一個國家的誕生

知識點：《一個國家的誕生》 收集：臧市吶 編輯：百合仙子
本知識點包括：1、如何評價D.W.格里菲斯于1915年導演的《一個國家的... 2、下列關于電影《一個國家的誕生》說法不正確的是？A... 3、《一個國家的誕生》故事背景設置在美國什么時期 4、一個新的國家誕生，舉行盛大隆重的慶祝儀式。 5、世界上第一部彩色電影是（ ） A．《一個國... 。

《一個國家的誕生》相關知識

　　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.

知識拓展：

1： 《撒哈拉的故事》讀后感500字速度要!1

知識要點歸納：

　　一直對三毛懷有一份獨特的情感,大抵是心下羨慕有人可以活得如此灑脫不羈,愛她對待生活的態度,一直尋求自然與單純,從臺北到德國,從撒哈拉到美利堅,她的一生似乎都是一個傳奇.

　　對于三毛所有作品都是鐘愛的,如果一定要選擇,那還是會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.同時也帶給我從未體驗過的沙漠風情.三毛說她第一次見著撒哈拉,像見到久違的故鄉.那時她已在異國多年,也心存了各種風情.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?沙本是世間最無依無著之物,安定流浪聽憑風停風起.而沙漠收容他們——還有三毛,一并攬入它的懷抱.

　　我想曾經甚至是現在,有很多人因為《撒哈拉的故事》,而愛上沙漠,開始對流浪產生憧憬.從她的小說中,我們可以感受到一個遙遠而又新奇的世界,我們可以想象她在沙漠里一步一步行走的模樣,可是在現實中我們不曾想象過一個現代人在荒涼的沙漠里會是什么樣的生活.一定不是像她所寫的那樣浪漫,一定有許多艱辛和阻礙,而她居然憑著一時的沖動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于沙漠的渴望是內心洋溢而出的一種對生活超逸不俗的態度,她的浪漫奇想總是可以為枯燥艱辛的沙漠生活制造無限情趣,就連痛苦也好似扎著蝴蝶結的.在三毛的筆下,她還原了一個女人的本性-----天真,熱情,心中充滿了愛與感恩.一個女人,和自己心愛的人遠離故土,來到一個貧瘠,甚至是落后的地方,卻從未對生活失望,我們都不知道是什么信念支持著這么一個瘦小的身軀.我想正因為不知道和許多的無法解釋,所以我們會心生羨慕.

　　人們常說,文字如人,三毛的文字,向來都是質樸,感人.閱讀她的書,仿佛你是在跟她交談,而不是在讀她的書,就像別后的友人在向你訴說著她遠行的故事,不加任何修飾.看的時候舒服,放下時卻是如此的感動.

　　三毛曾說：“如果選擇了自己結束生命這條路,你們也要想得明白,因為在我,那將是一個幸福的歸宿.”我想往往過于追求完美,追求理想化的人,容易選擇決絕的方式去達到超脫和升華的境界.可是不管怎么說,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定不移的信念在支撐著她,正如她自己所說：生命的過程,無論是陽春白雪,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,

知識要點歸納：

天真的媽媽

——讀天真媽媽有感

馬小跳有一個像小女孩一樣天真的媽媽.她是一名櫥窗設計師,在做飯時愛穿一條鑲有荷葉邊的碎花兒圍裙.她像小女孩一樣愛哭,馬小跳給她做了一個十二層的三明治,她哭；馬小跳給她洗腳,她也哭；馬小跳為她過母親節,她也會哭得一塌糊涂.她愛把自己當成神探一樣,去破案.她愛吃比較臭的東西,像榴蓮、臭豆腐這樣的東西.她睡覺時也會磨牙,發出像老鼠一樣的聲音.

從這本書中,可以看出馬小跳是一個孝敬父母的孩子,但也可以看出他也是一個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,但因為缺少經驗,最后還是弄巧成拙了.其實孝敬父母不一定就是要對干出多么驚天動地的大事,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,經常看中什么東西就又哭又鬧地向父母索要,若有半點不滿意,又埋怨父母的不是.看看馬小跳的所做所為,心里簡直是太慚愧了.現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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