性的转折点，它标志着一种崭新的美国英语的产生?革命者们试图在各个生活领域脱离英国的统治。 其中，本杰明·富兰克林发表的题为《美国采用新字母表和改革拼写模式的计划》的文章，虽然方案没被采纳，但却给词汇学家和辞典编纂家诺亚·韦伯斯特（Noah Webster）产生了巨大的影响他的理论使得一些单词有了新的拼写方法，如honor取代了honour，theater取代了theatre。 可以说富兰克林是一位英语发展史的先驱者。
诺亚·韦伯斯特是美国最负盛名的词典学家.1828年，出版了他的《美语词典》（American Dictionary of English Language） ，这标志着他对美国英语的贡献达到了一个顶峰时期。 他系统地和全面地把美语单词的形成、意义和用法都固定下来，美国规范化的民族语言终于形成。 这为以后美国英语的发展和对世界的影响均打下了坚实的基础， 美国人从此有了一本完全属于自己语音的词典。 美国语言体现了美国社会特征，多样性体现多元的文化特征，俚语是美国英语生动的体现
作为一个移民国家，美国一直被誉为“nation of nations”，但其主流文化仍是Anglo-Saxon文化。 任何新移民，为了在新大陆生活下去，不得不接受或适应这种主流文化。 同时，美国人民为自己的文学和语言的独立和形成所进行的斗争，实际上是政治斗争的继续与发展。美国英语的形成的过程是漫长而曲折的.第一次世界大战前后的时期是美国英语和英国英语关系的转折点（turning point）， 在此之前的倾向是美国英语偏离英国英语，在此之后的主要倾向是英国英语向美国英语靠拢。
如今的英语分为美国英语和英国英语。英国英语为澳大利亚，新西兰，西印度群岛，爱尔兰，南非使用，美国英语为美国和加拿大使用。
美国英语是英国英语的一种区域语言变体，它起源于17~18世纪的英国英语。从1607年英国人在美洲建立第一个殖民地———詹姆士城到1775年美国独立战争爆发为止，英国在北美地区先后建立了13个殖民地，同时英国殖民者也把莎士比亚（Shakespeare）和弥尔顿（Milton）的英语带到了美洲。此时，人们通常称之为“北美英语”（English in North America）或殖民地英语（Colonial English） 。这种古老的语言在新的环境中吸收了印第安人的土语和其他欧洲移民的语言，在新大陆继续发展最终形成了一种成熟的语言混合体——美语。当然，不同的历史环境赋予它不同的名称。独立战争后，民族主义兴起，美国人把自己的语言命名为“美利坚合众国的语言”（English in the USA）或“美国创用语”（Americanism）。1806年，诺亚·韦伯斯特（Noah Webster）首创American English，这个词语就成了美国英语的固定表达形式。1828年，由韦伯斯特花费后半生心血编写的《美国英语词典》，开美国英语编纂之先河，一直被后人看成是美国英语形成的重要标志，随着美国经济、政治、军事等各方面的高速发展，美国成为首屈一指的世界强国，两次世界大战的爆发更是奠定了美国在世界舞台举足轻重的地位，美国英语作为美国的一种文化输出方式，其影射力和传播范围涉及到了世界的每一个角落。但是美国英语与别的语言交流时也会受到异族语言的影响。
一般来说，语言的发展发生在语音、语法、词汇三个方面。语音、语法的变化小而慢，词汇的变化迅速。从语言学和词汇学的角度着眼，纵观美国英语的发展历史，美国英语主要有以下几大特色。 美国英语是在17世纪英格兰所用的语言，即莎士比亚、弥尔顿、班扬时期所用的语言基础上发展起来的。与现在标准的伦敦英语相比，美国英语具有很大的古老性。其古老性主要表现在用词方面，它保留并复活了在英国英语中已经成为“废语”的许多词汇，典型的例子有:I guess，用作I think，I suppose，I believe，如I guess you are wrong.（我想你错了），这种用法在17世纪的英国广泛流行，现在不再使用，而美国英语却把它保留下来；mad用作angry讲，如：He was mad about losing the chance（丢掉这次机会他气得要命），这一用法在莎士比亚时期人们频繁地使用；railroad作railway，18世纪的英国只有木轨（wooden rails）作铁路运输时使用的词汇，19世纪时就已经被railway取代，美语却保留至今。另外还有，sick（ill），poor（lean），dry（thirsty），allow（affirm）。美国英语中还保留了许多生动。形象的古老名词，如：fall，意为“秋天”，来源于the fall of leaves（落叶时节），而标准英语从乔叟（Geoffrey Chaucer，约1346~1400年）就开始用“autumn”一词（来自古法语）表示“秋天”，bug一词在美国英语中泛指“虫子”，而现在在英国英语中却专指“臭虫”，此词原来在英国英语中有泛指的意义，后词义缩小，美国英语保留该词的原意，用bedbug指称臭虫？Loan这个词语用作及物动词时，许多英语词典特意在它后面标注为Americanism。实际上，它的动词用法也起源于英国公元1200年前后，作“贷款；借出”。另外，有的词在标准英国英语中已不再使用，只限于英国方言中，而在美国却还是通用词语，如deck（一副纸牌），drool（开玩笑），shoat（小猪，猪仔），polliwog（蝌蚪）等等。
另外，美国英语的语音和标准的伦敦音相比，也有点老式，具有17和18世纪英国英语的特点。例如，美国普通话中，保留有r的卷舌音/r/，这也是莎士比亚时代的英语语音特点继承下来的结果，又如，美国人把bath、fast、path等单词中的字母a的扁平音/æ/保留，而英国却远在18世纪末在英格兰南部就废除了这种发音（现在英格兰已将这写单词中的“a”发成开后不圆唇元音/ɑː/。 2.1 创造一些原本根本不存在的新词
如，一种具有刺激性吸引力的人开始被人们称之为pizzazz（时髦派头的人），早期的殖民者创造的词汇也不少，如bellhop（俱乐部男侍），debunk（揭露真相），blurb（说明），cahoots（共谋），skyscraper（摩天大楼），由于科技的发展，一系列科学理论词汇也相继诞生，如black hole（黑洞），cinerama（全景电影），plication（录像机），space walk（太空行走）。最近，中国太空人的出现也使美语又有了一个新词，taikonaut（太空人）以示区别astronaut（宇航员）。
2.2 在旧词的基础上，自由地运用词缀，或者运用拼缀法（blending）和逆生法（backformation）来创造新词
如debug（寻找并除去导致错误的原因），defog（除雾），defrost（除霜），racist（种族主义者），smog（烟雾）来自于smoke（烟）和fog（雾），medicare（医疗照顾）是由medical和care混合而成的，brunch（早午餐）是由breakfast和lunch的混合体。
美国英语频繁地运用转类法（conversion），尤其是从名词转化为动词，如to engineer（设计），to style（命名），to resurrect（使复活），to holiday（度假），to model（当模特）等，形容词转化为名词也常出现，如a depressive（沮丧的人），a mod erate（温和派），friendlies（友好的人），hostiles（敌人）。

9. 美国电影的起源用英语怎么说

我所知道的有以下几部：1.挑战星期天英文名称：Any Given Sunday别名：再战星期天发行时间：1999年12月16日导 演：奥利弗·斯通 Oliver Stone 主 演：查尔顿·赫斯顿 Charlton Heston 卡梅伦·迪亚兹 Cameron Diaz 阿尔·帕西诺 Al Pacino 奥利弗·斯通 Oliver Stone 詹姆斯·伍兹 James Woods 安-玛格丽特 Ann-Margret 劳恩·霍利 Lauren Holly 马修·摩丁 Matthew Modine 上 映：1999年12月16日 ( 美国 ) 地 区：美国 ( 拍摄地 ) 对 白：英语 评 分：6.4/10 (22,719 votes) 颜 色：彩色 声 音：DTS Dolby Digital SDDS 时 长：150 分钟 类 型：剧情托尼·德·阿马托是达拉斯骑士队的总经理，克里斯蒂娜·帕格尼亚西是他的合伙人。由于经营原因，俱乐部负债累累，面临倒闭。面对人心惶惶的球队，托尼和克里斯蒂娜不得不寻求一种新的途径使俱乐部走出危机。但他们在经营理念上的差异使得两人产生严重分歧。托尼面临人生和事业的抉择，此时老队员们纷纷提出转会，唯有队长杰克·罗尼站在俱乐部这一边。三人于是意识到，团结是帮助俱乐部度过难关的最有效办法……幕后花絮： 奥立佛·斯通可谓多面手导演，他执导的影片有反战题材的《生于七月四日》、《野战排》到社会题材的《天生杀人狂》、《不准调头》甚至白宫题材的《尼克松》。这回他的目光又投向了运动题材，我们无法得知他是否还象以前那样运用镜头，使用他纯熟的表现手法，不过从预告片来看，本片是一部绝对另类的体育电影。 一个年老的橄榄球队老板面对现代愈发激烈的赛事感到无比的压力。这个剧情斯通已经琢磨了十多年。好莱坞为这位争议人物开了绿灯，他便吸引来了繁星满天的演员阵容，他们中的许多人还接受了片酬削减以将就5500万美元的成本。斯通把演员们送到橄榄球训练营练了10周，要签约得有点球场经验，表现好才行。斯通说有数名演员被拒绝，因为他们并不象自己说的那样身强力壮。2.加油！马歇尔 (We Are Marshall)IMDB编号：0758794 类型：运动 / 剧情 发行年代：2006 导演：McG 编剧：Jamie Linden / Cory Helms 其他中文片名：后继有人 其他影片别名：Untitled Marshall University Football Project (USA) (working title) 演员表： 大卫·斯特雷泽恩 .... Donald Dedmon 马修·麦康纳 .... Coach Jack Lengyel Ian McShane .... Paul Griffen Brett Rice .... Lloyd Boone Mike Pniewski .... Bobby Bowden 色彩：彩色 国家/地区：美国 对白语言：英语 级别：USA:PG 上映日期：美国：2006-11-10 / 巴西：2007-01-05 / 宣传语：From the ashes we rose MPAA评级：Rated PG for emotional thematic material, a crash scene, and mild language. 官方网站： http://wearemarshall-themovie.warnerbros.com1970年11月14日，一架从北卡罗莱纳州飞返西维吉尼亚州的客机在预备降落在三州机场的一分钟内突然失控撞向阿巴拉契亚山脉，机上全体人员无一生还，其中包括刚结束一季球赛赶回家的37位马歇尔大学橄榄球队球员、球队教练和教职人员，以及25位特意随行为球队加油的亨廷顿市民。一夜之间，十八个孩子成了孤儿，许多家庭痛失亲友，马歇尔大学也因此宣布无限期延迟参加比赛的时间，这对视橄榄球为生活一部分的亨廷顿市民来说更是双重打击。就在人们仍被意外的阴霾笼罩时候，一个与此事毫无关系的外乡人Jack Lengyel（马修