D.W.GRIFFITHMany of the early movies were filmed like stages plays with a fixed camera that recorded the action as it unfolded. Then in 1903 Edwin S. Porter completed the “Great Train Robbery”, A landmark film that attempted to tell a original story for the first time. It is notable for its editing and the movement of action towards and away from the camera.In 1908 at Biograph Studios young stage actor D.W.Griffith was offered a chance to direct. Griffith was dissatisfied with the way movies had been made. In the course of making one film after another, he invented new ways to shoot scenes and discovered many others by chance. (For instance, he stumbled upon the “fade-out” when the iris on his camera malfuctioned). In under a year Griffith had put together a variety of shots that became the basis for what we now called the “language of film”. In the following pages we will discuss the types of scenes, camera moves and continuity passed on to us from these early pioneers, techniques that are used in both live-action and animation. 手工翻译，反对机译。D.W.格里菲斯很多早期电影的拍摄就如同戏剧一样，一台固定不动的摄影机记录下所展现的戏剧动作。1903年，埃德温E.波特完成了电影“火车大劫”，这部里程碑式的电影第一次力图讲述一个新颖故事。这部电影的编辑以及摄影机镜头的拉近推开最为引人注目。1908年，放映机电影制片厂的年轻舞台演员D.W.格里菲斯得到一次导演电影的机会。格里菲斯菲以前的电影制作方式感到非常不满意。在拍摄一部又一部电影的过程汇总，他发明了拍摄场景的新方式，并且还碰巧发现了很多其他的拍摄方式。（例如，当他的摄像机光圈出现故障时，他偶然发现了“淡出”）。在不到一年的时间里，格里菲斯便集各种拍摄手法之大成，这些拍摄手法后来成为我们现在所说的“电影语言”。在接下来的章节里，我们将研讨这些早期先锋们所流传给我们的这些场景类型、摄像机移动和连续性以及他们在真实电影和动画电影中所使用的各种技巧。
追风的夕夕
