一个国家的诞生
知识点：《一个国家的诞生》 收集：臧市呐 编辑：百合仙子
本知识点包括：1、如何评价D.W.格里菲斯于1915年导演的《一个国家的... 2、下列关于电影《一个国家的诞生》说法不正确的是？A... 3、《一个国家的诞生》故事背景设置在美国什么时期 4、一个新的国家诞生，举行盛大隆重的庆祝仪式。 5、世界上第一部彩色电影是（ ） A．《一个国... 。
The show of The Birth of a Nation
Tuesday, we watched a funny movie, although I see also is not very good! But I still have to say it was a very good movie! Movie characters in the exquisite performances, wonderful plots are deeply attracted me. Below I to introduce this movie general story:
Before 'The Birth of a Nation,' motion pictures were a medium with the potential to be an art. This movie, more than any afore, realized that promise. It's the most important film ever made; it's the birth of an art. Alas, it's also racist.
Apparently, director D.W. Griffith was ignorant of his own racism; the controversy surrounding the film is said to have dumfounded the naïf Griffith. The son of a Confederate soldier, his prepossession for an antebellum South wasn't, if not still, unusual. Histories of the day, including those by would-be US President Woodrow Wilson, supported his perverted depiction of the Ku Klux Klan saving a South pillaged by carpetbaggers, scalawags and encouraged Negroes. The film quotes Wilson's "History of the American People." Thomas Dixon Jr. himself solicited the White House screening where the President famously responded, "It is like writing history with lightening, and my only regret is that it is all so terribly true." Dixon's racist book trilogy and the subsequent play were Griffith's inspiration for 'The Birth of a Nation.'
In the film, the American Civil War and Reconstruction disrupt the once friendly relations between the Unionist Stonemans and the Confederate Camerons. The first part of the film is mostly free of controversy; it's idyllic romanticism and melodrama typical of Griffith, absent Dixon. And, the battle scenes are excellent. Explosions, smoke and hundreds of extras fill the action. Future prominent directors Raoul Walsh and Erich von Stroheim assisted the direction. The action shifts between bird's eye views and medium shots, demonstrating vast scope with attention to isolated skirmishes. Including Griffith with 'Judith of Bethulia,' filmmakers had until now failed to realize massive battles with such grandeur. To top it off, cinematographer G.W. "Billy" Bitzer's moving camera shot of the Little Colonel's charge.
The second half of the film, when Congressman Austin Stoneman (an obvious characterization of Abolitionist Senator Thaddeus Stevens) and his mulatto protégé Silas Lynch lead the freed slaves into postwar power, is when the racism becomes overt. Blacks are portrayed as childish morons or as easily excitable brutes--harmless enough if put in their place, such as with the condescending "faithful souls." According to Griffith, it's the mulattos that are especially dangerous, because they posses the cunning of a white with the animalism of a black. What they want is to "marry," which means rape, white virginal women. The film is sexist, too. This is most evident in the infamous scene of the Black buck Gus chasing the childlike Mae Marsh through the woods, to a cliff she leaps from to preserve her purity. It's especially offensive because it's so well done, except for the "Little Sister" ludicrously surviving the fall briefly for a last gasp. The photography sets it apart, and the crosscutting intensifies the classic last-minute rescue attempt, as the Little Colonel enters the action.
Yet, the Klan rescue is by far the most offensive and concurrently most exciting sequence in the film. Griffith and his editors, headed by James and Rose Smith, crosscut between multiple actions, climaxing with the rescue of Elsie Stoneman from the threat of being raped, the Aryans and faithful souls under siege and the whole of Piedmont under the heel of a black mob. To that date, it's the most advanced, amazing montage and remains impressive to this day. Before, Griffith had found how exciting well-edited suspense could be, with 'The Battle at Elderbush Gulch' and his last-minute rescue flicks, such as 'The Girl and Her Trust.' Moreover, a variation of Wagner's "The Ride of the Valkyries" greatly intensifies the crescendo.
The silhouette of Klansmen riding upon a hill, with the sunrise behind; the moving camera shot of the approach; the angled camera positions: Bitzer and Griffith photograph it brilliantly, too. That is, besides the indoor shooting. Theatricality is the film's major cinematic weakness. This is most evident in the missing walls. The narrative structure is also traditional. Griffith would never do otherwise, and it is certainly not unique for 1915. Moreover, filmmakers were beginning to exploit the advantages of controlled filming within studio sets by now, but the open-air sets with natural lighting, as used here, were still prevalent. And, at the least, the sets here are decorated in detail. Furthermore, Bitzer and Griffith were innovative in their beautiful outdoor photography, with camera movement and positioning, emotive tinting, nighttime photography and good use of split-screens and of masking the camera lens.
The acting is also theatrical, but Griffith did direct his actors to be subtler in comparison to contemporaneous film acting. Lillian Gish rose to the forefront of this style, largely because of this film, which made her a star. She plays Elsie Stoneman, who has the more prominent of the two romantic relationships in the film with a soldier from the other side; she's the epitome of Griffith's ideal virginal white female. I think there are some especially well-acted moments here for its time. The sequence with Marsh using ermine in attempt to garment her ragged housedress for the homecoming of her brother, and Henry Walthall's slow, moving walk towards the front door of home is especially poignant, showing the destitute of the postwar South.
'The Birth of a Nation' is a troublingly racist picture, which is said to have revived the KKK. Nevertheless, its importance in film history and its cinematic merits are immense. There are other impressive works from this time: films by Bauer, Chaplin, Christensen, DeMille, Tourneur and Starewicz. Yet, to say the least about 'The Birth of a Nation,' as far as I've seen, nothing before matches its scale with such filmic innovation.
It runs for 12 reels--having cost some $110,000 to make. Its vast popularity also had incalculable effects on movies as an industry; according to Griffith-biographer Richard Schickel, it grossed more than $60 million by 1917. Its influence, not only on cinéma, is enormous. No other film has been as important to the direction of the medium as an industry and an art.
一直对三毛怀有一份独特的情感,大抵是心下羡慕有人可以活得如此洒脱不羁,爱她对待生活的态度,一直寻求自然与单纯,从台北到德国,从撒哈拉到美利坚,她的一生似乎都是一个传奇.
对于三毛所有作品都是钟爱的,如果一定要选择,那还是会选择撒哈拉里的三毛.如一朵艳红在沙漠里绽放,沙漠的热度和躁砺让她显得那么饱满、奔突,她满头的黑发和遮挡于后的眼神,有着生命最亮眼的光芒.这段故事记叙着她与荷西的幸福,记录着琐碎的烦恼、忧愁、快乐.同时也带给我从未体验过的沙漠风情.三毛说她第一次见着撒哈拉,像见到久违的故乡.那时她已在异国多年,也心存了各种风情.但还有比沙漠更适合安顿下三毛的云游四方的心的居所吗?沙本是世间最无依无着之物,安定流浪听凭风停风起.而沙漠收容他们——还有三毛,一并揽入它的怀抱.
我想曾经甚至是现在,有很多人因为《撒哈拉的故事》,而爱上沙漠,开始对流浪产生憧憬.从她的小说中,我们可以感受到一个遥远而又新奇的世界,我们可以想象她在沙漠里一步一步行走的模样,可是在现实中我们不曾想象过一个现代人在荒凉的沙漠里会是什么样的生活.一定不是像她所写的那样浪漫,一定有许多艰辛和阻碍,而她居然凭着一时的冲动就拎着少少的行李就去了撒哈拉,所以从中我们还可以读到三毛对于沙漠的渴望是内心洋溢而出的一种对生活超逸不俗的态度,她的浪漫奇想总是可以为枯燥艰辛的沙漠生活制造无限情趣,就连痛苦也好似扎着蝴蝶结的.在三毛的笔下,她还原了一个女人的本性-----天真,热情,心中充满了爱与感恩.一个女人,和自己心爱的人远离故土,来到一个贫瘠,甚至是落后的地方,却从未对生活失望,我们都不知道是什么信念支持着这么一个瘦小的身躯.我想正因为不知道和许多的无法解释,所以我们会心生羡慕.
人们常说,文字如人,三毛的文字,向来都是质朴,感人.阅读她的书,仿佛你是在跟她交谈,而不是在读她的书,就像别后的友人在向你诉说着她远行的故事,不加任何修饰.看的时候舒服,放下时却是如此的感动.
三毛曾说：“如果选择了自己结束生命这条路,你们也要想得明白,因为在我,那将是一个幸福的归宿.”我想往往过于追求完美,追求理想化的人,容易选择决绝的方式去达到超脱和升华的境界.可是不管怎么说,她一直都在追求她生命中定义的完美与幸福,三毛的心里一直深埋一份坚定不移的信念在支撑着她,正如她自己所说：生命的过程,无论是阳春白雪,青菜豆腐,我都得尝尝是什么滋味.
天真的妈妈
——读天真妈妈有感
马小跳有一个像小女孩一样天真的妈妈.她是一名橱窗设计师,在做饭时爱穿一条镶有荷叶边的碎花儿围裙.她像小女孩一样爱哭,马小跳给她做了一个十二层的三明治,她哭；马小跳给她洗脚,她也哭；马小跳为她过母亲节,她也会哭得一塌糊涂.她爱把自己当成神探一样,去破案.她爱吃比较臭的东西,像榴莲、臭豆腐这样的东西.她睡觉时也会磨牙,发出像老鼠一样的声音.
从这本书中,可以看出马小跳是一个孝敬父母的孩子,但也可以看出他也是一个总是好心办坏事的人.就像给宝贝儿妈妈洗脚那样,马小跳虽然出自一片好心,但因为缺少经验,最后还是弄巧成拙了.其实孝敬父母不一定就是要对干出多么惊天动地的大事,做好身边的每一件小事,让父母少操一份心,使父母的脸上多一份笑容,替父母做一些力所能及的事情,这些看似微不足道的小事,在父母心里却是最珍贵的.
想想我们生活中,经常看中什么东西就又哭又闹地向父母索要,若有半点不满意,又埋怨父母的不是.看看马小跳的所做所为,心里简直是太惭愧了.现在就让我们做好身边的每一件小事,并再做一些力所能及的事吧!
可以吗
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