英语电影赏析ppt 3

变化者 迷惑、误导英雄的角色，他们代表着英雄 将会发生一些内在转变 小丑 带来喜剧调剂的角色 守门人 暂时阻挡英雄前进的角色

Vogler
worked as a consultant for Disney during the production of the Lion King. How do Vogler’s character archetypes help one better understand the film?
Hero Mentor Threshold guardian Herald
Shapeshifter
Shadow
Trickster
英雄 导师 关卡守门人 使者 变化者 影子 小丑

英雄 主要角色 影子 代表英雄的“黑暗面”的反面角色 导师 给英雄以建议和帮助的角色 使者 传唤或召唤英雄踏上征途的角色



White American= heroic, honest, brave, intelligent African-American=amiable but easily led and easily deceived English= evil, imperial, dictatorial, sinister, deceitful, twofaced, pompous Japanese= either a source of ancient wisdom or a modern economic threat
Central to the theory of Method acting was the concept of “affective memory‖. In Method acting, the actor employs his own emotions to fully identify with the character

Question:
In what ways do cinematic performance differ from its theatrical equivalent?

One important aspect of performance is accent. In Hollywood films, accent is never neutral; it is valueladen(价值承载的) and highly significant. Since accents are associated with certain racial, national, ethic or regional groups, they can be used as a shortcut for expressing character.



Typecasting: To typecast is to repeatedly assign certain kinds of roles to a performer. Offcasting: Offcasting is the assignment of a role to a star which is quite different to—and even the opposite of –their usual ―typecast‖ role.

Vogler’s seven basic character functions: hero, mentor(导师), threshold guardian（关 卡守卫者), herald(信使), shapeshifter(变化 者), shadow(影子), and trickster(骗子，魔 术师).
The
mirror character (support) is the character most clearly aligned with, and supportive of , the protagonist.
The romance character (love interest) is the character with whom the protagonist is – or becomes– romantically involved.


吴彦祖 --why are you so good at playing bad guy? --I just displayed the dark side of myself.
新警察故事
窃听风云2
What is a ―star‖? The 4 main elements in the production of a star: promotion, publicity, films and criticism/commentary. Why are audiences attracted to stars?
How
is Vogler’s character archetypes applied in this film？
Motivation:
outer motivation, inner
motivation; Conflict: outer conflict, inner conflict Character grow

Richard Maltby: From the perspective of the audience, the film actor has ―two bodies‖—the audience experiences the presence of the performer as well as the presence of the character.
B: Inner conflict— conflict with himself due to selfdoubt and unwillingness to confront difficulties from is own past 3.Character Growth Development of new abilities (i.e. the self-confidence to challenge Scar) Reconsideration of goal (i.e. the goal is not just to rule, but to rule well, as his father did) Reflection and increased knowledge of self and world (i.e. knowledge that courage is not the same as ―looking for trouble‖, )
1.
2.
Motivation: A: Outer motivation—Simba must recover his kingdom. B: Inner motivation—Simba must recover himself as ―his father’s son‖. Conflict: A: Outer conflict—conflict with Scar, Scar seizes the kingdom from Simba, and Simba must take it back.
What makes a film character interesting to you? What factors do you think should be taken into account when casting decisions are made?



The opposition character (antagonist) is the character who opposes the intentions of the protagonist; antagonists stand in the way of protagonists and create obstacles for them. The final climax of the film is normally a direct confrontation between the protagonist and the antagonist/forces of antagonism.


Presentational style and representational style are corresponding to the ―two bodies‖ of the actor and the character. Presentational style is the performance style that emphasizes the realty of the actor .


Representational style is the style that downplays the reality of the actor , as the actor does not present himself but instead represents the character he is playing. Method acting and star system are the extreme forms of these two performance style.


Method acting sought to employ the personality of the actor as a kind of psychical resource in the construction and performance of the fictional role. The Method aims at producing an ―authentic‖ performance by subordinating the actor’s personality to that of the character.