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电影不一定是胶片;但一定是魔法电影最开始的时候,是光投向摄影机后,传动着的柔软胶片。你能切身地感受到,从人和物上反射来的光经过与摄影机后,被光亲吻过的感光剂会在微弱的黑白光影中显现出正叼着烟,争夺着马耳他之鹰的亨弗莱·鲍嘉。如今,越来越多的电影开始通过电脑进行数码化制作,最后存在硬盘里,送到你家附近的影院,或者传输到你指定的大小屏幕上。这毫无疑问是一场电影革命,其影响之深远,堪比当年有声片、彩色片以及电视的问世。无论这些改变是不知不觉还是显而易见,数码技术都已经给我们看电影的方式以及电影本身带来了变化,从用数码相机拍摄的低成本电影,到满是电脑生成画面的豪华大片,无不是这场革命的产物。为此,《纽约时报》首席电影评论人曼诺拉·达吉斯和A·O·斯科特为这个越来越重要的造梦工具展开了讨论。
Film is not necessarily film; but it must have been the beginning of a magic film, a soft film that’s driven by the light toward the camera. You can personally feel that after the light reflected from people and things passes through the camera, the light-kissing sensitizer will show in a faint black-and-white shadow the cigarette that is holding a cigarette and competing for the Falcon of the Maltese eagle Lai Bogao. More and more movies are now being digitized on a computer, eventually on a hard disk, to a theater near your home, or to a screen of your size. This is undoubtedly a movie revolution with far-reaching effects comparable to the production of sound films, color films and television. Regardless of whether these changes are unknowingly or obvious, digital technologies have given us the way we watch movies and the movies themselves, from low-cost movies shot with digital cameras to luxurious movies full of computer-generated images The product of this revolution. To this end, the New York Times chief film critic Manorada Duggis and O. Scott for the more and more important dreaming tools were discussed.