一個(gè)國(guó)家的誕生

知識(shí)點(diǎn)：《一個(gè)國(guó)家的誕生》 收集：臧市吶 編輯：百合仙子
本知識(shí)點(diǎn)包括：1、如何評(píng)價(jià)D.W.格里菲斯于1915年導(dǎo)演的《一個(gè)國(guó)家的... 2、下列關(guān)于電影《一個(gè)國(guó)家的誕生》說(shuō)法不正確的是？A... 3、《一個(gè)國(guó)家的誕生》故事背景設(shè)置在美國(guó)什么時(shí)期 4、一個(gè)新的國(guó)家誕生，舉行盛大隆重的慶祝儀式。 5、世界上第一部彩色電影是（ ） A．《一個(gè)國(guó)... 。

《一個(gè)國(guó)家的誕生》相關(guān)知識(shí)

　　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.

知識(shí)拓展：

1： 《撒哈拉的故事》讀后感500字速度要!1

知識(shí)要點(diǎn)歸納：

　　一直對(duì)三毛懷有一份獨(dú)特的情感,大抵是心下羨慕有人可以活得如此灑脫不羈,愛(ài)她對(duì)待生活的態(tài)度,一直尋求自然與單純,從臺(tái)北到德國(guó),從撒哈拉到美利堅(jiān),她的一生似乎都是一個(gè)傳奇.

　　對(duì)于三毛所有作品都是鐘愛(ài)的,如果一定要選擇,那還是會(huì)選擇撒哈拉里的三毛.如一朵艷紅在沙漠里綻放,沙漠的熱度和躁礪讓她顯得那么飽滿、奔突,她滿頭的黑發(fā)和遮擋于后的眼神,有著生命最亮眼的光芒.這段故事記敘著她與荷西的幸福,記錄著瑣碎的煩惱、憂愁、快樂(lè).同時(shí)也帶給我從未體驗(yàn)過(guò)的沙漠風(fēng)情.三毛說(shuō)她第一次見(jiàn)著撒哈拉,像見(jiàn)到久違的故鄉(xiāng).那時(shí)她已在異國(guó)多年,也心存了各種風(fēng)情.但還有比沙漠更適合安頓下三毛的云游四方的心的居所嗎?沙本是世間最無(wú)依無(wú)著之物,安定流浪聽(tīng)?wèi){風(fēng)停風(fēng)起.而沙漠收容他們——還有三毛,一并攬入它的懷抱.

　　我想曾經(jīng)甚至是現(xiàn)在,有很多人因?yàn)椤度龉�拉的故事�?而愛(ài)上沙漠,開(kāi)始對(duì)流浪產(chǎn)生憧憬.從她的小說(shuō)中,我們可以感受到一個(gè)遙遠(yuǎn)而又新奇的世界,我們可以想象她在沙漠里一步一步行走的模樣,可是在現(xiàn)實(shí)中我們不曾想象過(guò)一個(gè)現(xiàn)代人在荒涼的沙漠里會(huì)是什么樣的生活.一定不是像她所寫(xiě)的那樣浪漫,一定有許多艱辛和阻礙,而她居然憑著一時(shí)的沖動(dòng)就拎著少少的行李就去了撒哈拉,所以從中我們還可以讀到三毛對(duì)于沙漠的渴望是內(nèi)心洋溢而出的一種對(duì)生活超逸不俗的態(tài)度,她的浪漫奇想總是可以為枯燥艱辛的沙漠生活制造無(wú)限情趣,就連痛苦也好似扎著蝴蝶結(jié)的.在三毛的筆下,她還原了一個(gè)女人的本性-----天真,熱情,心中充滿了愛(ài)與感恩.一個(gè)女人,和自己心愛(ài)的人遠(yuǎn)離故土,來(lái)到一個(gè)貧瘠,甚至是落后的地方,卻從未對(duì)生活失望,我們都不知道是什么信念支持著這么一個(gè)瘦小的身軀.我想正因?yàn)椴恢�道和許多的無(wú)法解釋,所以我們會(huì)心生羨慕.

　　人們常說(shuō),文字如人,三毛的文字,向來(lái)都是質(zhì)樸,感人.閱讀她的書(shū),仿佛你是在跟她交談,而不是在讀她的書(shū),就像別后的友人在向你訴說(shuō)著她遠(yuǎn)行的故事,不加任何修飾.看的時(shí)候舒服,放下時(shí)卻是如此的感動(dòng).

　　三毛曾說(shuō)：“如果選擇了自己結(jié)束生命這條路,你們也要想得明白,因?yàn)樵谖?那將是一個(gè)幸福的歸宿.”我想往往過(guò)于追求完美,追求理想化的人,容易選擇決絕的方式去達(dá)到超脫和升華的境界.可是不管怎么說(shuō),她一直都在追求她生命中定義的完美與幸福,三毛的心里一直深埋一份堅(jiān)定不移的信念在支撐著她,正如她自己所說(shuō)：生命的過(guò)程,無(wú)論是陽(yáng)春白雪,青菜豆腐,我都得嘗嘗是什么滋味.

2： 天真媽媽讀后感,要有感受,

知識(shí)要點(diǎn)歸納：

天真的媽媽

——讀天真媽媽有感

馬小跳有一個(gè)像小女孩一樣天真的媽媽.她是一名櫥窗設(shè)計(jì)師,在做飯時(shí)愛(ài)穿一條鑲有荷葉邊的碎花兒圍裙.她像小女孩一樣愛(ài)哭,馬小跳給她做了一個(gè)十二層的三明治,她哭；馬小跳給她洗腳,她也哭；馬小跳為她過(guò)母親節(jié),她也會(huì)哭得一塌糊涂.她愛(ài)把自己當(dāng)成神探一樣,去破案.她愛(ài)吃比較臭的東西,像榴蓮、臭豆腐這樣的東西.她睡覺(jué)時(shí)也會(huì)磨牙,發(fā)出像老鼠一樣的聲音.

從這本書(shū)中,可以看出馬小跳是一個(gè)孝敬父母的孩子,但也可以看出他也是一個(gè)總是好心辦壞事的人.就像給寶貝兒媽媽洗腳那樣,馬小跳雖然出自一片好心,但因?yàn)槿鄙俳?jīng)驗(yàn),最后還是弄巧成拙了.其實(shí)孝敬父母不一定就是要對(duì)干出多么驚天動(dòng)地的大事,做好身邊的每一件小事,讓父母少操一份心,使父母的臉上多一份笑容,替父母做一些力所能及的事情,這些看似微不足道的小事,在父母心里卻是最珍貴的.

想想我們生活中,經(jīng)常看中什么東西就又哭又鬧地向父母索要,若有半點(diǎn)不滿意,又埋怨父母的不是.看看馬小跳的所做所為,心里簡(jiǎn)直是太慚愧了.現(xiàn)在就讓我們做好身邊的每一件小事,并再做一些力所能及的事吧!

可以嗎

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