英语影评初中_初三英语影评写作

1.有没有关于影评写作的书？

2.《理智与情感》和《傲慢与偏见》对比着写一篇英语影评

3.求一个关于Angel Beats 的英文影评 我们要写作文 我最喜欢的文学作品！！！我想写关于Angel Beats的！！！

Freedom Writers is the latest in a long line of white suburban teacher goes to the ghetto and ses gangbangers movies. They all take different tactics to sing the violent little punks in their classes, but 23-year-old Erin Gruwell’s roach is certainly one of the most unique. She wins her age hoodlums over by calling them Nazis and then turning them into pen and paper bloggers. Lucky for her the kids in her class are too dumb to know what Nazis are and blogging didn’t actually exist yet, or she might he gotten shot for suggesting it. Blogging is so lame.

Erin Gruwell (Hilary Swank) does not get shot and that, not her success in the classroom is what’s most amazing about Freedom Writers. She’s a pampered, idealistic, white girl with grand ideas about how she’s going to se the ghetto, and so she volunteers to take her first teaching job at racially charged, poverty stricken Wilson High School in South Central Las Angeles just a few years after the Rodney King sparked LA riots. Director/writer Richard LaGrenese portrays the neighborhood she’s walking into as if it’s Vietnam, and early on in the movie it seems almost as if he’s making excuses for the gangs of bloodthirsty little sages roaming the streets and halls of Wilson High. But not so.

The movie is based on a book by the same name, in which the real Erin Gruwell’s class wrote about their experiences as gangbangers and then their attachment to Gruwell’s class. So early on the movie roaches their lives from their skewed perspective. Her students believe themselves bre soldiers in some war, and fill their diaries with empty justification for the racial hatred and brutality they’ve idealized. Eventually Erin gets through to them, breaking through their wall of keeping it real to serve them a little bit of reality. Are her breakthroughs with them moving? Yes. But her methods are incredibly na?ve. The Erin Gruwell portrayed in this movie got lucky. While blustering her way through helping her class full of students, she encounters the usual obligatory opposition from more experienced, battle weary teachers and school administration. We’re supposed to be rooting for Erin to prove them wrong, and she does. But that doesn’t mean her detractors aren’t right. They he a point. She was the right person, with the right class, at the right time. She doesn’t discover a magic formula for getting gangbangers to stop shooting each other in the chest, she simply stumbles on a class full of downtrodden, violent kids who hen to be ready to listen. As portrayed in the film, the secret to her success was simply blind, stupid idealism. I dou it would work again. The real Erin Gruwell quit High School teaching and moved on to a college professorship immediately after shepherding this one group of kids through Wilson High, so perhaps she’d agree.

Freedom Writers works because the group of age actors they’ve brought together in it are fantastic, and because the script has enough sy, tear-jerking moments to keep you involved. Hilary Swank is tenacious and determined as Gruwell, but it’s moment by moment performances from her kids that make it worth watching. They do it even though the script often lees them stranded. Most of the kids are completely underdeveloped, and they’re only brought to the forefront when LaGrenese wants to make one of them cry. You won’t remember most of their names, but their stories will lee an impression on you. That’s better than expected for a movie released in the dead zone of early January.

有没有关于影评写作的书？

肖申克为好莱坞救赎

好莱坞是不是总是以商业目的来制造事物或艺术？若要创造一件真实自然的事物，一个导演就必须以一丝不苟的态度来接近事物本生，这归功于完美的过程。这样一件容易令人退缩的任务，要求绝对卓越的艺术家，他必须拥有无可置疑的管理能力和对于**艺术中每一个元素精确的敏感度，无论是在音乐、视觉、剧情和表演上。每一种元素都是同等重要的，不仅个体而言能够保证成功，而且整体上来看，也要求和谐并成为一个整体。之所以如此，是因为这些都决定着艺术家的作品的命运。虽然Frank Darabont已经在他的业界内以他在编剧和导演方面已非常有名，但是，肖申克救赎却仍是他的处女作。虽然他以身为编剧的主要负责人，但Darabont仍竭力创作了最为收到认可的个体解放的实例在好莱坞的历史上。肖申克救赎确立了它自己的风格，否定了突变，激励了情感，把一个有艺术性有影响力的新纪元重新带回了好莱坞。

故事于一个年轻的银行家的审判开始，Andy Dufrense，被所谓“充分的证据”指控，最终定罪为谋杀妻子和她的情人。在快速的审讯之后，Andy意识到他将在肖申克监狱服终身监禁，没有任何的释的机会，于是，他装表面上仍存在于监狱中，但他的心已经飞出监狱。他的能力是他获得身边囚犯朋友们的信任，尤其是Ellis Redding。Ellis，也就是说是Red,因能够给牢内的其他囚犯提供违禁物品而发现他本身的价值，而Andy的行为和无可置否的对希望的信念使得Red开始重新审视他自己，以及他身边周围的世界。Andy向Red和其他囚犯证明，肖申克监狱的大墙内是找不到他们这辈子自己的家的。

通过创作这部影片的基金会，一丝不苟而轮廓鲜明的剧本为这部影片的成功奠定了基础。Frank用他对肖申克救赎同名《丽塔海尔沃斯和肖申克的救赎》的非凡改编，战胜了自己。在这本中，史蒂芬金证实了他能够打破他原有的写作风格，而建立一种新的无与伦比的现代文学风格。虽然**在多方面都映射的本身，但Darabont更加入了一些事物本身客观存在的镜头，而中却一笔带过的，致使成为史上最为成功的翻拍成**的典范。

Shawshank redeems Hollywood

Can Hollywood, usually creating things for entertainment purposes only, create art? To create something of this nature, a director must roach it in a most meticulous manner, due to the delicacy of the process. Such a daunting task requires an extremely capable artist with an undeniable managerial capacity and an acutely developed awareness of each element of art in their films, the most prominent; music, visuals, script, and acting. These elements, each equally important, must succeed independently, yet still form a harmonious union, because this mixture determines the fate of the artist's opus. Though already well known amongst his colleagues for his notable skills at writing and directing, Frank Darabont emerges with his feature film directorial debut, The Shawshank Redemption. Proving himself already a master of the craft, Darabont managed to create one of the most recognizable independent releases in the history of Hollywood. The Shawshank Redemption defines a genre, defies the odds, compels the emotions, and brings an era of artistically influential films back to Hollywood.

The story begins with the trial of a young banker, Andy Dufrense, victimized by circumstantial evidence, resulting in a conviction for the murder of his wife and her lover. After a quick conviction, Andy finds himself serving a life sentence at Shawshank prison, with no hope of parole. He exists in this prison only in earance, keeping his mind free from the drab walls around him. His ability to do this results in the gaining of respect from his fellow inmates, but most of all from Ellis Redding. Ellis, commonly referred to as Red, finds gainful use of his entrepreneurial spirit within the drab walls of Shawshank by dealing in contraband and commodities rare to the confines of prison. Andy's demeanor and undeniable sense of hope causes Red to take a deeper look at himself, and the world around him. Andy proves to Red and the other inmates that in the conventional walls of Shawshank prison convention will find no home in his lifestyle.

By creating the film's firm foundation, the meticulously chiseled screenplay ped the way for this film's success. Frank Darabont outdoes himself with the phenomenal adaptation of Stephen King's equally noteworthy novella, Rita Hayworth and Shawshank Redemption. In this novella, King demonstrates that he can break free from the genre he dominates and still create a marvelous piece of modern literature. Though the film mirrors the novella in many ways, Darabont illustrates a focused objective of improving upon the areas where the novella came up short, resulting in one of the best book to film transitions ever.

………………以及等等

《理智与情感》和《傲慢与偏见》对比着写一篇英语影评

关于**批评与**评论关于这个话题，我们暂且放下**批评，广义的讲一讲**评论。现在**评论大家已经不再陌生，甚至相信很多的朋友都是**评论的参与者。但我们细看这些评论，且不说那些平民大众的评论，就那些所谓影评人的评论，也不过是说说结构，看看人物，然后从中又看出了那些道理，再讲一讲自己所谓看到的**深度。细看评论中涉及到的方方面面，充其量是把文学评论的一套话语生硬的带入**的艺术空间中来。对于这些人，我给与的态度是：你们不懂**！严格的讲，从**本体论的意义上来看，在**人与**评论人之间存在着一条巨大的专业意识鸿沟。这样一条专业意识鸿沟正是当下的**评论人缺憾像机械师对摄影机和放映机起码的技术了解而构成的。从一个层面上讲，这条专业意识鸿沟的存在是以**人对**评论人的喧哗恒持一种冷漠态度而张显出来的。而也正是基于这两种条件，这两个方面，这两种认知。造成了现在“**界”和“观**界”的同时恶性循环。也就是说看**的把**看完，然后开始用他自己的乱七八糟的不知是非的观点，看法评价**。这些评价里，毫无**意识甚至看不出他评论的是一部**。这样的评论一出，自然而然的就被打入**外行的圈子中。而在内行眼里就是“这些人彻底不懂**”。当然，现在的影评人也好，普通观众也好，把自己的理解表达出来值得鼓励的事情。可大家有没有注意到，人们把**这种诉诸于四度量项的视听艺术在评论中文学化，最终把**现象降解为文学现象或者别的什么现象而给与非专业性的解毒。我们都知道，从艺术形式本体论的视角来看，**于形式的存在本体上截然不同与文学，截然不同与美术，截然不同与音乐，截然不同与很多很多。**以视听的审美形象在四度量项中直接诉诸接受主体的感知而转递审美信息。从当下学术界众所周知的利科之阐释学的理论来看，文学的存在形式本体仅是一种由抽象地书写而凝固的文本表达式。并且，**的制作与文学的创作方法，操作意识，科技含量，集群制作等方面有着迥然不同的差异性。在这里，我们无意对**与文学或者其他艺术类型从形式本体论的角度来评判何者艺术表现性更胜一筹。我们在理论上也不认为**作为一种艺术门类高于其他艺术，但是，从艺术门类的划分上看，把**现象作为文学或其他现象来解读，这无疑是在向式本体论上对**及其审美特征的降解，同时，也是在艺术门类的解分上降解**。让我们做一个启人深省的解析：例如现在人们评论**的结构时，往往就是把整个影片的整体或者说映像成剧本。也就是刚才我说的降解成文学。就结构而言，虽说现在已经不是一个蒙太奇之上的年代了，可评论结构时，连什么是平行蒙太奇什么是交叉蒙太奇都不懂，甚至连降蒙太奇的段落都没有就操起了评论结构。对于深爱与**艺术的人看到如此评论必是一种极大的失望。最终，只能给其贴上“外行评论**”的标签。弃置于寂寞中而给与冷处理。我们将上面所说的问题深入一点，就引出了**批评界的严重倾向性问题。对于**批评也会造成这样的结果，其原因和刚刚说的评论如出一辙，还是一个专业上的意识问题。举一个例子： 一位作家在看了《鬼子来了》之后说“姜文范了个聪明的错误，他把原作里用屠夫杀日本人的情景改成了用刽子手，虽然拍得眼花缭乱但却没有原著那么能震撼人心。”这个作家给与的意见或者说对于影片的批评就是一种完全文学化的降解，他没有从摄影机里去看这些内容他也不具备这样的**意识。如果他有一点**意识的话，他就不会在选择原作里那么不**的做法了。在这里之所以单独说到**批评，其实是在**专业的角度对“影评”一次总结和概述。我们理想中的**批评应该是可以直接和**人对话的，**批评之所以上升为批评就是应该以专业的视角和意识去正视**艺术。但是如今的**批评所形成的也是文学化倾向。这就造成了**界的一个态度“与外行不对话”张艺谋《英雄》出片的时候，各路批评接踵而来，可张艺谋对此番评论一直不予回应。这种与“外行不对话”就成了**界的雅量和职业道德。在这里说的是，倘若茨等人以几何倍数增长，并最终形成一个有着较为持久生命力的**外行批评圈子这就该引起注意了。在此我不过多地对**批评进行论述，这毕竟是**理论上的学术研究。在此只想鼓励更多的**爱好者能真正的研究和看待**这门艺术。另外要说的是，近些年来，广大的**爱好者对**理论的发展和专业研究也给与了很大的帮助。北京**学院03版的**学论丛书就收录了普通**观众的**观点和对**的部分评论。此举充分证明**爱好者给与**人的帮助。望论坛上的各位**爱好者能在看**学习**的同时培养自己的**意识。写出更多的具有一定**意识的评论乃至批评。

书名：《鉴赏与影评写作》、《作品分析》、《如何些影评》、《现代评论写作》、特吕弗的《我生命中的**》和《与希区科克对话录》、巴赞的《**是什么》、《影片分析手册》。

求一个关于Angel Beats 的英文影评 我们要写作文 我最喜欢的文学作品！！！我想写关于Angel Beats的！！！

在观看过《傲慢与偏见》和《理智与情感》两部**之后，我强烈的感觉到这两个故事 十分的相似，讲述的都是姐妹花的婚嫁问题，又都是发生在清一孩家庭的故事，她们非 贫非富，被上流社会顶层的有钱人看不起，处在上流社会的尴尬境地，又通过某种场合认识 了比自己地位高的富家子弟， 男女主人公之间总有热心的人为其搭桥牵线， 几番波折之后最 终得到了美满婚姻的爱情喜剧。 18世纪末19世纪初的英国女性不论在经济、 社会还是家庭地位上都依附于男性， 社会等 级制度森严，婚姻讲究门当户对，重门第而不顾女子感情和做利丑陋时尚。当时的婚姻 不仅仅是作为爱 情的归宿，还会是“谋生”的手段。不论是伊丽莎白还是埃丽诺她们都出自 家中没有男子来继承父辈遗产的中产阶级家庭， 而她们想要获得一种体面的生活和地位， 唯 一的途径就是嫁给一个有钱的男人。 像伊丽莎白或是埃莉诺这样的家庭的女孩子遇到一个不 错的金龟婿是非常不容易的，然而奥斯汀两部作品的主人公在遇见“金龟婿”时候的态度却 是不同的。 《理智与情感》是简·奥斯汀的第一部作品，这也是她十八九岁时候完成的著作， 故事的女主人公埃莉诺在遇到爱德华得时候表现出的是冷静， 含蓄， 且他的家人也并未因为 爱德华的社会地位而去巴结他， 爱德华深受埃莉诺一家人的喜欢纯粹是因为他的善良和彬彬 有礼。但是在《傲慢与偏见》中，伊丽莎白一家人对宾利先生和达西先生的感情看起来就不 那么单纯了， 尤其是伊丽莎白的母亲班纳特太太对宾利和达西的大献殷勤， 就显得她们十分 的功利。 两部作品虽极为相似， 但这样细微的对人物刻画的差别也许是作者人生阅历的增加 使得她笔下的人物也变得复杂起来。 从人物性格来说，两个故事中的长女埃莉诺和简都是是温柔贤淑，含蓄，沉着冷静的女 孩子。 当埃莉诺从露西**口中得知爱德华与露西早已订婚时她并未表现出她的难过， 虽然 十分伤心，但她却能够理智地克制自己，没有做出冲动和愚蠢的行为，而是一直隐忍在心， 直到安慰因失恋而伤透心的妹妹玛丽安时才说出了真相。 对于简来说， 宾利先生的不告而别 对她和她的家人就像是晴天霹雳，但是为了家庭的颜面，简只能把伤心抛在脑后，一个人逃 去伦敦的亲戚家中躲避邻里的闲言碎语。 作为家中的长女， 她们在面对感情的时都为了家人 的幸福和荣誉作出了让步。但是她们的妹妹就没有那么理智。在柯林斯对伊丽莎白表白时， 她不计后果的直截了当的拒

绝了柯林斯的求婚。 玛丽安对爱情的认识过于感性， 喜欢感情用 事，相信一见钟情的浪漫爱情童话。在选择恋爱对象的时候，玛丽安比较注重外表，当忠厚 的布兰登上校向她表示好感的时候， 她却以貌取人， 觉得布兰登年老貌丑， 不是她的意中人。 她一味的爱上了花花公子韦德比先生， 完全不管不顾更加爱护他的布兰登上校。 两部作品的 长女和次女的性格是完全相反的， 形成了强烈的对比。 长女的性格显现了当时英国社要 求的妇女应有的道德和贞操观，而次女聪明、机灵、大胆、富有思想和见解的性格却突显了 新时代女权主义所要求的平等，自由。 金钱在两个故事中有着举足轻重的作用。 金钱自始至终都是一条重要的线索牵引着故事 情节的发展。原本富裕的达什伍德太太一家却因丈夫的去世家产被继子及其刻薄的妻子占 有，生活变得拮据，正因如此埃莉诺才有机会认识了温柔寡言的爱德华。同样面临家产被表 亲继承的班纳特太太一家为了保住家产， 永远过着富裕的日子不惜以女儿们的终身幸福为筹 码尽其可能的巴结有权有势的宾利先生和达西先生。在《傲慢与偏见》中，作者还特别的写 出了伊丽莎白的好朋友夏洛蒂与柯林斯结婚这一幕， 在他们的婚姻中， 就明显的存在着一种 靠金钱和财富维持的感情。夏洛蒂和柯林斯之间，彼此是没有温暖和幸福的感觉的，只是过 着枯燥且平淡的生活。 这就是夏洛特和柯林斯的婚姻， 很显然成就这段婚姻的关键就是金钱。

《傲慢与偏见》和《理智与情感》的四位男主人公有着一个共同的特点——不善于表达 内心的情感。 但他们不善于表达感情的原因又是不尽相同的。 达西的不善于表达感情是源自 于他严谨、矜持和挑剔考究；宾利则是善良，开朗却缺乏主见，他难以判断简是否真的爱他 宾利从未问过简对他的感觉， 单方面的听从了达西的意见便不辞而别； 爱德华的不善于表达 则是因为他自己心中知道他与露西**还有婚约， 而他对埃莉诺的满腹爱意使得他在两个女 人之间摇摆不定， 布兰登上校感情则是因为成熟而内敛， 他对玛丽安的感情是给她足够的自 由。 从写作手法来说， 《理智与情感》中作者使用对比与反讽的方法。姐姐埃莉诺的理智与 妹妹玛丽安的感性用事贯穿于故事的始终。埃莉诺是“理智”的代名词，她第一次出场是她的 母亲对嫂子的粗暴举动十分不满，但是埃莉诺却不是这样她非常有见识，顾全大局，遇事冷 静。而妹妹玛丽安，她则是“情感”的代言人。她是一个直来直去的姑娘，就像她对爱情的态 度一样，她不愿隐藏和压抑自己的真实情感

，想哭就哭，想笑就笑，想怒就怒，甚至可以说 有些任性。第一次和威洛比见面后，她就急于知道他的所有信息。仅仅听了约翰爵士的几句 介绍就对威洛比有了好印象。她根本就没有自己认真思考过威洛比到底是什么样的一个人， 他到底适不适合自己。 经过几次接触， 她就匆匆和威洛比确定了恋爱关系。 《傲慢与偏见》 在 中这样的例子也比比皆是。例如，在丽迪雅与韦克翰私奔后,班纳特太太担心女儿的下落又 为女儿没有新嫁衣而烦恼。两种感情交织，让班纳特太太轮番的受折磨。故事中那些在感情 上和理智上的过分行为均遭到作者辛辣而巧妙的讽刺。 作者以她女性细致而敏感的睿智、 毫 不妥协的态度、 自信的道德意识、无所顾忌的胆略， 在作品中以浪漫的手法歌颂真、 善、美， 鞭挞、丑、恶。 两个故事都得到了完美地结局， 故事的主人公们都找到了与自己情投意合的人。 美好的 故事总有个与之相称的结尾，爱情从来不分高低贵贱。但是在婚姻中，金钱和物质是婚姻幸 福的保障，真挚的感情、相互之间的尊重、个格的独立都是不可或缺的基础。我想，这 才是简·奥斯汀最想要告诉我们的道理。

我这里有个

Angel Beats! takes place at a high school acting as a Purgatory, where students learn to give up any lingering attachments they still he from life before continuing to an afterlife or reincarnation. While the injury or cause of death are gone, those in the afterlife school can still feel pain or other things as they did when they were alive, as well as dying again, only to awaken with no injures several minutes later. The story follows the main protagonist Otonashi, a boy who lost his memories of his life after dying. Upon awakening in the afterlife, he meets a girl named Yuri who invites him to join the Afterlife Battlefront (死んだ世界戦线 Shinda Sekai Sensen (SSS)?), an organization she founded and leads which fights against God for the cruel fates the SSS members experienced in life. Their only enemy in the world is the school's student council president Angel, a being with supernatural powers who fights against the SSS. Yuri believes that anyone who follows Angel's orders and behes like a normal student at the school will eventually disear and pass on. However, those who fulfill their dreams in the afterlife will pass on as well.

In the SSS, there are two sub-divisions which help in the SSS's operations against Angel. The first is a four-girl band named Girls Dead Monster whose objective in the SSS is to cause a diversion from other activities the SSS is engaged in, while on the surface earing to be a normal all female band. This includes distracting Angel and a large number of "normal" students and teachers at the school Yuri deems "non-player characters" as they are not human, but look and act the part. Another organization in the SSS is the Guild, located far below the surface of the afterlife world, which serves to supply the weapons the SSS uses against Angel. Anyone in the afterlife is able to create out of dirt anything that they had memories of in life, and the Guild uses this ability to mass produce weapons.

Angel uses a similar ability to create her supernatural powers known as "guard skills", with the aid of a computer program called Angel Player. The primary ability that she uses is called "hand sonic", a blade on one or both forearms that is capable of changing into five different forms. Other skills include but are not limited to: "distortion", an invisible barrier that deflects bullets or other projectiles away; "delay", which creates an after-image to disorientate an enemy in close range; and "harmonics", where a clone with a consciousness of its own is formed from the original. These abilities are activated at her will; however, her ability "overdrive", which gives her great physical strength, is passive and is always on.

The Guild is purposefully destroyed after Angel infiltrates the compound, but the Guild members relocate to the old Guild location, which Angel does not know about. As Otonashi begins to get used to life in the afterlife, the leader of Girls Dead Monster, Iwasawa, disears in front of a crowd of people after a solo musical performance as she fulfilled her dream that she wanted in her real life. The SSS find out Angel's real name is Kanade Tachibana, and after a successful operation, Kanade loses her position as student council president and the vice president Naoi succeeds her. Unlike Kanade, Naoi cracks down on the SSS and even uses powers of hypnosis to control NPCs to fight for him. Otonashi is able to stop him after acknowledging Naoi's existence and Naoi subsequently joins the SSS. Otonashi regains his memories with the aid of Naoi's hypnosis and agrees to continue with the SSS.

With Kanade a normal student now, Otonashi befriends her and invites her to join in on SSS activities. Kanade uses one of her powers to clone herself while engaged in combat, resulting in a violent red-eyed Angel. The clone replicates itself many times, but the clones are later absorbed back into Kanade after Yuri rewrites the Angel Player program. Kanade manages to overcome the personalities of the violent clones after awakening from the ordeal. Otonashi starts cooperating with Kanade to help the other SSS members move on after he fully remembers the details of his life and death. Kanade is reinstated as student council president in accordance with their plan. Otonashi and Kanade cooperate to allow Yui to pass on by fulfilling her wishes, but it is Hinata in the end who fulfills her final wish to get married that allows her to pass on.

Mysterious shadow monsters ear and begin attacking the SSS. Takamatsu gets devoured by one, only to reear as an NPC. Otonashi reasons with the other SSS members and many of them agree to pass on in lieu of becoming an NPC, including the rest of Girls Dead Monster, Chā, and several unnamed members. Yuri notices that the NPCs are turning into the shadows, and her investigation into who is behind this leads her back into the Guild. After receiving help from Otonashi, Kanade, Hinata and Naoi, Yuri meets a boy who tells her he was programmed to activate the shadow program when love was detected in the world. The programmer himself turned into an NPC long before. Yuri destroys the computers responsible for the shadow program. Three days after the incident, Otonashi, Yuri, Kanade, Hinata and Naoi are the only ones yet to pass on. They hold a graduation ceremony where they thank each other for their support. After Naoi, Yuri and Hinata pass on, Otonashi learns that Kanade's regret was not being able to thank him for the heart she received from Otonashi after his death. Otonashi is heartbroken after she thanks him and passes on, as he has fallen in love with her. In the epilogue, reborn Otonashi and Kanade pass each other on the street in the real world. Otonashi recognizes the Girls Dead Monster song she is humming and turns to run after her. The scene fades to white as his hand touches her shoulder. In an alternative epilogue, Otonashi is shown to he stayed behind in the afterlife helping people pass on.