برجراف عن السينما باللغة الانجليزية

برجراف عن السينما باللغة الانجليزية

موضوع عن السينما بالانجليزي

موضوع عن الافلام بالانجليزي

برجراف عن السينما باللغة الانجليزية

تعبير عن فيلم بالانجليزي مع الترجمه

تعبير عن فيلم رعب بالانجليزي

تعبير عن فيلم بالانجليزي مترجم قصير

محادثه بالانجليزي عن السينما

تعبير عن السينما

تاريخ السينما

Cinema

During the first twenty years of film history, most silent films were short - just a few minutes. At first a novelty, then more and more an art form and a literary form, silent films have reached a complexity ed and length increased in the early 1910. The films included in the above list are the greatest achievements of the silent era, which ended - after years of experimentation - in 1929, when discovering a way to record a sound that would be synchronous with the recorded image. Few silent films were made in the 1930s, with the exception of Charlie Chaplin, whose Tramp character perfected the expressive physical movements in many short films of the 1910s and 1920s. At the end of the silent era, Chaplin refused to follow the sound. instead, he maintained the melodramatic Tramp as his pillar in City Lights (1931) and Modern Times (1936). The hallmarks of Chaplin's Tramp are his ill-fitting costume, oversized shoes, bowler hat and cane. A memorable image is that of Chaplin, who hangs out like a penguin at sunset and turns his cane in a fantastical way as he leaves. He represented the "little man", the oppressed, someone who was witty and fancy to defeat his opponents.

Eisenstein's contribution to film development is based primarily on his montage theory, which focuses on the collision of opposites in order to create a new entity. One of the greatest successes of the editing is the sequence Odessa Steps, in his film Potemkin (1925). Eisenstein is interspersed with plans of townspeople stuck on the steps by tsarist troops and shots of troops shot on the crowd. Members of the crowd became individual characters for viewers as editing progressed. In the editing track, the fate of these individuals was played. A mother takes her child dead and confronts the troops. Then she is shot. A student observes terrorized and then runs away - his fate is uncertain. An old woman prays to be spared, but she is killed by a soldier who slaps her face in the face. When a woman holding her baby carriage is killed, she falls on the steps and the carriage begins to decline quickly - shots of the crying baby are interspersed with wide shots of the calash going down the steps. For Eisenstein, each individual shot brought an energy into the assembly track that yielded far more than the total hits. In other words, the "combination" of plans when editing created a new entity, based on the expressive emotional energy released during the editing process.