㈠ 求一篇關於 美國好萊塢科幻電影的發展或現狀的外文文獻！！
類似這樣的論文，網上已經有了~
Science fiction movie is movie form developed on the base of scientific and technical knowledge. As one of the genres of Hollywood's most history, science fiction movies utilize the likelihood, authenticity, predictability of its story, and scenes of shocking, strange characteristics to attract the attention of global audience. In recent years, 3D, 4D, IMAX, represented by a series of advanced shooting and screening technology, the rise of modern sci-fi movie, like "Jurassic Park", "Transformers" and "Avatar", played as the representative in creating the historically box office miracle. From the two-dimensional space to three-dimensional space, and then now the multi-dimensional space, every leap in Hollywood science fiction movies can not be separated with advances in technology. However, expansion of technology development also lead the abuse of technology, which bring a series of disastrous consequences. As a result, after having experienced a technology 「Carnival」, people began to introspect this phenomenon, including reflections in science fiction movies. Compared to other areas in Hollywood, science fiction movies has its unique feature in nature of reflection of technology and rational - it is a technological critique based on the development of science and technology, which determines their advantages and critical shackles in the process of reflection of the science fiction movies. Therefore, take the Hollywood science fiction movies as a starting point, by analyzing movies, the author aims to investigate the characteristics of reflection and philosophical meaning behind it. This article is divided into six chapters: The first chapter focuses on the background of Hollywood science fiction movies, rational reflection of the technology. With the rapid development of the technology, our environment has become worse and worse, now we face more and more serious crisis of survival. After European Middle Ages, with the demise of feudal theological sense, "technology" and "rationality" returned in the view of mass public.
㈡ 英語科幻電影作文
A movie I like
I like a lot of movies.Today, I'd like to talk about one of them--Fanfan.
Fanfan is a French movie telling a romatic story.The hero was an intern with an unhappy childhood who had already got a fiancée.But,he didn't love her.He loved an other girl named Fanfan who loved him as well.However he was not going to marry Fanfan,because he thought love would go after marriage.Of course Fanfan disagreed with him.So she encouraged him in all ways,until he got over of his fears and accepted her as a result.
I like Fanfan because she was honest and sweet,who showed great courage chasing happiness belonged to her.I was encouraged by her too,so I like this movie.By the way,the scene is beautiful and enjoyable to watch.
㈢ 一篇關於英語原版電影的論文
L： you hiding from me?
T：No.I just... I...No. No. I was just, um...I didn't want to scare you.
L：If you don't mind my asking...what are you?
T：Well, I'm a... [sighs]Well, I'm a faun. And what about you? You must be some kind of beardless dwarf?
L：I'm not a dwarf! I'm a girl! And, actually, I'm tallest in my class.
T：You mean to say that you're a Daughter of Eve?
L：Well, my mum's name is Helen.
T：Yes, but you are in fact human.
L：Yes, of course.
T：What are you doing here?
L：Well, I was hiding in the wardrobe in the spare room, and...
T：Spare room? Is that in Narnia?
L：Narnia? What's that?
T：[chuckling] Well, dear girl, you're in it. every stick and stone you see. Please allow me to introce myself.My name is Tumnus.
L：Pleased to meet you, Mr. Tumnus. I'm Lucy Pevensie.
T：- Oh, you shake it.- Uh... Why?
L：I... I don't know. People do it when they meet each other.
T：Well, then, Lucy Pevensie from the shining city of War Drobe. How would it be if you came and had tea with me?
L：Well, thank you very much, but I probably should be getting back.
T：It's only just around the corner.And there'll be a glorious fire
㈣ 英語論文的引言
寫作總體要求： (1)說明論文的主題、范圍和目的。 (2)說明本研究的起因、背景及相關領域簡要歷史回顧(前人做了哪些工作?哪些尚未解決?目前進展到何種程度?等)。 (3)預期結果或本研究意義。 (4)引言一般不分段,長短視論文內容而定,涉及基礎研究的論文引言較長,臨床病例分析宜短。 寫作禁忌 1)文不著題，泛泛而談。 2)引文羅列，缺少分析和概括。 注意事項 古代文論中有「鳳頭、豬肚、豹尾」之稱。雖然論文不強調文章開頭象鳳頭那樣俊美、精采、引人入勝,但引言是給讀者的第一印象,對全文有提綱挈領作用,不可等閑視之。
㈤ 英語論文中引言怎麼寫
怎麼寫論文里的introction部分？
榜樣君非常直奔主題啊，其實寫introction，是有步驟的！
第一步：初步構思你的introction，稍稍勾勒出來。
Read your main idea. Now, write a complete sentence about your main
idea.
第二步：擴充你的introction，記住寫它是為了吸引讀者注意！
Reread your introctory sentence. Add a one or two more sentences
explaining your main idea. Remember that the job of your introctory paragraph
is to get your reader』s attention.
第三步：寫完正文後，再來改改改。
那具體，我們怎麼寫introction呢？有沒有套路？
可以這么稱呼：SPQR架構。
▼重點總需要個方框▼
SPQR架構
用於組織文章中的觀點，對前言的展開和文章的整體架構具有很強的指導作用。
Situation 情景
這就是你對於這篇文章的topic，你首先很想勾勒的情景。
一般這個situation statement是平凡的，或者一個大家都普遍認可的大道理或者現象。這個點在於，你說的這個話，是感覺很正確的話——「truth
universally acknowledged的話。這樣才能讓老師和讀者產生共鳴，給出hook，引人上鉤，忍不住看。後面會有例子的。
Problem 難題
這個就是situation的引申。這個情景，有沒有什麼東西讓它變得更困難，更復雜？
它有可能是因為：
有些事情是錯的，而導致的。
有不同的聲音或者阻擾。
一些新的變化或發展導致的
其他任何有可能的原因
那這個難題就會引到下面的question了。
Question 問題
這個問題就是你需要回答的essay question了，也就是你在這篇論文研究的主要問題。
有時候，你在想這個question的時候，就會跳回前部分的problem，然後再做調整。
而回答問題，就自然跳到下面的response了。
Response 回答
這就是你的essay statement或者thesis statement。對於前面的問題，你是怎麼回應的。
榜樣君知道你會覺得籠統，那下面，我們來看實例。
例如，老師要我們寫的題目如下：
Discuss the
causes（成因）of
stereotyping（刻板印象/成見/陳規）in
the mass
media（大眾傳媒）. To what extent do
theyinfluencesocial
attitudes?
翻譯成中文就是：
討論在大眾媒體中刻板印象的成因。他們在多大程度上影響社會態度?
榜樣君之前推出過關於審題的文章，有需要的可以點擊文章標題查看
審完題後，那你會怎麼寫introction呢？
我們試試用SPQR架構來寫。
? Situation
情景
? Problem
難題
? Question
問題
? Response
回答
榜樣君給一下比較好的答案（來自Alan Barker）
【Situation 情景】Steretypes
are extremely commonin British society. Nationality
and race, class, gender and sexual orientation are all subject to limited and
rigid social deions.
【Problem 難題】These
stereotypes have historically been perpetuated in te mass
media,particularly inthe tabloid press and television,
where situastion comedy has often depended on stereotypes for its
effects.
【Question
問題】Sociologists have gathered
evidence forthis process, and examined its causes.
【Response 回答: essay
statement】The most prominent
cause of stereotyping（這里是點題）appears to be the need for
media owners to mirror the values of their target markets. Through market
research, intervention in the creative process and audience evaluation, the mass
media can be seen to reinforce already exsiting stereotypes and perpetuate
them.
當然，上面的不是這么分段的，只是榜樣君為了你們看得更方便，把這段introction分成了四段。
SPQR架構只是其中一種套路（方法）。不過確實非常好用。
如果你英文夠好，你可以看看下面這個視頻，視頻9分30秒▼
視頻：
看完之後，是不是對introction的寫作感覺清晰多了？
好好寫論文哈，榜樣君支持你哦！下次再說說怎麼寫論文的正文啦。
作者：榜樣君
出處：榜樣網GETOP(bygetop)
References：
1.How to write an essay, 作者：Alan Barker
㈥ 用英語敘述一部美國電影 2000字論文
力求題目的字數要少，用詞需要精選。至於多少字算是合乎要求，並無統一的'硬性'規定，一般希望一篇論文題目不要超出20個字，不過，不能由於一味追求字數少而影響題目對內容的恰當反映，在遇到兩者確有矛時，寧可多用幾個字也要力求表達明確。
常見了繁瑣題名如：'關於鋼水中所含化學成分的快速分析方法的研究'。在這類題目中，像'關於'、'研究'等詞彙如若舍之，並不影響表達。既是論文，總包含有研究及關於什麼方面的研究，所以，上述題目便可精煉為：'鋼水化學成分的快速分析法'。這樣一改，字數便從原21個安減少為12個字，讀起來覺得干凈利落、簡短明了。
若簡短題名不足以顯示論文內容或反映出屬於系列研究的性質，則可利用正、副標題的方法解決，以加副標題來補充說明特定的實驗材料，方法及內容等信息，使標題成為既充實准確又不流於籠統和一般化。如?quot;（主標題）有源位錯群的動力學特性--（副標題）用電子計算機模擬有源位錯群的滑移特性'。
㈦ 急求一篇英語作文寫科幻電影的
Jurassic Park is a science fiction novel that was written by the late Michael Crichton and published in 1990. Often considered a cautionary tale on unconsidered biological tinkering in the same spirit as Mary Shelley's Frankenstein, it uses the mathematical concept of chaos theory and its philosophical implications to explain the collapse of an amusement park showcasing certain genetically recreated dinosaur species. It was adapted into a blockbuster film in 1993 by director Steven Spielberg.
㈧ 英語論文引言怎麼寫
寫作總體要求：
(1)說明論文的主題、范圍和目的。
(2)說明本研究的起因、背景及相關領域簡要歷史回顧(前人做了哪些工作?哪些尚未解決?目前進展到何種程度?等)。
(3)預期結果或本研究意義。
(4)引言一般不分段,長短視論文內容而定,涉及基礎研究的論文引言較長,臨床病例分析宜短。
寫作禁忌
1)文不著題，泛泛而談。
2)引文羅列，缺少分析和概括。
注意事項
古代文論中有「鳳頭、豬肚、豹尾」之稱。雖然論文不強調文章開頭象鳳頭那樣俊美、精采、引人入勝,但引言是給讀者的第一印象,對全文有提綱挈領作用,不可等閑視之。
㈨ 高分急求關於外國電影的英語論文
A Brief History of Film
History of film has been dominated by the discovery and testing of the paradoxes inherent in the medium itself. Film uses machines to record images of life; it combines still photographs to give the illusion of continuous motion; it seems to present life itself, but it also offers impossible unrealities approached only in dreams.
The motion picture was developed in the 1890s from the union of still PHOTOGRAPHY, which records physical reality, with the persistence-of-vision toy, which made drawn figures appear to move. Four major film traditions have developed since then: fictional narrative film, which tells stories about people with whom an audience can identify because their world looks familiar; nonfictional documentary film, which focuses on the real world either to instruct or to reveal some sort of truth about it; animated film, which makes drawn or sculpted figures look as if they are moving and speaking; and experimental film, which exploits film's ability to create a purely abstract, nonrealistic world unlike any previously seen.
Film is considered the youngest art form and has inherited much from the older and more traditional arts. Like the novel, it can tell stories; like the drama, it can portray conflict between live characters; like painting, it composes in space with light, color, shade, shape, and texture; like music, it moves in time according to principles of rhythm and tone; like dance, it presents the movement of figures in space and is often underscored by music; and like photography, it presents a two-dimensional rendering of what appears to be three-dimensional reality, using perspective, depth, and shading.
Film, however, is one of the few arts that is both spatial and temporal, intentionally manipulating both space and time. This synthesis has given rise to two conflicting theories about film and its historical development. Some theorists, such as S. M. EISENSTEIN and Rudolf Arnheim, have argued that film must take the path of the other modern arts and concentrate not on telling stories or representing reality but on investigating time and space in a pure and consciously abstract way. Others, such as Andre Bazin and Siegfried KRACAUER, maintain that film must fully and carefully develop its connection with nature so that it can portray human events as excitingly and revealingly as possible.
Because of his fame, his success at publicizing his activities, and his habit of patenting machines before actually inventing them, Thomas EDISON received most of the credit for having invented the motion picture; as early as 1887, he patented a motion picture camera, but this could not proce images. In reality, many inventors contributed to the development of moving pictures.
Perhaps the first important contribution was the series of motion photographs made by Eadweard MUYBRIDGE between 1872 and 1877. Hired by the governor of California, Leland Stanford, to capture on film the movement of a racehorse, Muybridge tied a series of wires across the track and connected each one to the shutter of a still camera. The running horse tripped the wires and exposed a series of still photographs, which Muybridge then mounted on a stroboscopic disk and projected with a magic lantern to reproce an image of the horse in motion. Muybridge shot hundreds of such studies and went on to lecture in Europe, where his work intrigued the French scientist E. J. MAREY. Marey devised a means of shooting motion photographs with what he called a photographic gun.
Edison became interested in the possibilities of motion photography after hearing Muybridge lecture in West Orange, N.J. Edison's motion picture experiments, under the direction of William Kennedy Laurie Dickson, began in 1888 with an attempt to record the photographs on wax cylinders similar to those used to make the original phonograph recordings. Dickson made a major breakthrough when he decided to use George EASTMAN's celluloid film instead. Celluloid was tough but supple and could be manufactured in long rolls, making it an excellent medium for motion photography, which required great lengths of film. Between 1891 and 1895, Dickson shot many 15-second films using the Edison camera, or Kinetograph, but Edison decided against projecting the films for audiences--in part because the visual results were inadequate and in part because he felt that motion pictures would have little public appeal. Instead, Edison marketed an electrically driven peep-hole viewing machine (the Kinetoscope) that displayed the marvels recorded to one viewer at a time.
Edison thought so little of the Kinetoscope that he failed to extend his patent rights to England and Europe, an oversight that allowed two Frenchmen, Louis and Auguste LUMIERE, to manufacture a more portable camera and a functional projector, the Cinematographe, based on Edison's machine. The movie era might be said to have begun officially on Dec. 28, 1895, when the Lumieres presented a program of brief motion pictures to a paying audience in the basement of a Paris cafe. English and German inventors also copied and improved upon the Edison machines, as did many other experimenters in the United States. By the end of the 19th century vast numbers of people in both Europe and America had been exposed to some form of motion pictures.
The earliest films presented 15- to 60-second glimpses of real scenes recorded outdoors (workmen, trains, fire engines, boats, parades, soldiers) or of staged theatrical performances shot indoors. These two early tendencies--to record life as it is and to dramatize life for artistic effect--can be viewed as the two dominant paths of film history.
Georges MELIES was the most important of the early theatrical filmmakers. A magician by trade, Melies, in such films as A Trip to the Moon (1902), showed how the cinema could perform the most amazing magic tricks of all: simply by stopping the camera, adding something to the scene or removing something from it, and then starting the camera again, he made things seem to appear and disappear. Early English and French filmmakers such as Cecil Hepworth, James Williamson, and Ferdinand Zecca also discovered how rhythmic movement (the chase) and rhythmic editing could make cinema's treatment of time and space more exciting.