㈠ 求一篇关于 美国好莱坞科幻电影的发展或现状的外文文献！！
类似这样的论文，网上已经有了~
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 英语科幻电影作文
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 一篇关于英语原版电影的论文
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 英语论文的引言
写作总体要求： (1)说明论文的主题、范围和目的。 (2)说明本研究的起因、背景及相关领域简要历史回顾(前人做了哪些工作?哪些尚未解决?目前进展到何种程度?等)。 (3)预期结果或本研究意义。 (4)引言一般不分段,长短视论文内容而定,涉及基础研究的论文引言较长,临床病例分析宜短。 写作禁忌 1)文不着题，泛泛而谈。 2)引文罗列，缺少分析和概括。 注意事项 古代文论中有“凤头、猪肚、豹尾”之称。虽然论文不强调文章开头象凤头那样俊美、精采、引人入胜,但引言是给读者的第一印象,对全文有提纲挈领作用,不可等闲视之。
㈤ 英语论文中引言怎么写
怎么写论文里的introction部分？
榜样君非常直奔主题啊，其实写introction，是有步骤的！
第一步：初步构思你的introction，稍稍勾勒出来。
Read your main idea. Now, write a complete sentence about your main
idea.
第二步：扩充你的introction，记住写它是为了吸引读者注意！
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：写完正文后，再来改改改。
那具体，我们怎么写introction呢？有没有套路？
可以这么称呼：SPQR架构。
▼重点总需要个方框▼
SPQR架构
用于组织文章中的观点，对前言的展开和文章的整体架构具有很强的指导作用。
Situation 情景
这就是你对于这篇文章的topic，你首先很想勾勒的情景。
一般这个situation statement是平凡的，或者一个大家都普遍认可的大道理或者现象。这个点在于，你说的这个话，是感觉很正确的话——“truth
universally acknowledged的话。这样才能让老师和读者产生共鸣，给出hook，引人上钩，忍不住看。后面会有例子的。
Problem 难题
这个就是situation的引申。这个情景，有没有什么东西让它变得更困难，更复杂？
它有可能是因为：
有些事情是错的，而导致的。
有不同的声音或者阻扰。
一些新的变化或发展导致的
其他任何有可能的原因
那这个难题就会引到下面的question了。
Question 问题
这个问题就是你需要回答的essay question了，也就是你在这篇论文研究的主要问题。
有时候，你在想这个question的时候，就会跳回前部分的problem，然后再做调整。
而回答问题，就自然跳到下面的response了。
Response 回答
这就是你的essay statement或者thesis statement。对于前面的问题，你是怎么回应的。
榜样君知道你会觉得笼统，那下面，我们来看实例。
例如，老师要我们写的题目如下：
Discuss the
causes（成因）of
stereotyping（刻板印象/成见/陈规）in
the mass
media（大众传媒）. To what extent do
theyinfluencesocial
attitudes?
翻译成中文就是：
讨论在大众媒体中刻板印象的成因。他们在多大程度上影响社会态度?
榜样君之前推出过关于审题的文章，有需要的可以点击文章标题查看
审完题后，那你会怎么写introction呢？
我们试试用SPQR架构来写。
? Situation
情景
? Problem
难题
? Question
问题
? Response
回答
榜样君给一下比较好的答案（来自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 难题】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
问题】Sociologists have gathered
evidence forthis process, and examined its causes.
【Response 回答: essay
statement】The most prominent
cause of stereotyping（这里是点题）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.
当然，上面的不是这么分段的，只是榜样君为了你们看得更方便，把这段introction分成了四段。
SPQR架构只是其中一种套路（方法）。不过确实非常好用。
如果你英文够好，你可以看看下面这个视频，视频9分30秒▼
视频：
看完之后，是不是对introction的写作感觉清晰多了？
好好写论文哈，榜样君支持你哦！下次再说说怎么写论文的正文啦。
作者：榜样君
出处：榜样网GETOP(bygetop)
References：
1.How to write an essay, 作者：Alan Barker
㈥ 用英语叙述一部美国电影 2000字论文
力求题目的字数要少，用词需要精选。至于多少字算是合乎要求，并无统一的'硬性'规定，一般希望一篇论文题目不要超出20个字，不过，不能由于一味追求字数少而影响题目对内容的恰当反映，在遇到两者确有矛时，宁可多用几个字也要力求表达明确。
常见了繁琐题名如：'关于钢水中所含化学成分的快速分析方法的研究'。在这类题目中，像'关于'、'研究'等词汇如若舍之，并不影响表达。既是论文，总包含有研究及关于什么方面的研究，所以，上述题目便可精炼为：'钢水化学成分的快速分析法'。这样一改，字数便从原21个安减少为12个字，读起来觉得干净利落、简短明了。
若简短题名不足以显示论文内容或反映出属于系列研究的性质，则可利用正、副标题的方法解决，以加副标题来补充说明特定的实验材料，方法及内容等信息，使标题成为既充实准确又不流于笼统和一般化。如?quot;（主标题）有源位错群的动力学特性--（副标题）用电子计算机模拟有源位错群的滑移特性'。
㈦ 急求一篇英语作文写科幻电影的
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 英语论文引言怎么写
写作总体要求：
(1)说明论文的主题、范围和目的。
(2)说明本研究的起因、背景及相关领域简要历史回顾(前人做了哪些工作?哪些尚未解决?目前进展到何种程度?等)。
(3)预期结果或本研究意义。
(4)引言一般不分段,长短视论文内容而定,涉及基础研究的论文引言较长,临床病例分析宜短。
写作禁忌
1)文不着题，泛泛而谈。
2)引文罗列，缺少分析和概括。
注意事项
古代文论中有“凤头、猪肚、豹尾”之称。虽然论文不强调文章开头象凤头那样俊美、精采、引人入胜,但引言是给读者的第一印象,对全文有提纲挈领作用,不可等闲视之。
㈨ 高分急求关于外国电影的英语论文
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.