SSPU英语课PPT之导演詹姆斯卡梅隆.ppt

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外国电影导演介绍PPT课件

“杂耍蒙太奇”
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阿尔弗雷德·希区柯克
1899年8十九级台阶》《蝴蝶梦》
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史蒂文·斯皮尔伯格
称史蒂文·斯皮尔伯格为“电影织梦者” 一点也不为过，他是以影片《辛德勒名单》和《拯救大兵瑞恩》而两次荣获奥斯卡金像奖的大导演，他的《大白鲨》、《E.T.》、《侏罗纪公园》等著名的商业片也为全球广大影迷们所熟知，当人们带着这种印象涌向电影院去欣赏那部黑白电影《辛德勒名单》时，却发现了斯皮尔伯格的另一个世界，一个充满智慧和理性的世界，一个真正的电影艺术的世界。
破了全球影史票房纪录[4-5] 。
2010年1月，詹姆斯·卡梅隆凭借
《阿凡达》获得第67届金球奖最佳
导演奖[23] 。
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2019/9/11
可编辑修改
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吉赛贝·托纳多雷
吉赛贝·托纳多雷（Giuseppe Tornatore）， 1956年5月27日出生于意大利西西里岛，导演、编剧。
吉赛贝·托纳多雷在年纪很小的时候就开始了工作，最初的职业是当摄影师,他拍的照片被刊登在不同的摄影杂志上，并得到了皮兰德罗和菲利波的赏识。
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2019/9/11
可编辑修改
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外国电影导演介绍
hiahiahia
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大卫·格里菲斯
格里菲斯出生在美国肯塔基州的乡下的一个破落家庭，父亲雅各布·格里菲斯（Jacob Griffith）是南北战争时期南方军队的上校。他自幼熟读勃朗宁、金斯利、丁尼生和胡德的作品，这令格里菲斯一直保持着浪漫的观念和诗意情怀。
主要作品《一个国家的诞生》《党同伐异》
斯皮尔伯格可以将电影的深刻思想性与商业元素完美的结合在一起，让观众们体验震撼壮美的画面效果同时，感受到其影片中所传达出的深刻内涵，让人意犹未尽，回味无穷。这在整个美国电影界乃至全球电影界都是非常稀有的。

《Films》GrammarPPT

5. The f_i_n_a_l __ test is coming.
二、用所给词的适当形式填空。 1. Audrey __w_a_s_c_h_o_s_e_n__ (choose) to
play the lead role in Gigi by Colette.
2. They __w_e_r_e_w__a_te_r_i_n_g__ (water) the flowers when I got to the garden.
• We use although / though to
contrast two clauses. we can’t use ‘but’ and ‘although’ together.
Can you find out the mistake?
Although it is very hot outside, but I enjoyed my journey.
the film industry at that time. 3. As we all know no one can make his
dream come true without e_f_fo_r_t___.
4. The event m_a_r_k_e_d_ the beginning of Hepburn’s successful career.
注意：1. though 可用于even though, as though 等结构，although则不能。
Even though I fail, I'll keep on trying. 我纵然失败，仍会继续尝试下去。
You look as though you know each other. 看起来你们好像彼此认识。

奥斯卡最佳电影导演勒布朗詹姆斯·卡梅隆TED英文演讲稿_1

奥斯卡最佳电影导演勒布朗詹姆斯·卡梅隆TED英文演讲稿下列这篇由站梳理给予的是《阿凡达》、《泰坦尼克号》的电影导演勒布朗詹姆斯·卡梅隆(James Cameron)的一篇TED演讲。

在这个演说里，卡梅隆回望了自身从传媒大学毕业之后踏入电影导演路面的小故事。

卡梅隆对你说，不必惧怕不成功，始终不必为自己限制。

大量演讲稿范文，热烈欢迎浏览站!I grew up on a steady diet of science fiction. In high school, I tooka bus to school an hour each way every day. And I was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.And you know, that curiosity also manifested itself in the fact that whenever I wasn't in school I was out in the woods, hiking and taking "samples" -- frogs and snakes and bugs and pond water -- and bringing it back, looking at it under the microscope. You know, I was a real science geek. But it was all about trying to understand the world, understand the limits of possibility.And my love of science fiction actually seemed mirrored in the world around me, because what was happening, this was in the late '60s, we were going to the moon, we were exploring the deep oceans.Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined. So, that seemed to resonate with the whole science fiction part of it.And I was an artist. I could draw. I could paint. And I found that because there weren't video gamesand this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head. You know, we all did, as kids having to read a book, and through the author's description, put something on the movie screen in our heads. And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff. I was endlessly getting busted in math class doodling behind the textbook. That was -- the creativity had to find its outlet somehow.And an interesting thing happened: The Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on Earth. I might not really go to an alien world on a spaceship someday -- that seemed pretty darn unlikely. But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.So, I decided I was going to become a scuba diver at the age of 15.And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean. But I didn't let that daunt me.I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live. And I actually got certified in a pool at a YMCA in the dead of winter in Buffalo, New York. And I didn't see the ocean, a real ocean, for another two years, until we moved to California.Since then, in the intervening 40 years, I've spent about 3,000 hours underwater, and 500 hours of that was in submersibles. And I've learned that that deep-ocean environment, and even the shallow oceans,are so rich with amazing life that really is beyond our imagination. Nature's imagination is so boundlesscompared to our own meager human imagination.I still, to this day, stand in absolute awe of what I see when I make these dives. And my love affair with the ocean is ongoing, and just as strong as it ever was.But when I chose a career as an adult, it was filmmaking. And that seemed to be the best way to reconcile this urge I had to tell stories with my urges to create images. And I was, as a kid, constantly drawing comic books, and so on. So, filmmaking was the way to put pictures and stories together, and that made sense. And of course the stories that I chose to tell were science fiction stories: "Terminator," "Aliens" and "The Abyss." And with "The Abyss," I was putting together my love of underwater and diving with filmmaking. So, you know, merging the two passions.Something interesting came out of "The Abyss," which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG. And this resulted in the first soft-surface character, CG animation that was ever in a movie. And even though the film didn't make any money -- barely broke even, I should say -- I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.You know, it's Arthur Clarke's law that any sufficiently advanced technology is indistinguishable from magic. They were seeing something magical. And so that got me very excited. And I thought, "Wow, this is something that needs to be embraced into the cinematic art." So, with "Terminator 2," which was my next film, we took that much farther. Working with ILM, we created the liquid metal dude in that film. The success hung in the balance on whether that effect would work. And it did, and we created magic again, and we had the same result with an audience -- although we did make a little more money on that one.So, drawing a line through those two dots of experience came to, "This is going to be a whole new world," this was a whole new world of creativity for film artists. So, I started a company with Stan Winston, my good friendStan Winston, who is the premier make-up and creature designer at that time, and it was called Digital Domain. And the concept of the company was that we would leapfrog past the analog processes of optical printers and so on, and we would go right to digital production. And we actually did that and it gave us a competitive advantage for a while.But we found ourselves lagging in the mid '90s in the creature and character design stuff that we had actually founded the company to do. So, I wrote this piece called "Avatar," which was meant to absolutely push the envelope of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG, and the main characters would all be in CG, and the world would be in CG. And the envelope pushed back, and I was told by the folks at my company that we weren't going to be able to do this for a while.So, I shelved it, and I made this other movie about a big ship that sinks. (Laughter) You know, I went and pitched it to the studio as "'Romeo and Juliet' on a ship: "It's going to be this epic romance,passionate film." Secretly, what I wanted to do was I wanted to dive to the real wreck of "Titanic." And that's why I made the movie. (Applause) And that's the truth. Now, the studio didn't know that. But I convinced them. I said, "We're going to dive to the wreck. We're going to film it for real. We'll be using it in the opening of the film. It will be really important. It will be a great marketing hook." And I talked them into funding an expedition. (Laughter)Sounds crazy. But this goes back to that theme about your imagination creating a reality. Because we actually created a reality where six months later, I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port. Not a movie, not HD -- for real. (Applause)Now, that blew my mind. And it took a lot of preparation, we had to build cameras and lights and all kinds of things. But, it struck me how much this dive, these deep dives, was like a space mission. You know, where it was highly technical, and it required enormous planning. You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can't get back by yourself. And I thought like, "Wow. I'm like, living in a science fiction movie. This is really cool."And so, I really got bitten by the bug of deep-ocean exploration. Of course, the curiosity, the science component of it -- it was everything. It was adventure, it was curiosity, it was imagination. And it was an experience that Hollywood couldn't give me. Because, you know, I could imagine a creature and we could create a visual effect for it. But I couldn't imagine what I was seeing out that window. As we did some of our subsequent expeditions, I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at thetime that we saw them and imaged them.So, I was completely smitten by this, and had to do more. And so, I actually made a kind of curious decision. After the success of "Titanic,"I said, "OK, I'm going to park my day job as a Hollywood movie maker, and I'm going to go be a full-time explorer for a while." And so, we started planning theseexpeditions. And we wound up going to the Bismark, and exploring it with robotic vehicles. We went back to the Titanic wreck. We took little bots that we had created that spooled a fiber optic. And the idea was to go in and do an interior survey of that ship, which had never been done. Nobody had ever looked inside the wreck. They didn't have the means to do it, so we created technology to do it.So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at planks that look much like this, where I knew that the band had played. And I'm flying a little robotic vehiclethrough the corridor of the ship. When I say, "I'm operating it," but my mind is in the vehicle. I felt like I was physically present inside the shipwreck of Titanic. And it was the most surreal kind of deja vu experience I've ever had, because I would know before I turned a corner what was going to be there before the lights of the vehicle actually revealed it, because I had walked the set for months when we were making the movie. And the set was based as an exact replica on the blueprints of the ship.So, it was this absolutely remarkable experience. And it really made me realize that the telepresence experience -- that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence. It was really, really quite profound. And it may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.So, having done these expeditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing, amazing animals -- they're basically aliens right here on Earth. They live in an environment of chemosynthesis. They don't survive on sunlight-basedsystem the way we do. And so, you're seeing animals that are living next to a 500-degree-Centigradewater plumes. You think they can't possibly exist.At the same time I was getting very interested in space science as well -- again, it's the science fiction influence, as a kid. And I wound up getting involved with the space community, really involved with NASA, sitting on the NASA advisory board, planning actual space missions, going to Russia, going through the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 三维 camera systems. And this was fascinating. But whatI wound up doing was bringing space scientists with us into the deep. And taking them down so that they had access -- astrobiologists, planetary scientists, people who were interested in these extreme environments -- taking them down to the vents, and letting them see, and take samples and test instruments, and so on.So, here we were making documentary films, but actually doing science, and actually doing space science. I'd completely closed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real. And you know, along the way in this journey of discovery, I learned a lot. I learned a lot about science. But I also learned a lot about leadership. Now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.I didn't really learn about leadership until I did these expeditions. Because I had to, at a certain point, say, "What am I doing out here? Why am I doing this? What do I get out of it?" We don't make money at these damn shows. We barely break even. There is no fame in it. People sort of think I went awaybetween "Titanic" and "Avatar" and was buffing my nails someplace, sitting at the beach. Made all these films, made all these documentary films for a very limited audience.No fame, no glory, no money. What are you doing? You're doing it for the task itself, for the challenge --and the ocean is the most challenging environment there is -- for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team. Because we would do these things with 10, 12 people, working for years at a time, sometimes at sea for two, three months at a time.And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you've done a task that you can't explain to someone else. When you come back to the shore and you say, "We had to do this, and the fiber optic, and the attentuation, and the this and the that, all the technology of it, and the difficulty, the human-performance aspects of working at sea," you can't explain it to people. It's that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it. Creates a bond, creates a bond of respect.So, when I came back to make my next movie, which was "Avatar," I tried to apply that same principle of leadership, which is that you respect your team, and you earn their respect in return. And it really changed the dynamic. So, here I was again with a small team, in uncharted territory, doing "Avatar," coming up with new technology that didn't exist before. Tremendously exciting. Tremendously challenging. And we became a family, over a four-and-half year period. And it completely changed how I do movies. So, people have commented on how, "Well, you know, you brought back the ocean organisms and put them on the planet of Pandora." To me, it was more of a fundamental way of doing business, the process itself, that changedas a result of that.So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity. It's the most powerful thing you own. Imagination is a force that can actually manifest a reality. And the respect of your team is more important than all the laurels in the world. I have young filmmakers come up to me and say, "Give me some advice for doing this." And I say, "Don't put limitations on yourself. Other people will do that for you -- don't do it to yourself, don't bet against yourself, and take risks."NASA has this phrase that they like: "Failure is not an option." But failure has to be an option in art and in exploration, because it's a leap of faith. And no important endeavor that required innovation was done without risk. You have to be willing to take those risks. So, that's the thought I would leave you with, is that in whatever you're doing, failure is an option, but fear is not. Thank you. (Applause)译文翻译：我是看奇幻小说成长的。

SSPU英语课PPT之导演詹姆斯卡梅隆.ppt

I think it is the passion for science fiction movies and exploration.
Cameron in TED
Until now, he directed the two movies, 《Titanic》(1997) and
《Avatar》(2009), which box office is the highest in the history of Hollywood movies.
between the technology and human in his film.
Many fans was curious about what he was doing after he created the miracle 《Titanic》.
In the twelve years , he created and developed the 3D technology and worked hard just for one film 《Avatar》.
2”. 2000~now ———Suzy Amis(an actress) She has played Rose’s granddaughter in “Titanic”. Interestingly, in these ladies’ eyes, their husband is just a man of bigotry(顽固), and they even can’t stand his terrible desire of control!
Linda Hamilton
Suzy Amis
Kathryn Bigelow
《The Hurt Locker》

titanic PPT

《泰坦尼克号》泰坦尼克号》 Titanic
director:詹姆斯卡梅隆 James Cameron 詹姆斯·卡梅隆詹姆斯 Actor:里奥纳多迪卡普里奥里奥凯特温斯莉特凯特·温斯莉特凯特 Kate Winslet
• 悲剧不一定只有破碎悲剧不一定只有破碎, 只有死亡。只有死亡。而幸福或快乐也不仅仅是生存、是拥有. 是生存、是拥有
营销1012 韩晓洁营销 2011年11月7号年月号
Classic Lines about Titanic
• You jump ,I jump .Remember? • Do you trust me?___I trust you. • Rose,listen to me ,listen, winning that ticket was the best thing that never happened to me, it brought you to me,and I'm thankful , rose, I'm thankful
shocking by the sight
My feeling
• Just about Rose was not sank into the ice sea with Jack, so the story were even more sad. The scene of that thousands of people were struggled in the cold water,my heart was cold too .It’s so make us feel sympathy.No one help them .They could only jump into the ice cold water then slowly died…Life is so weak in this time. It’s more difficult for Rose to live on than go away with Jack.She lost her true love.So if we have chance,we met the Mr.Right oneday,we must be insist.Treasure him and never Give up.

《泰坦尼克号》ppt演示课件

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5.分小组讨论是合作，表演课本剧更是合作的高级形式，在短短的时间内，同学们要把课文内容以课本剧的形式表演出来，没有合作的精神是不可能完成的。演课本剧不是一件简单的事情，这里有导演、演员的分工，道具的使用，等等。
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6.因为文中说，白兔原本是快乐的，自从拥有了月亮以后，她便产生了无穷的得失之患，所以她放弃了，求诸神之王撤销那个慷慨的决定。
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9.特别是学生思维异常活跃，常常迸射智慧的火花，出现精彩的对答。在这一环节中，教者的点拨、引导，学生的质疑与解疑，师生之间思想的碰撞，语言的交流，课文内容与表达形式的交融无不令人赏心悦目。
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10教者在其中并没有越俎代庖，而是让学生当主角，根据课文脉络层层推进，剥茧式的教学提升了学生要洞悉底细的情绪。在不断探究研讨的过程中，学生充分享受了学习的乐趣和成功的喜悦。
泰坦尼克号(RMS Titanic),又译作铁达尼号,是英国白星条航运公司下辖的一艘奥林匹克级邮轮。泰坦尼克号是当时世界上体积最庞大、内部设施最豪华的客运轮船,有“永不沉没”的美誉。然而讽刺的是,在她的处女航中,泰坦尼克号便遭厄运——她从英国南安普敦出发,途经法国瑟堡-奥克特维尔以及爱尔兰昆士敦,驶向美国纽约,船上时间 1912年4月14日23时40分左右,泰坦尼克号与一座冰山相撞,造成右舷船艏至船中部破裂, 五座水密舱进水。次日凌晨2时20分左右,泰坦尼克船体断裂成两截后沉入大西洋底3 700米处。2 224名船员及乘客中,逾1 500人丧生,其中仅333具罹难者遗体被寻回。泰坦尼克号沉没事故为和平时期死伤人数最为惨重的一次海难,其残骸直至1985年才被再度发现。1997年,由卡梅伦编剧并执导的电影《泰坦尼克号》艺术地再现了此次事件的过程,演绎了一个凄美的爱情故事。

英语课演讲阿凡达英文ppt

the hero of this movie is a human, he control an avatar which is made by human to persuade real avatar to leave their homeland. At last the hero of this movie fall in love with a real avatar and the life in Pandora as well, he help avatar beat human and rebuild their homeland.
Negative value:
human’s greediness. Human is so greedy!
Thank you!!!
Good Morning Everyone
Calvin
Top 4 movie grosses
1.<Titanic> $18.450 Billion 2.< The Lord of the Rings: The Return of the King> $11.193 Billion 3.< Pirates of the Caribbean: Dead Man’s Chest> $4.233 Billion
4.<Avata> 2.7Billion!!!
James Cameron, The director of Avatar and also the director of Titanic. James decided to make this movie in 1998, and finished it until 2009, it cost him 11years.

卡梅隆的英文ppt课件(共12张PPT)

Piranha II: The Spawning (食人鱼2：繁衍)
The Abyss (深渊)
Aliens(异形2)
Dark Angel （末世黑天使）
Titanic (2019 film)
Titanic is a 2019 American epic romantic historical disaster film directed, written, co-produced, and co-edited by James Cameron. A fictionalized account of the sinking of the RMS Titanic, it stars Leonardo DiCaprio and Kate Winslet as members of different social classes who fall in love aboard the ship during its ill-fated maiden voyage.
My favorite director
Suffering from his illness, one night he had a nightmare about an invincible robot hitman sent from the future to kill him, giving him the idea for
〔采矿） a precious mineral on Pandora. Once in Rome, Ovidio took over the editing when Cameron was stricken with food poisoning.
My favorite director After graduating, he worked several jobs such as truck driving〔卡车驾驶） and wrote when he had time. epic [‘epik] adj. Suffering from his illness, one night he had a nightmare about an invincible robot hitman sent from the future to kill him, giving him the idea for The Terminator, which would later catapult his filming career. His writing and directing work includesPiranha II: The Spawning (食人鱼2：繁衍) (1981), The Terminator （终结者）(1984), Aliens(异形2) (1986), The Abyss (深渊)(1989), Terminator 2: Judgment Day （终结者2：审判日)(1991), True Lies (真实的谎言)(1994), Titanic (2019), Dark Angel （末世黑天使）(2000–02), and Avatar(2021). fictionalized 【 ˈfɪkʃənəlaɪzd 】 adj. predicate on 把…放在…基础上，以…为基础 predicate ['predikeit] vt. During this period he taught himself about special effects: “I‘d go down to the library and pull any thesis that graduate students had written about optical printing〔光学印片）, or front screen projection〔前投影）, or dye transfers(染印), anything that related to film technology. My favorite director fascination [fæsi‘neiʃən] n. The Terminator （终结者） My favorite director 未婚的,首次的，初次的； My favorite director fascination [fæsi‘neiʃən] n. The film is set in the mid-22nd century, when humans are mining〔采矿） a precious mineral on Pandora. Suffering from his illness, one night he had a nightmare about an invincible robot hitman sent from the future to kill him, giving him the idea for The Terminator, which would later catapult his filming career. Terminator 2: Judgment Day （终结者2：审判日)

詹姆斯英语ppt课件

Advisory
An advisory is a descriptive word that modifies a verb, advisory, or other advisory Some examples of advertisements are "quickly," "happily," "exceptionally," and "recently."
03
CHAPTER
Reading comprehension section
Summary
Detailed description
Summary
Detailed description
Summary word
Detailed description
Cultivating Reading Interest
Enhancing research capabilities
Guide students to learn literature review and research methods, cultivate their research abilities and innovative thinking.
01
CHAPTER
Introduction
James English is a rented expert in the field of English language education
He has extensive experience in teachage and has authorized numerical books and articles on the subject