求一篇600字左右英文的商业电影概念和起源、发展。

Question

急。。。谢谢。

Answer 1

我找了下，商业电影是种电影分类，是以盈利性质来分的，没有找到它自己的起源发展。只找到了商业电影的制作，贴过来看看吧。

The Three Stages of Commercial Film Production

The methods that each individual film producer uses may vary but in the end, for the most part, all commercial films are made by the same three stage process. Inevitably production will be broken up into other sub-stages but in the end everything that is dome will fall into one of three categories.

The first stage of any commercial film production will be the planning stage. It is during this stage that a script is prepared and edited and any research that is required for the film topic takes place. It is important that this stage be completed thoroughly before the film producer advances to the next step of production.

This would be the actual production stage of the commercial film. However; this begins with designing and creating the set according to the budget that is allocated for the film. It is not hard to see that once production begins, the first stage must be completed in its entirety to facilitate the actual problem free production of the film.

Post production is the third and final stage of a commercial film production. This is the stage when the film is edited and any special effects are added. Also, quite often sound work will take place during this third and final stage.

Shooting a commercial film is a risky financial proposition at best, so therefor it is crucial that everything be completely organized properly to produce optimal results. Attempting a commercial film production in any other manner will almost virtually guarantee that the end result is a financial failure.

关于概念的阐述，只找到了中文的，一起拿来参考下：（注意，不是上文的翻译）
商业电影
为营利而制作的影片，相对于艺术电影。
为盈利而制作的电影，相对于艺术电影。商业电影专指票房，从编剧到导演及演员均为此角度考虑
商业电影 Commeredia film
相为于艺术电影一词，一般指为营利而制作的影片。私人的电影工业大都以营利为主，因此生产的影片大都属于商业影片。在西方则以美国好莱坞为商业影片的大本营，重娱乐而不重现实。电影需要大量的观众，且观众也需要透过商业管道才能看到电影，但是这种商品性与商业电影的本质并非一致的，商业电影并非都是商业电影，而娱乐强的商业电影中具有社会性与艺术性的也不少。因此商业电影与电影的商品性被非一致。
文学艺术片本意为文学作品改编成的电影，现在已经是专门针对商业电影而言的一个定义。商业电影是相对于艺术电影，或者说文艺片而言的。顾名思义，艺术电影追求的是影片的艺术内涵，以行业认可为目标；商业电影追求的是票房及其衍生物的市场价值，以消费者认可为目标。所以我们所看到的所谓艺术电影的主题都是探求哲理、挖掘人性之类的深奥题材，拍摄手法不拘一格；而商业电影往往为了迎合广大观众的欣赏口味，拍摄手法以视听感官的刺激为方向，于是这个导演看见那个导演的方法受欢迎就拿来借鉴，日久天长就难免落入俗套。但事实上，在高度物质化的现代社会，即使是一部艺术电影也必须或多或少的考虑到自身的商业化效果，当然一部商业电影也或多或少带有艺术成分。完全的商业和完全的艺术几乎不存在。其实按照通俗标准来说，商业电影就是为了盈利而专门拍的电影，艺术电影则反之，不为了盈利，仅仅为了艺术、理论、宣传教育等而拍摄，但是市场经济以后，纯艺术电影丧失了生存和发展的环境和空间，于是我们现在经常看见所谓的文艺电影也在争夺影院票房，而许多商业大片为了追求更高的境界，同时也是提升其商业竞争力，而在一些技巧上借鉴艺术电影的视角或者手法，往往也获得票房和影评的双赢。所以说，严格的商业电影和艺术电影现在不仅没有狠严格的界限，而且十分模糊，甚至已经严重交叉，我们一般还是通过习惯性判断，和电影表达的内涵以及导演的执导思想来确定一部电影的大致方向。

Answer 2

中国商业电影一个是品质问题一个是模式问题,我觉的像现在的导演,大陆拍商业片的恐怕只有冯小刚算是个半成功的了,不能说全成功是因为他的风格似乎总是过于局限,而电影受众也过于局限,像别的导演,多半文艺片出生,要么现在索性就是文艺片的市场,总是听见某某在国外拿了奖,拿到内地来同样没什么票房.
中国现在的商业片不成气候,撑死了那么几个导演那么几个编剧,而且碍于社会主义好的原则,很多题材都不能拍,也没有那么多的资金来弄.
像我在大学里开音像店,很多印度留学生,且不说这个国家如何,人的素质如何.人家还就是比我们的国人要爱电影,即使老是操着一口发音奇怪的英语来问某某片子,可是电影俨然成为人家生活的一部分.
像现在国内还没有一个统一的电影基地,而电影的编制原则也太过于僵化,哪里有哪个编剧就要一直编剧的,一个好的编剧一辈子就吃死了那么一本好剧本,别的全垃圾还要拿出来拍什么商业大片,搞到最后都是靠媒体优势来拿的票房.
中国商业电影的模式如果一直如此单一,恐怕走不长远.
盼望有好片子诞生,也只怕一直都只能成为一个梦想了.

翻译：
China's commercial film is a quality problem is to model a problem, I feel like now the director of the mainland will only be a commercial movie to be half the success of Feng Xiaogang, and can not say that the whole success is because of his style always seemed too restrictive, while the Film audiences are too limited, like other directors, most artistic film, was born, or is simply a market that is an artistic film, always heard so and so took a prize in foreign countries, to get the same little box office mainland.
China's current commercial films do not come into vogue several directors Chengsi so just a handful of writers, but also because of the good principles of socialism, many subjects can not be beat, nor so much money to get.
As I opened video stores in the university, many Indian students, not to mention how this country, people's qualities. People also is to love people than our movies, even if always, speaking in a strange pronunciation of English to ask a of a film, but the film has become an integral part of life people.
As now there is not a unified national film base, the establishment of the principle of the film is also too rigid and, where there is what writers should have been a screenwriter, a good scriptwriter eat dead life so a good script, do not all garbage to film would be set aside large tracts of what the business, got to the last are the advantages of relying on the media to come and collect at the box office.
Chinese commercial films has always been the case if a single model, I am afraid to go a long-term.
Looking forward to the birth of good films, but also I'm afraid they have been can only be a dream.

Answer 3

这个有点短，才150多字。下面有更长的，但是只是讲一般电影的，而不是商业电影

Motion Picture (商业电影)

Series of still photographs on film, projected in rapid succession onto a screen. Motion pictures are filmed with a movie camera, which makes rapid exposures of people or objects in motion, and shown with a movie projector, which reproduces sound synchronized with the images. The principal inventors of motion-picture machines were Thomas Alva Edison in the U.S. and the Lumière brothers in France. Film production was centred in France in the early 20th century, but by 1920 the U.S. had become dominant. As directors and stars moved to Hollywood, movie studios expanded, reaching their zenith in the 1930s and '40s, when they also typically owned extensive theatre chains. Moviemaking was marked by a new internationalism in the 1950s and '60s, which also saw the rise of the independent filmmaker. The sophistication of special effects increased greatly from the 1970s. The U.S. film industry, with its immense technical resources, has continued to dominate the world market to the present day.

Film (电影)

Film encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by recording images from the world with cameras, or by creating images using animation techniques or visual effects.

Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating — or indoctrinating — citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue.

Films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.

The origin of the name "film" comes from the fact that photographic film (also called film stock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, moving picture, photo-play and flick. A common name for film in the United States is movie, while in Europe the term cinema is preferred. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies.

Preceding film by thousands of years, plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism applied, such as mise en scene (roughly, the entire visual picture at any one time). Moving visual and aural images were not recorded for replaying as in film.

The camera obscura was pioneered by Alhazen in his Book of Optics (1021),[1][2][3] and later near the year 1600, it was perfected by Giambattista della Porta. Light is inverted through a small hole or lens from outside, and projected onto a surface or screen, creating a moving image, but it is not preserved in a recording.

In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation.

With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. An 1878 experiment by Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, arguably the first "motion picture," though it was not called by this name. This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second, depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.

By the 1880s the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques.

Ignoring Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the twentieth century, films began developing a narrative structure by stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or a full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for major productions.

The rise of European cinema was interrupted by the outbreak of World War I when the film industry in United States flourished with the rise of Hollywood, typified most prominently by the great innovative work of D.W. Griffith in The Birth of a Nation (1914) and Intolerance (1916) . However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang,in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.

The next major step in the development of cinema was the introduction of so-called "natural" color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually as methods evolved making it more practical and cost effective to produce "natural color" films. The public was relatively indifferent to color photography as opposed to black-and-white,[citation needed] but as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War II, as the industry in America came to view color as essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, color had become the norm for film makers.

Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 21st century.