英文电影在大学英语听说教学中的应用

(完整版)英语情景教学法

英语情景教学法的应用 情景教学法是在课堂上设置一些真实性和准真实性的情景来学习和使用知识, 在教学过程中,教师有目的引入和创设具有一定情感色彩的,以形象为主体具体的场景,以引起学生一定的态度体验, 从而帮助学生理解知识和技能,并使学生心理机能得到发展, 达到教学目的的一种教学方法。捷克教育家夸美纽斯曾说:“一切知识都是从感官开始的”。情景教学法能使学生身临其境或如临其境,给学生展示鲜明具体的形象,使学生从形象的感知达到抽象的理性思维和顿悟,从而激发学生的学习兴趣,使学习活动成为学生自觉活动。著名教育家陶行知先生说:“教学艺术就在于设法引起学生的兴味,有了兴味就肯用全副的精力去做事体。”情景教学法,可激发学生的学习兴趣，英语教学中，巧用情境教学法不失为一条锦囊妙计。正如布鲁姆所说:“成功的外语课堂教学应当在课内创设更多的情境,让学生有机会运用已学到的语言材料。” 现行的中学英语教学由于缺乏语言环境,课堂40分钟的利用率如何,直接影响学生语言能力的提高和智力的开发。因此,应在初中英语的课堂教学中主动应用“情景教学法”,激发学生学习英语的兴趣,消除他们因为缺乏语言环境而产生的畏难情绪,发挥他们学习的主动性。可以提高学生的学习积极性,增强英语课堂教学的有效性.在平时的课堂教学中，我们可以尝试采用以下几种创设情景境的教学策略： 第一、运用游戏创设情景，有利于激发学生的学习兴趣 游戏是人类从儿童成长为成人的过程，是极自然的事，游戏注重过程的体验,在赋予儿童娱乐体验的同时，也促进儿童认知、情感和生活技能的发展，使学生在笑声中更有效地学习，更快地吸收知识，它作为英语教学的重要辅助手段，备受学生欢迎。因此，在英语教学中巧妙运用游戏，能有效地激发和培养学生的学习兴趣，树立学习自信心并促进学生的全面发展。英语课堂教学中创设游戏情境能使学生达到乐、学、练的结合及思维与想像的发挥。在适宜的情境中,用较短的时间达到最佳的效果,可以激发学习动机,发展多种能力,启发思维和想像力,对培养情感与个性都有很大的作用。

原声英语电影与英语教学

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Journey to the Center of the Earth(地心游记)2008经典电影英文影评

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浅谈英文原版电影与英语教学

浅谈英文原版电影与英语教学 【摘要】在我国目前的英语教学模式下，英语学习者很难有机会体验英语国家真实的语言环境和语言氛围，英语学习者的表达方式、口语、写作等往往不符合英语国家的表达习惯。英文原版电影恰恰能帮助英语学习者创造一个真实的英语语言环境，丰富教学的内容，提高学生学习的兴趣，是有效的英语课程教学的辅助手段。本文分析了英文原版电影在高校英语教学中的优点与缺点，探讨引英文原版电影入高校英语教学的必要性和重要性。 【关键词】英文原版电影；英语教学；浅谈 在我国目前的英语教学中，英语学习者很难有机会体验英语国家真实的语言环境和语言氛围，英语学习者的表达方式、口语、写作等往往不符合英语国家的表达习惯。英国语言学家帕尔默的语言情景教学法认为：语言必须在一定的情景中呈现和练习。这就要求英语教学需要以情景来培养英语学习者的兴趣，调动英语学习者的学习积极性。作为最具影响力的，声像并茂的媒体形式，英文原版电影能为英语学习者创造一个真实的英语语言情景，提供更多的英语教学资源，激发学习者的学习兴趣，创造良好的英语学习氛围，对英语教学者和英语学习者都有裨益。

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英文电影影评

Titanic, "not only because it is a successful commercial film and, more importantly, it brought about the end of the century a wave of nostalgia: the Titanic sank in the early 20th century is a tragedy, the film has to The facts add up the true love story, set sail Tai Tanni will be less than 5 days of love, friendship and a disaster at the end of the century before this generation, it told us a truth: that we must cherish life. Short of climbing aboard a time capsule and peeling back eight and one-half decades, James Cameron's magnificent Titanic is the closest any of us will get to walking the decks of the doomed ocean liner. Meticulous in detail, yet vast in scope and intent, Titanic is the kind of epic motion picture event that has become a rarity. You don't just watch Titanic, you experience it -- from the launch to the sinking, then on a journey two and one-half miles below the surface, into the cold, watery grave where Cameron has shot never-before seen documentary footage specifically for this movie. In each of his previous outings, Cameron has pushed the special effects envelope. In Aliens, he cloned H.R. Giger's creation dozens of times, fashioning an army of nightmarish monsters. In The Abyss, he took us deep under the sea to greet a band of benevolent space travelers. In T2, he introduced the morphing terminator (perfecting an effects process that was pioneered in The Abyss). And in True Lies, he used digital technology to choreograph an in-air battle. Now, in Titanic, Cameron's flawless re-creation of the legendary ship has blurred the line between reality and illusion to such a degree that we can't be sure what's real and what isn't. To make this movie, it's as if Cameron built an all-new Titanic, let it sail, then sunk it. Of course, special effects alone don't make for a successful film, and Titanic would have been nothing more than an expensive piece of eye candy without a gripping story featuring interesting characters. In his previous outings, Cameron has always placed people above the technological marvels that surround them. Unlike film makers such as Roland Emmerich and Dean Devlin, Cameron has used visual effects to serve his plot, not the other way around. That hasn't changed with Titanic. The picture's spectacle is the ship's sinking, but its core is the affair between a pair of mismatched, star-crossed lovers. Titanic is a romance, an adventure, and a thriller all rolled into one. It contains moments of exuberance, humor, pathos, and tragedy. In their own way, the characters are all larger-than- life, but they're human enough (with all of the attendant frailties) to capture our

浅谈高中英语情境教学的有效策略

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Seven(七宗罪)1995经典电影英文影评

Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1

英语电影欣赏教案

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Tess(苔丝)1979经典电影英文影评

Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1