1、2700 英文单词， 14500 英文字符，中文 5200 字 出处： Edmond J. Moving landscapes: Film, vehicles and the travelling shotJ. Studies in Australasian Cinema, 2011, 5(2):131-143. Moving landscapes: Film, vehicles and the travelling shot JOHN EDMOND ABSTRACT This article maps out the cinematic usage of travelling shots,
2、or shots created through affixing a camera to a vehicle. This article initially examines the earliest examples of such shots, the nineteenth century train-mounted Phantom Rides that synthesized two iconic technologies of modernity, rail and film, to create a form of camera movement that demonstrated
3、 the new technologies mastery of space. This article asks what happened to this trope of movement as prowess. To this end, using the conceptual frameworks provided by film historian Tom Gunnings concept of a cinema of attractions and fellow film historian Charles Mussers concept of a cinema of conte
4、mplation, narrative films are analysed in relation to how the trav- elling shot was co-opted for thematic means. Salient travelling shots, sourced from the nineteenth century Phantom Rides to 2009s Harry Potter and the Half-Blood Prince are used to trace the lineage of the travelling shot up into ou
5、r present time. By examining how film-makers have adapted travelling shots for integration within narrative films, and accommodated such new cinematic and transport technologies as CGI and helicopters, a foundation for understanding the rhetorical impulses of travelling shots is developed. KEYWORDS：
6、 landscape; space; vehicle; movement; Phantom Ride; travelling shot INTRODUCTION If people need to object to something (and film buffs always do), Id point to what appears to be a systematic use of digital technology to stabilize the image, which may look better to modern eyes but eliminates the eccentricities of filming with a hand-cranked camera mounted on a shaky wooden tripod. Camera movement is an assemblage of gestures. Some movements are abstractions of human movement and
