Harvard-E寫作資訊雲端: August 2019

Saturday, August 24, 2019

影星

影星
譯自英文-電影明星是一位以電影中的主演或主導角色而聞名的演員。該術語用於有市場明星的演員，其名字用於宣傳電影，例如在預告片和海報中。维基百科（英文)
A movie star(also known as a film star and cinema star) is an actor who is famous for their starring, or leading, roles in motion pictures. The term is used for actors who are marketable stars and whose names are used to promote movies, for example in trailers and posters.

"Film star" redirects here. For the 2011 Malayalam film, see The Filmstaar. For the 2005 Hindi film, see Film Star (film). For the Suede song, see Filmstar (song).

For other uses, see Movie star (disambiguation).

United States

Hollywood's early years

Poster advertising a 1916 film with Mary Pickford, one of the first movie stars
In the early days of silent movies, the names of the actors and actresses appearing in them were not publicized or credited because producers feared this would result in demands for higher salaries.However, audience curiosity soon undermined this policy. By 1909, actresses such as Florence Lawrence and Mary Pickfordwere already widely recognized, although the public remained unaware of their names. Lawrence was referred to as the “Biograph Girl” because she worked for D. W. Griffith's Biograph Studios, while Pickford was "Little Mary." In 1910, Lawrence switched to the Independent Moving Pictures Company, began appearing under her own name, and was hailed as "America's foremost moving picture star" in IMP literature.Pickford began appearing under her own name in 1911.
The Independent Moving Pictures Company promoted their "picture personalities", including Florence Lawrence and King Baggot, by giving them billing, creditsand a marquee. Promotion in advertising led to the release of stories about these personalities to newspapers and fan magazines as part of a strategy to build brand loyalty for their company's actors and films. By the 1920s, Hollywood film company promoters had developed a "massive industrial enterprise" that "...peddled a new intangible—fame." Early Hollywood studios tightly controlled who was a movie star, as only they had the ability to place stars' names above the title; according to film historian Jeanine Basinger, this was done "only for economic reasons".
Hollywood "image makers" and promotional agents planted rumors, selectively released real or fictitious biographical information to the press, and used other gimmicks to create glamorouspersonas for actors. Publicists thus "created" the "enduring images" and public perceptions of screen legends such as Judy Garland, Rock Hudson, Marilyn Monroe, and Grace Kelly. The development of this "star system" made fame "something that could be fabricated purposely, by the masters of the new 'machinery of glory'."However, regardless of how "...strenuously the star and their media handlers and press agents may ... try to 'monitor' and 'shape' it, the media and the public always play a substantial part in the image-making process." According to Madow, "fame is a 'relational' phenomenon, something that is conferred by others. A person can, within the limits of his natural talents, make himself strong or swift or learned. But he cannot, in this same sense, make himself famous, any more than he can make himself loved."
Madow goes on to point out "fame is often conferred or withheld, just as love is, for reasons and on grounds other than 'merit'." According to Sofia Johansson the "canonical texts on stardom" include articles by Boorstin (1971), Alberoni (1972) and Dyer (1979) that examined the "representations of stars and on aspects of the Hollywood star system". Johansson writes that "more recent analyses within media and cultural studies (e.g. Gamson 1994; Marshall 1997; Giles 2000; Turner, Marshall and Bonner 2000; Rojek 2001; Turner 2004) have instead dealt with the idea of a pervasive, contemporary, 'celebrity culture'." In the analysis of the celebrity culture, "fame and its constituencies are conceived of as a broader social process, connected to widespread economic, political, technological and cultural developments."
In the 1980s and 1990s, entertainment companies began using stars for a range of publicity tactics including press releases, movie junkets, and community activities. These promotional efforts are targeted and designed using market research, to increase the predictability of success of their media ventures. In some cases, publicity agents may create “provocative advertisements” or make an outrageous public statement to trigger public controversy and thereby generate "free" news coverage.Movie studios employed performers under long-term contracts. They developed a star system as a means of promoting and selling their movies. "Star vehicles" were filmed to display the particular talents and appeal of the most popular movie stars of the studio.

Asia

Two movie stars, Sophie Marceau and Zhang Ziyi, respectively from France and China, at the Cabourg Film Festival in June 2014.
Movie stars in other regions too have their own star value. For instance, in Asian film industries, many movies often run on the weight of the star's crowd pulling power more than any other intrinsic aspect of film making.

China

A number of Chinese filmactors have become some of the most popular movie stars in Eastern Asia, and several are also well known in the Western world. They include Jackie Chan, Jet Li, Chow Yun-fat, Stephen Chow, Sammo Hung, Gong Li, Ziyi Zhang, Maggie Cheung, and the late Bruce Lee.

India

Amitabh Bachchanand Sridevi, stars of Indian cinema

The Indian filmindustry, of which one is commonly known as Bollywood, has its own set of rules in this aspect. There are often superstars in this region who command premium pay commensurate with their box office appeal.
Some mainstream Indian movie stars, like the Khans of Bollywood (Aamir Khan, Shah Rukh Khan, Salman Khan, Dilip Kumar), Raj Kapoor, Nargis,Mithun Chakraborty,Amitabh Bachchan and Aishwarya Raigained international fame across Asia and Eastern Europe. For example, Bollywood films were popular in the Soviet Union, more so than Hollywood films and occasionally even domestic Soviet films. Indian actors like Raj Kapoor, Nargisand Mithun Chakroborty were household names in the Soviet Union, with films such as Awaara (1951) and Disco Dancer(1982) drawing more than 60 million viewers in the country.The Hindi filmactors Raj Kapoor and Aamir Khan also became very popular in China, with films such as Awaara, 3 Idiots (2009), and Dangal (2016), one of the top 20 highest-grossing films in China.

Southeast-Asian archipelago

The film industry of the Malay Archipelago (also known as Nusantara) consists primarily of film industries in Malaysia, Indonesia, the Philippines, and Singapore. Over the past century, these four cinemas have collaborated on a number of projects. A number of actors from this region have become some of the most sought-after movie stars in southeast Asia, commonly in Malay-speaking countries.
Actors such as P. Ramlee, Rano Karno, Rima Melati, Deddy Mizwar, Jins Shamsuddin, Eman Manan, Alex Komang, Christine Hakim, Fauziah Ahmad Daud, Nora Aunor, Joseph Estrada, Jose Padilla, Nordin Ahmad, Saadiah, Fernando Poe Jr., Roy Marten, and Yusof Haslam are considered movie stars of the 20th century, some of them having acted in all four countries.
Other, more recent movie stars include Romalis Syafril, Erra Fazira, Rosyam Nor, Shaheizy Samand Maya Karin, from Malaysia; Nicholas Saputra, Vino G. Bastian, Dian Sastrowardoyo, Tora Sudiro, and Iko Uwais, from Indonesia; Claudine Baretto, Piolo Pascual, John Lloyd Cruz, Jericho Rosales, Aga Muhlach, Kristine Hermosa, Dingdong Dantes, and Bea Alonzo, from the Philippines; and a few from Singapore, such as Aaron Azizand Adi Putra.

Sunday, August 18, 2019

餘暇Leisure

餘暇Leisure
H:飛上枝頭變烏鴉20180818W7在0730至0855於CINEMAX上演，THE LEISURE CLASS,故查Leisure。

有閒階級
leisure class
leisure class解釋

有閑階級

leisure: n. 1. 空閑，閑暇。2. 悠閑，安逸。adj. 閑暇的，有空的，有閑的（階級等）。adj. -less 無空閑的。

class: n 1 階級;社會等級。2 學級；班級，年級，級，班；組；（有組織的）講習班；〈美國〉同年畢業班；

維基百科介紹:
餘暇（英語：Leisure），又稱寬暇、空閒、閒暇、休閒、自由時間（free time），意指花費在基本維生活動，以及花費在勞動、家務、企業、商業活動及教育之外的時間。對於餘暇的態度，隨著文化與生活型態不同，在各個地區有極大的差異。
餘暇與工作之間的分界，可能不太明顯，特別是針對某些需要長期投入的工作。在餘暇時進行的活動，通常稱為休閒或消遣。將大部份時間投入工作，以致於沒有餘暇進行休閒，這種人通常被稱為工作狂。對於餘暇活動的研究，稱為休閒研究（Leisure studies）。

字義

餘暇（英語：Leisure）這個英文名詞，字根來自拉丁語：licere，原義為允許、准許，也有自由的意思。這個單字進入法語，在14世紀時傳入中古英語，成為一個單字。
在上古漢語中，暇這個字與閑同意[1]，是指空閑、閒散、不做事的時間[2]，衍生出從容、放鬆的意思[3]。最早暇與假在古代源自同一個字，可相互假借，後來分化為兩個字[4]。餘暇最早出自應劭的奏章，指空閒沒做事的時間[5]。

歷史

不同的社會及文化中，對餘暇的態度有很大不同。人類學家發現，在狩獵採集社會中，餘暇時間的比例比農業社會及工業社會高。在發現美洲時，到達北美洲的歐洲殖民者，常批評休休尼人及大盆地原住民部落極度懶散，成為一種偏見。此外，因為婦女被認為應該負擔家務工作，一般來說，男性享有的餘暇，多於女性。
現代餘暇觀念，起源於19世紀英國，在工業革命之後發展出來。情境主義國際（Situationist International）曾提出，在現代資本主義社會中，餘暇只是一種刻意製造的社會幻覺，因為餘暇時間很少是可以被自由支配的；透過經濟及社會壓力，餘暇被當成一種商品，強迫個人購買。

註釋

More information: Tap to expand…

參考書目

Borsay, Peter. 2006. A History of Leisure: The British Experience since 1500, Palgrave Macmillan,.

Cross, Gary S. 2004. Encyclopedia of recreation and leisure in America. The Scribner American civilization series. Farmington Hills, Michigan: Charles Scribner's Sons.

Harris, David. 2005. Key concepts in leisure studies. London: Sage.

Hunnicutt, Benjamin Kline. 2013. Free Time: The Forgotten American Dream.Philadelphia: Temple University Press.

Jenkins, John M., and J.J.J. Pigram. 2003. Encyclopedia of leisure and outdoor recreation. London: Routledge. ISBN 0-415-25226-1.

Poser, Stefan: Freizeit und Technik, European History Online, Institute of European History, 2011, retrieved: 1st of March, 2013.

Poser, Stefan: Leisure Time and Technology, European History Online, Mainz: Institute of European History, 2011, retrieved: October 25, 2011.

Rojek, Chris, Susan M. Shaw, and A.J. Veal (Eds.) (2006) A Handbook of Leisure Studies. Houndmills, UK: Palgrave Macmillan.

相關條目

休閒

工作與生活的平衡

生活型態

有閒階級論

勞動經濟學

炫耀性消費

娛樂

Leisure has often been defined as a quality of experience or as free time.Free time is timespent away from business, work, job hunting, domestic chores, and education, as well as necessary activities such as eating and sleeping. Situationist Internationalproposes that leisure does not evolve from free time, and free-time is an illusory concept that is rarely fully "free"; economic and social forces appropriate free time from the individual and sell it back to them as the commodity known as "leisure".Certainly most people's leisure activities are not a completely free choice and may be constrained by social pressures, e.g. people may be coerced into spending time gardening by the need to keep up with the standard of neighbouring gardens or go to a party because of social pressures.

This article is about free time. For other uses, see Leisure (disambiguation).

"Free time" redirects here. For other uses, see Free time (disambiguation).

"Relaxing" redirects here. For the racehorse, see Relaxing (horse). For other uses, see Relaxation.

"Timepass" redirects here. For the 2014 Marathi-language film, see Timepass (film).

Public parks were initially set aside for recreation and leisure and sportA man relaxing on a couchPeople enjoying some leisure timeLeisure time swimming at an oasis
Leisure as experienceusually emphasizes dimensions of perceived freedom and choice. It is done for "its own sake", for the quality of experience and involvement.Other classic definitions include Thorsten Veblen's (1899) of "nonproductive consumption of time." Different disciplines have definitions reflecting their common issues: for example, sociology on social forces and contexts and psychology as mental and emotional states and conditions. From a research perspective, these approaches have an advantage of being quantifiable and comparable over time and place.
Leisure studiesand sociology of leisure are the academic disciplinesconcerned with the study and analysis of leisure. Recreation differs from leisure in that it is a purposeful activity that includes the experience of leisure in activity contexts. Economists consider that leisure times are valuable to a person like wages that they could earn for the same time spend towards the activity. If it were not, people would have worked instead of taking leisure.However, the distinction between leisure and unavoidable activities is not a rigidly defined one, e.g. people sometimes do work-oriented tasks for pleasureas well as for long-term utility.A related concept is social leisure, which involves leisurely activities in social settings, such as extracurricular activities, e.g. sports, clubs. Another related concept is that of family leisure. Relationships with others is usually a major factor in both satisfaction and choice.

History of leisure

Leisure has historically been the privilege of the upper-class.Opportunities for leisure came with more money, or organization, and less working time, rising dramatically in the mid-to-late 19th century, starting in Great Britain and spreading to other rich nations in Europe. It spread as well to the United States, although that country had a reputation in Europe for providing much less leisure despite its wealth. Immigrants to the United States discovered they had to work harder than they did in Europe.Economists continue to investigate why Americans work longer hours.In a recent book, Laurent Turcot argues that leisure was not created in the 19th century but is imbricated in the occidental world since the beginning of history.

Canada

In Canada, leisure in the country is related to the decline in work hours and is shaped by moral values, and the ethnic-religious and gender communities. In a cold country with winter's long nights, and summer's extended daylight, favorite leisure activities include horse racing, team sports such as hockey, singalongs, roller skating and board games.The churches tried to steer leisure activities, by preaching against drinking and scheduling annual revivals and weekly club activities. By 1930 radio played a major role in uniting Canadians behind their local or regional hockey teams. Play-by-play sports coverage, especially of ice hockey, absorbed fans far more intensely than newspaper accounts the next day. Rural areas were especially influenced by sports coverage.

France

Leisure by the mid-19th century was no longer an individualistic activity. It was increasingly organized. In the French industrial city of Lille, with a population of 80,000 in 1858, the cabarets or taverns for the working class numbered 1300, or one for every three houses. Lille counted 63 drinking and singing clubs, 37 clubs for card players, 23 for bowling, 13 for skittles, and 18 for archery. The churches likewise have their social organizations. Each club had a long roster of officers, and a busy schedule of banquets, festivals and competitions.

United Kingdom

A caricature of upper class Victorian tourists, 1852
As literacy, wealth, ease of travel, and a broadened sense of community grew in Britain from the mid-19th century onward, there was more time and interest in leisure activities of all sorts, on the part of all classes.
Opportunities for leisure activities increased because real wages continued to grow and hours of work continued to decline. In urban Britain, the nine-hour day was increasingly the norm; 1874 factory act limited the workweek to 56.5 hours. The movement toward an eight-hour day. Furthermore, system of routine annual vacations came into play, starting with white-collar workers and moving into the working-class. Some 200 seaside resorts emerged thanks to cheap hotels and inexpensive railway fares, widespread banking holidays and the fading of many religious prohibitions against secular activities on Sundays.
By the late Victorian era, the leisure industry had emerged in all British cities, and the pattern was copied across Western Europe and North America. It provided scheduled entertainment of suitable length and convenient locales at inexpensive prices. These include sporting events, music halls, and popular theater. By 1880 football was no longer the preserve of the social elite, as it attracted large working-class audiences. Average gate was 5,000 in 1905, rising to 23,000 in 1913. That amounted to 6 million paying customers with a weekly turnover of £400,000. Sports by 1900 generated some three percent of the total gross national product in Britain. Professionalization of sports was the norm, although some new activities reached an upscale amateur audience, such as lawn tennis and golf. Women were now allowed in some sports, such as archery, tennis, badminton and gymnastics.
Leisure was primarily a male activity, with middle-class women allowed in at the margins. There were class differences with upper-class clubs, and working-class and middle-class pubs. Heavy drinking declined; there was more betting on outcomes. Participation in sports and all sorts of leisure activities increased for average English people, and their interest in spectator sports increased dramatically.
By the 1920s the cinema and radio attracted all classes, ages, and genders in very large numbers. Giant palaces were built for the huge audiences that wanted to see Hollywood films. In Liverpool 40 percent of the population attended one of the 69 cinemas once a week; 25 percent went twice. Traditionalists grumbled about the American cultural invasion, but the permanent impact was minor.
The British showed a more profound interest in sports, and in greater variety, that any rival. They gave pride of place to such moral issues as sportsmanship and fair play.Cricket became symbolic of the Imperial spirit throughout the Empire. Soccer proved highly attractive to the urban working classes, which introduced the rowdy spectator to the sports world. In some sports, there was significant controversy in the fight for amateur purity especially in rugby and rowing. New games became popular almost overnight, including golf, lawn tennis, cycling and hockey. Women were much more likely to enter these sports than the old established ones. The aristocracy and landed gentry, with their ironclad control over land rights, dominated hunting, shooting, fishing and horse racing.
Cricket had become well-established among the English upper class in the 18th century, And was a major factor in sports competition among the public schools. Army units around the Empire had time on their hands, and encouraged the locals to learn cricket so they could have some entertaining competition. Most of the Empire embraced cricket, with the exception of Canada.Cricket test matches (international) began by the 1870s; the most famous is that between Australia and Britain for "The Ashes."

Types

The range of leisure activities extends from the very informal and casual to highly organised and long-lasting activities. A significant subset of leisure activities are hobbies which are undertaken for personal satisfaction, usually on a regular basis, and often result in satisfaction through skill development or recognised achievement, sometimes in the form of a product. The list of hobbies is ever changing as society changes.

Serious leisure

Substantial and fulfilling hobbies and pursuits are described by Stebbins as serious leisure. The Serious Leisure Perspective is a way of viewing the wide range of leisure pursuits in three main categories: casual leisure, serious leisure, and project-based Leisure.
"Serious leisure is the systematic pursuit of an amateur, hobbyist, or volunteer ... that is highly substantial, interesting, and fulfilling and where ... participants find a [leisure] career...". For example, collecting stamps or maintaining a public wetland area.
People undertaking serious leisure can be categorised as amateurs, volunteers or hobbyists. Their engagement is distinguished from casual leisure by a high level of perseverance, effort, knowledge and training required and durable benefits and the sense that one can create in effect a leisure career through such activity.
The range of serious leisure activities is growing rapidly in modern timeswith developed societies having greater leisure time, longevity and prosperity. The Internet is providing increased support for amateurs and hobbyists to communicate, display and share products.

Reading

As literacy and leisure time expanded after 1900, reading became a popular pastime. New additions to adult fiction doubled during the 1920s, reaching 2800 new books a year by 1935. Libraries tripled their stocks, and saw heavy demand for new fiction. A dramatic innovation was the inexpensive paperback, pioneered by Allen Lane (1902–70) at Penguin Books in 1935. The first titles included novels by Ernest Hemingway and Agatha Christie. They were sold cheap (usually sixpence) in a wide variety of inexpensive stores such as Woolworth's. Penguin aimed at an educated middle class "middlebrow" audience. It avoided the downscale image of American paperbacks. The line signaled cultural self-improvement and political education. The more polemical Penguin Specials, typically with a leftist orientation for Labour readers, were widely distributed during World War II. However the war years caused a shortage of staff for publishers and book stores, and a severe shortage of rationed paper, worsened by the air raid on Paternoster Square in 1940 that burned 5 million books in warehouses.
Romantic fiction was especially popular, with Mills and Boon the leading publisher. Romantic encounters were embodied in a principle of sexual purity that demonstrated not only social conservatism, but also how heroines could control their personal autonomy.Adventure magazines became quite popular, especially those published by DC Thomson; the publisher sent observers around the country to talk to boys and learn what they wanted to read about. The story line in magazines and cinema that most appealed to boys was the glamorous heroism of British soldiers fighting wars that were perceived as exciting and just.

Casual leisure

"Casual leisure is immediately, intrinsically rewarding; and it is a relatively short-lived, pleasurable activity requiring little or no special training to enjoy it." For example, watching TV or going for a swim. In 2018 the diary of United States President Donald Trump was leaked to the media, showing a large proportion of each day devoted to leisure in unstructured free time – listed by his staff under the euphemism: "executive time".

Project-based leisure

"Project-based leisure is a short-term, moderately complicated, either one-shot or occasional, though infrequent, creative undertaking carried out in free time." For example, working on a single Wikipedia article or building a garden feature.

Cultural differences

GI Card Game, Watercolor by James Pollock, U. S. Army Vietnam Combat Artists Team IV (CAT IV 1967). During the Vietnam War soldiers waiting to go on patrol would sometimes spend their leisure time playing cards. Courtesy National Museum of the United States Army.
Time available for leisure varies from one society to the next, although anthropologists have found that hunter-gathererstend to have significantly more leisure time than people in more complex societies. As a result, band societies such as the Shoshone of the Great Basincame across as extraordinarily lazy to European colonialists.
Workaholics, less common than the social myths, are those who work compulsively at the expense of other activities. They prefer to work rather than spend time socializing and engaging in other leisure activities.
European and American men statistically have more leisure time than women, due to both household and parenting responsibilities and increasing participation in the paid employment. In Europe and the United States, adult men usually have between one and nine hours more leisure time than women do each week.

Family leisure

Family leisure is defined as time that parents and children spend together in free time or recreational activities, and it can be expanded to address intergenerational family leisure as time that grandparents, parents, and grandchildren spend together in free time or recreational activities.Leisure can become a central place for the development of emotional closeness and strong family bonds. Contexts such as urban/rural shape the perspectives, meanings, and experiences of family leisure. For example, leisure moments are part of work in rural areas, and the rural idyll is enacted by urban families on weekends, but both urban and rural families somehow romanticize rural contexts as ideal spaces for family making (connection to nature, slower and more intimate space, notion of a caring social fabric, tranquillity, etc.). Also, much "family leisure" requires tasks that are most often assigned to women.

Aging

Leisure is important across the lifespan and can facilitate a sense of control and self-worth.Older adults, specifically, can benefit from physical, social, emotional, cultural, and spiritual aspects of leisure. Leisure engagement and relationships are commonly central to "successful" and satisfying aging. For example, engaging in leisure with grandchildren can enhance feelings of generativity, whereby older adults can achieve well-being by leaving a legacy beyond themselves for future generations.

早餐俱樂部

早餐俱樂部
H:20180818W7在08:55至10:25於CINEMAX上演，探討青少年問題。
維基百科介紹:
《早餐俱樂部》（英語：The Breakfast Club）是1985年美國的一部經典青春喜劇電影。編劇和導演是約翰·休斯。本片是約翰·休斯與演員莫利·林沃德、安東尼·麥可·豪爾繼《十六支蠟燭（英語：Sixteen Candles）》之後，再度合作的一部中學生喜劇。

Quick facts: 導演, 監製 …

《早餐俱樂部》基本資料導演約翰·休斯監製約翰·休斯
Michelle Manning
Ned Tanen編劇約翰·休斯主演艾米利奧·艾斯特維茲
莫利·林沃德
賈德·尼爾森（英語：Judd Nelson）
安東尼·麥可·豪爾
艾莉·希迪（英語：Ally Sheedy）配樂Keith Forsey
Gary Chang攝影Thomas Del Ruth剪輯Dede Allen片長97 分鐘產地美國語言英語上映及發行上映日期

1985年2月15日

發行商環球影業預算$1,000,000票房$45,875,171

影片講述五個高中生被罰在周六留校，在這共處的一天當中，身份性格各異的五個人從漠不關心到相互敵對，直到逐漸敞開了心扉，最終成為了交心的好友。呈現青少年面對社會眼光、家庭暴力、學業壓力以及同儕間的矛盾與掙扎[1]。
美國《娛樂周刊》（Entertainment Weekly）2006年9月刊登一篇「五十部最棒校園電影」專題，在該票選中，《早餐俱樂部》榮登冠軍。

演員與角色

艾米利奧·艾斯特維茲 — 飾「運動員」安德魯·克拉克

莫利·林沃德 — 飾「公主」克萊兒·絲丹迪許

賈德·尼爾森（英語：Judd Nelson） — 飾「罪犯」約翰·班德

安東尼·麥可·豪爾 — 飾「書呆子」布萊恩·強森

艾莉·希迪（英語：Ally Sheedy） — 飾「神經病」愛莉森·雷諾茲

保羅·格里森（英語：Paul Gleason） — 飾「副校長」維農先生

約翰・凱勒斯（英語：John Kapelos） — 飾「工友」克拉克先生

獎項

More information: 獎項, 獲提名 …

獎項獲提名結果MTV電影大獎卓越銀桶獎（英語：Silver Bucket of Excellence Award）安東尼·麥可·豪爾
賈德·尼爾森
保羅·格里森
莫利·林沃德
艾莉·希迪獲獎

外部連結

維基語錄上的相關摘錄：早餐俱樂部

網際網路電影資料庫（IMDb）上《The Breakfast Club》的資料（英文）

AllMovie上《The Breakfast Club》的資料（英文）

The Breakfast Club review at FastRewind.com

The Breakfast Club DVD official Universal Studios website

Entertainment Weeklycommentary

↑ 《早餐俱樂部》上映三十周年紀念——回不去的80年代演不完的青春片. 時光網. 2015-07-06[2016-08-27] （中文（簡體）‎）.

The Breakfast Club is a 1985 American comedy-drama film written, produced, and directed by John Hughes. It stars Emilio Estevez, Anthony Michael Hall, Judd Nelson, Molly Ringwaldand Ally Sheedyas teenagers from different high school cliques who spend a Saturday in detention with their authoritarian assistant principal (Paul Gleason).

This article is about the 1985 film directed by John Hughes. For other uses, see The Breakfast Club (disambiguation).

Quick facts: Directed by, Produced by…

The Breakfast Club

Theatrical release poster

Directed byJohn HughesProduced by

Ned Tanen

John Hughes

Written byJohn HughesStarring

Emilio Estevez

Paul Gleason

Anthony Michael Hall

Judd Nelson

Molly Ringwald

Ally Sheedy

Music by

Keith Forsey

Gary Chang

CinematographyThomas Del RuthEdited byDede Allen

Production
company

A&M Films

Channel Productions

Distributed byUniversal Pictures

Release date

February 7, 1985(Los Angeles)

February 15, 1985(United States)

Running time

97 minutesCountryUnited StatesLanguageEnglishBudget$1 millionBox office$51.5 million

The film premiered in Los Angeles on February 7, 1985. Universal Picturesreleased it in cinemas in the United States on February 15, 1985. It received critical acclaim and earned $51.5 million on a $1 million budget. Critics consider it to be one of Hughes's most memorable and recognizable works. The media referred to the film's five main actors as members of a group called the "Brat Pack".
In 2016, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".The film was digitally remastered and was re-screened throughout 430 theaters in celebration of its 30th anniversary in 2015.

Plot

On a Saturday, March 24, 1984, five high school students report at 7:00 am for all-day detention. Each comes from a different clique: pampered Claire Standish, geek Brian Johnson, wrestler Andrew Clark, delinquent John Bender, and outcast Allison Reynolds. They gather in the school library, where assistant principal Richard Vernon instructs them not to talk, move from the seats, or sleep until they are released at 4:00 p.m. He assigns them a thousand-word essay, in which each must describe "who you think you are". He leaves, returning only occasionally to check on them.
John, who has an antagonistic relationship with Vernon, ignores the rules and riles up the other students, teasing and harassing Brian, Andrew, and Claire. Vernon gives John eight weekends' worth of additional detention and eventually locks him in a storage closet, but he escapes and returns to the library.
The students pass the hours by talking, arguing, and, at one point, smoking marijuana. Gradually, they open up and reveal their secrets: Claire has experiences of peer pressure, John comes from an abusive household, Allison is a compulsive liar, Andrew can't think for himself, and Brian contemplated suicide over a bad grade. They discover they all have poor relationships with their parents: Claire's parents use her to get back at each other during arguments, John's parents physically and verbally abuse him, Allison's parents ignore her, Andrew's father pushes him to the limit, especially in wrestling, and Brian's parents pressure him to earn high grades. The students realize that, despite their differences, they face similar problems.
Claire gives Allison a makeover, which sparks romantic interest from Andrew. Claire decides to break her "pristine" virginal appearance by kissing John and giving him a hickey. Although they suspect their new relationships will end along with their detention, they believe their mutual experiences will change the way they look at their peers.
As the detention nears its end, the group requests that Brian complete the essay for everyone, and John returns to the storage closet to fool Vernon into thinking he has not left. Brian leaves the essay in the library for Vernon to read after they leave. As the students part ways, Allison and Andrew kiss, as do Claire and John. Allison rips Andrew's state champion patch from his jacket to keep, and Claire gives John one of her diamond earrings, which he puts on. Vernon reads the essay, in which Brian states that Vernon has already judged who they are using stereotypes; in fact, the students found that "each one of us is a brain, an athlete, a basket case, a princess, and a criminal." He signs off the letter with "Sincerely yours, the Breakfast Club."

Cast

Judd Nelson as John Bender

Molly Ringwaldas Claire Standish

Emilio Estevezas Andrew Clark

Anthony Michael Hall as Brian Johnson

Ally Sheedy as Allison Reynolds

Paul Gleasonas Assistant Principal Vernon

John Kapelosas Carl Reed

Ron Dean as Mr. Clark

Production

Casting

Molly Ringwaldand Anthony Michael Hall both starred in Hughes's 1984 film Sixteen Candles. Towards the end of filming, Hughes asked them both to be in The Breakfast Club. Hall became the first to be cast, agreeing to the role of Brian Johnson; his real life mother and sister playing the same roles in the film. Ringwald was originally approached to play the character of Allison Reynolds, but she was "really upset" because she wanted to play Claire Standish (then named "Cathy" in the first draft of the script), which saw the auditions of Robin Wright, Jodie Foster, and Laura Dern. She eventually convinced Hughes and the studio to give her the part. The role of Allison ultimately went to Ally Sheedy.
Emilio Estevezoriginally auditioned for the role of John Bender. However, when Hughes was unable to find someone to play Andrew Clark, Estevez was recast. Nicolas Cage was considered for the role of John Bender, which was the last role to be cast, though the role was narrowed down to John Cusackand Judd Nelson. Hughes originally cast Cusack, but decided to replace him with Nelson before shooting began, because Cusack did not look threatening enough for the role. At one point, Hughes was disappointed in Nelson because he stayed in character and harassed Ringwald off-camera, with the other actors having to convince Hughes not to fire him.
Rick Moranis was originally cast as the janitor but left due to creative differences and was replaced by John Kapelos.

Filming

In 1999, Hughes said that his request to direct the film met with resistance and skepticism because he lacked filmmaking experience.Hughes ultimately convinced the film's investors that due to the modest $1 million budget and its single location shoot, he could greatly minimize their risk. Hughes originally thought that The Breakfast Clubwould be his directorial debut. Hughes opted for an insular, largely one-room set and wrote about high school students, who would be played by younger actors.
Principal photographybegan on March 28, 1984, and ended in May. Filming took place at Maine North High School in Des Plaines, Illinois, which had closed in 1981. The same setting was used for interior scenes of Hughes's 1986 film Ferris Bueller's Day Off, which featured exterior shots from nearby Glenbrook North High School. The library at Maine North High School, considered too small for the film, prompted the crew to build the set in the school's gymnasium.The actors rehearsed for three weeks and then shot the film in sequence.On the Ferris Bueller's Day OffDVD commentary (featured on the 2004 DVD version), Hughes revealed that he shot the two films concurrently to save time and money, and some outtakes of both films feature elements of the film crews working on the other film. The first print was 150 minutes in length.
During a cast reunion in honor of the film's 25th anniversary, Ally Sheedy revealed that a Director's Cut existed but Hughes's widow did not disclose any details concerning its whereabouts.
In 2015 the first draft of the film's script was discovered in a Maine South High School cabinet as district employees were moving offices to a new building.

Poster

The film's poster, featuring the five characters huddled together, was photographed by Annie Leibovitztoward the end of shooting. The shot of five actors gazing at the camera influenced the way teen films were marketed from that point on. The poster refers to the five "types" of the story using slightly different terms than those used in the film, and in a different sequence, stating "They were five total strangers with nothing in common, meeting for the first time. A brain, a beauty, a jock, a rebel and a recluse".

Themes

The main theme of the film is the constant struggle of the American teenager to be understood, by adults and by themselves. It explores the pressure put on teenagers to fit into their own realms of high school social constructs, as well as the lofty expectations of their parents, teachers, and other authority figures. On the surface, the students have little in common with each other. However, as the day rolls on, they eventually bond over a common disdain for the aforementioned issues of peer pressure and parental expectations. Stereotyping is another theme. Once the obvious stereotypes are broken down, the characters "empathize with each other's struggles, dismiss some of the inaccuracies of their first impressions, and discover that they are more similar than different".
The main adult character, Mr. Vernon, is not portrayed in a positive light. He consistently talks down to the students and flaunts his authority throughout the film. Bender is the only one who stands up to Vernon.

Release

The film premiered in Los Angeles on February 7, 1985. Universal Picturesreleased the film in cinemas on February 15, 1985 in the United States.

Home media

In 2003, the film was released on DVD as part of the "High School Reunion Collection". In 2008, a "Flashback Edition" DVD was released with several special features, including an audio commentary with Anthony Michael Hall and Judd Nelson. A 25th Anniversary Edition Blu-raywas released in 2010, and the same disc was re-released with a DVD and digital copy in 2012 as part of Universal's 100th Anniversary series. On March 10, 2015, the 30th Anniversary Edition was released. This release was digitally remastered and restored from the original 35mm film negatives for better picture quality on DVD, Digital HD and Blu-ray.
On October 16, 2017, The Criterion Collectionannounced that the film was to be released in a special edition in January 2018.

Reception

Critical response

The film received high critical acclaim. Kathleen Carroll from the New York Daily News stated, "Hughes has a wonderful knack for communicating the feelings of teenagers, as well as an obvious rapport with his exceptional cast–who deserve top grades". P. J. O'Rourke called The Breakfast Club and Ferris Bueller's Day Off"Hughes's masterwork[s]". He described the former film as an example of Hughes's politics, in that the students do not organize a protest but, "like good conservatives do, as individuals and place the highest value, like this conservative does, on goofing off. Otherwise known as individual liberty".
Review aggregator website Rotten Tomatoes gives the film an 88% approval rating based on 60 reviews, with an approval rating of 7.7/10. The site's critical consensus reads: "The Breakfast Club is a warm, insightful, and very funny look into the inner lives of teenagers".Review aggregator Metacriticassigned the film a weighted average score of 62% based on 11 reviews from mainstream critics, considered to be "generally favorable reviews".

Box office

In February 1985, the film debuted at #3 at the box office (behind blockbuster filmBeverly Hills Copand Witnessstarring Harrison Ford).Grossing $45,875,171 domestically and $51,525,171 worldwide, the film is a box office success, given its $1 million budget.

Accolades

Anthony Michael Hall, Judd Nelson, Molly Ringwald, Paul Gleason and Ally Sheedy all won a Silver Bucket of Excellence Awardat the 2005 MTV Movie Awards in 2005.

More information: Award, Nominee …

Legacy

The Breakfast Club is known as the "quintessential 1980s film" and is considered as one of the best films of the decade.

Accolades

Anthony Michael Hall, Judd Nelson, Molly Ringwald, Paul Gleason and Ally Sheedy all won a Silver Bucket of Excellence Awardat the 2005 MTV Movie Awards in 2005.

More information: Award, Nominee …

AwardNomineeResultSilver Bucket of Excellence AwardAnthony Michael Hall
Judd Nelson
Paul Gleason
Molly Ringwald
Ally SheedyWon

Legacy

The Breakfast Club is known as the "quintessential 1980s film" and is considered as one of the best films of the decade. In 2008, Empiremagazine ranked it #369 on their The 500 Greatest Movies of All Time list. It then rose 331 places to rank at #38 on their 2014 list. Similarly, The New York Times placed the film on its Best 1000 Movies Everlist and Entertainment Weekly ranked the film number 1 on its list of the 50 Best High School Movies. In the 2001 parody film Not Another Teen Movie, Gleason reprised his role as Assistant Principal Vernon in a short scene that parodies The Breakfast Club.
In 2005, the film received the Silver Bucket of Excellence Award in honor of its 20th anniversary at the MTV Movie Awards. For the event, MTV attempted to reunite the original cast. Sheedy, Ringwald, and Hall appeared together on stage, with Kapelos in the audience; Gleason gave the award to his former castmates. Estevez could not attend because of other commitments, and Nelson appeared earlier in the show but left before the on-stage reunion, prompting Hall to joke that the two were "in Africa with Dave Chappelle". Yellowcard performed Simple Minds' anthem for the film, "Don't You (Forget About Me)," at the awards. At the 82nd Academy Awards (March 7, 2010), Sheedy, Hall, Ringwald, and Nelson all appeared in a tribute to John Hughes—who had died a few months prior—along with other actors who had worked with him, including Jon Cryer from Pretty in Pink, Matthew Broderick from Ferris Bueller's Day Off, and Macaulay Culkinfrom Home Alone. In 2018, the New Yorker published an article written by Ringwald in which she critiqued Hughes's films "in the Age of #MeToo".

Soundtrack

Quick facts: Released, Recorded …

The Breakfast Club (Original Motion Picture Soundtrack)Soundtrack album by

various artists

ReleasedFebruary 19, 1985Recorded1984Genre Rock, new waveLength38:02Label A&M Producervarious artistsSingles from The Breakfast Club (Original Motion Picture Soundtrack)

"Don't You (Forget About Me)"
Released: February 20, 1985 (US), April 8, 1985 (UK)

Audio sample

Simple Minds—Don't You (Forget About Me)

file

help

The Breakfast Club soundtrack album was released on February 19, 1985 by A&M Records. The album peaked at No. 17 on the US Billboard 200album chart. The song "Don't You (Forget About Me)" performed by Scottish rock band Simple Minds was released on February 20, 1985 in the United States and on April 8, 1985 in the United Kingdom as a single and reached No. 1 on the Billboard Hot 100.

Track listing

More information: No., Title …

Side oneNo.TitleWriter(s)PerformerLength1."Don't You (Forget About Me)"Keith Forsey, Steve SchiffSimple Minds4:202."Waiting"K. Forsey, S. SchiffElizabeth Daily4:373."Fire in the Twilight"

Jack Hues

K. Forsey

S. Schiff

Wang Chung3:514."I'm the Dude"K. Forsey, S. SchiffKeith Forsey2:105."Heart Too Hot to Hold"

Johnson

K. Forsey

Laurie Forsey

Michael Frondelli

Jesse Johnson& Stephanie Spruill4:25

More information: No., Title …

Side twoNo.TitleWriter(s)PerformerLength1."Dream Montage"ChangGary Chang2:372."We Are Not Alone"

DeVito

Robbie Benson

Steve Goldstein

Karla DeVito3:393."The Reggae"ForseyKeith Forsey3:074."Didn't I Tell You"

K. Forsey

L. Forsey

S. Schiff

Joyce Kennedy4:475."Love Theme"ForseyKeith Forsey4:26

Critical reception

In a June 25, 1985 review for The Village Voice, music critic Robert Christgaugave the album a "D−" and said that it has "utterly negligible" songs, and he commended Simple Minds for trying to distance themselves from their song, "Don't You (Forget About Me)", best known for being played during the film's opening and closing credits. In a retrospective review for AllMusic, Stephen Thomas Erlewinegave the soundtrack three out of five stars and wrote that, apart from Simple Minds' "undisputed masterpiece," the album is largely "disposable" and marred by "'80s artifacts" and "forgettable instrumentals".

References

More information: Tap to expand…

"The Breakfast Club". Bbfc.co.uk. Retrieved July 30, 2014.

"The 80's: 'The Breakfast Club'". Archived from the original on October 6, 2014. Retrieved September 29, 2014.

"The Breakfast Club". Box Office Mojo. Retrieved June 2, 2018.

Daniel Kreps (December 14, 2016). "'Breakfast Club,' 'Rushmore' Among Films Added to National Film Registry". Rolling Stone. Retrieved December 21,2017.

Michael O'Sullivan (December 14, 2016). "National Film Registry honors 'Breakfast Club,' 'Rushmore' and other teen angst movies". The Washington Post. Retrieved December 21,2017.

"Breakfast Club 30". BreakfastClub30.com.

Itzkoff, Dave (September 17, 2010). "She Won't Forget About Him: Molly Ringwald Remembers John Hughes". The New York Times. Retrieved September 4, 2011.

Steinberg, Julie (September 21, 2010). "'The Breakfast Club' Cast Reunites, But Where's Emilio? 'Working on 'Mighty Ducks 5". The Wall Street Journal. Retrieved March 28,2012.

Gora, Susannah (2010). You Couldn't Ignore Me If You Tried. Three Rivers Press. pp. 56–57.

"Premiere, December 1999, Oral history "Breakfast Club"". comcast.net.

Gora, Susannah (2010). You Couldn't Ignore Me If You Tried. Three Rivers Press. p. 47.

Gora, Susannah (2010). You Couldn't Ignore Me If You Tried. Three Rivers Press. p. 58.

Gora, Susannah (2010). You Couldn't Ignore Me If You Tried. Three Rivers Press. pp. 59, 69.

Dameron, Emerson (August 11, 2009). "John Hughes: The Director's Cut". Newcity Film. Retrieved March 28,2012.

Jennifer Johnson (April 21, 2015). "Original 'Breakfast Club' screenplay found in District 207 cabinet during move". Chicago Tribune. Retrieved January 20, 2017.

Gora, Susannah (2010). You Couldn't Ignore Me If You Tried. Three Rivers Press. pp. 79-80, 325-326.

Loukides, Paul (1996). Beyond the Stars 5: Themes and Ideologies in American Popular Film. Popular Press. pp. 30–32. ISBN 9780879727017.

Barsanti, Chris (2010). Filmology: A Movie-a-Day Guide to the Movies You Need to Know. Adams Media. p. 49.

"The Breakfast Club". Oup.com. Retrieved September 9, 2013.

"The Breakfast Club (High School Reunion Collection): Molly Ringwald, Emilio Estevez, Anthony Michael Hall, Judd Nelson, Ally Sheedy, John Kapelos, Paul Gleason, John Hughes, Ned Tanen: Movies & TV". Amazon.com. Retrieved July 30, 2014.

"The Breakfast Club (Flashback Edition): Emilio Estevez, Anthony Michael Hall, Molly Ringwald, Ally Sheedy, Judd Nelson, Paul Gleason, Mercedes Hall, John Kapelos, Ron Dean, Perry Crawford, Fran Gargano, John Hughes, Tim Gamble, Jackie Burch, Thomas del Ruth: Movies & TV". Amazon.com. Retrieved July 30, 2014.

"The Breakfast Club (25th Anniversary Edition) [Blu-ray]: Emilio Estevez, Paul Gleason, Anthony Michael Hall, Judd Nelson, Molly Ringwald, Ally Sheedy, John Hughes: Movies & TV". Amazon.com. Retrieved July 30, 2014.

"The Breakfast Club (Blu-ray + DVD + Digital Copy) : Universal's 100th Anniversary". Amazon.com. Retrieved March 26, 2013.

"Celebrating 100 years of iconic movie moments". Universal 100th. Retrieved July 30,2014.

"The Breakfast Club 30th Anniversary Edition Blu-ray". Blu-ray.com. Retrieved December 30,2014.

Nordine, Michael (October 16, 2017). "The Criterion Collection Announces January 2018 Titles, Including 'The Breakfast Club' and 'I, Daniel Blake'". IndieWire. Penske Business Media, LLC. Missing or empty |url= (help)

Carroll, Cathleen (February 15, 1985).

Friday, August 09, 2019

Hostage

hostage
hostage變化形

KK[ˋhɑstɪdʒ] DJ[ˋhɔstidʒ]

n.名詞

1. 人質；抵押品[C]

The hijackers held 30 hostages. 劫機者扣押了三十人作人質。

變化形

名複: hostages

來源：Dr.eye 譯典通
hostagenoun [ C ]

UK /ˈhɒs.tɪdʒ/US /ˈhɑː.stɪdʒ/

譯自英文-“人質”是由布魯斯·威利斯主演並由弗洛倫特·埃米利奧·西里執導的2005年美國動作驚悚劇電影。這部電影是根據羅伯特·克雷斯（Robert Crais）的同名小說改編的，並由道格·理查森（Doug Richardson）改編為銀幕。维基百科（英文)
Hostage
終極人質
C2 someone who is taken as a prisoner by an enemyin order to force the otherpeople involved to do what the enemy wants
人質

She was taken/held hostage by the gunmen.她被持槍歹徒劫持作為人質。

Hostage is a 2005 American actionthriller drama filmproduced by and starring Bruce Willis and directed by Florent Emilio Siri. The film was based on the novel of the same name by Robert Crais, and was adapted for the screen by Doug Richardson.

Quick facts: Directed by, Produced by…

Hostage

Theatrical release poster

Directed byFlorent Emilio SiriProduced by

Mark Gordon

Arnold Rifkin

Bruce Willis

Bob Yari

David Wally

Written byDoug RichardsonBased onHostage
by Robert CraisStarring

Bruce Willis

Kevin Pollak

Ben Foster

Jonathan Tucker

Jimmy Bennett

Michelle Horn

Music byAlexandre DesplatCinematographyGiovanni Fiore ColtellacciEdited byRichard Byard
Olivier Gajan

Production
company

Cheyenne Enterprises
Equity Pictures

Distributed byMiramax Films

Release date

March 9, 2005(Philippines)

March 11, 2005(United States)

Running time

113 minutesCountryUnited StatesLanguageEnglishBudget$75 millionBox office$77.9 million

The film earned mixed to negative reviews and was not a financial success on its original release, earning only slightly more than its production costs.

Plot

Former L.A. SWAT officer Jeff Talley is a hostage negotiator in Los Angeles. One day, Talley negotiates with a man who has taken his wife and son hostage after learning his wife was cheating on him. Shortly after Talley denies a SWAT commander's request to give snipers the order to open fire, the despondent man kills his wife, son, and himself. Traumatized, Talley moves with his family and becomes police chief in Bristo Camino, a fictional suburban hamlet in nearby Ventura County.
A year later, Talley finds himself in another hostage situation. Two troubled teenaged brothers, Dennis and Kevin Kelly, and a sociopathic accomplice, Marshall "Mars" Krupcheck, all very well-armed, take Walter Smith and his two children, Jennifer and Tommy, hostage in the Smith home after a failed robbery attempt. Dennis had told his younger brother to wait in the car, not anticipating the siege to come, but Kevin refused.
A female police officer, Carol Flores, responds after Tommy turns on the silent alarm. She is shot twice by Mars just before Talley arrives. She dies in front of him. Traumatized and unwilling to put himself through another tragedy, Talley hands authority over to the county sheriffand leaves.
Smith had been laundering moneyfor a mysterious right-wing militiaand mafia syndicate through offshore shell corporations. He was preparing to turn over a batch of important encrypted files recorded on a DVD when he was taken hostage. To prevent the incriminating evidence from being discovered, the syndicate orders a ruthless operative, known as "the Watchman", to kidnap Talley's wife and daughter. Talley is instructed by "the Watchman", to return to the hostage scene, regain authority, and stall for time until the organization can launch its own attack against Smith's house. Otherwise, Talley's wife and daughter will be murdered.
Dennis forces Kevin and Mars to tie up the children, while he knocks out Smith and finds a small fortune in cash, money which the syndicate had paid Smith. In an attempt to end the standoff and secure the DVDs himself, Talley meets with Dennis and agrees to provide a helicopter in exchange for half of the money.
When the helicopter arrives, Dennis and Kevin bring the money to Talley and prepare to leave, but Mars refuses to leave without Jennifer, with whom he has become infatuated. Talley says the helicopter will only carry three passengers and insists Jennifer stay behind, but the deal breaks down and the boys and Jennifer return to the house. Talley learns that Mars is a sociopath who could turn on the hostages and his own accomplices at any moment. Mars does, in fact, kill Kevin, just as Kevin is about to release the children. Mars then kills Dennis.
The syndicate sends fake FBIagents to recover the DVD and they storm the house; Talley is instructed to not go near the house. Jennifer manages to stab Mars, but not fatally, and locks herself and Tommy in the panic room.
Hearing their screams, Talley breaches the house and is attacked by Mars, who then kills most of the fake agents using his pistol and multiple homemade Molotov cocktails. Mars is then shot in the side by the only surviving agent. The agent tracks down Talley and the children, and demands the encrypted DVD. When Talley asks that the children be allowed to leave, the fake agent shoots Talley, but it is not a fatal wound. After Talley gives him the DVD, Mars reappears, carrying two homemade Molotov cocktails, distracting the agent long enough to be killed by Talley. Mars then prepares to throw his last Molotov, but collapses to his knees, weakened by his injuries. He makes eye contact with Jennifer, then drops the Molotov and immolates himself.
Talley escapes with the children by shooting the indoor glass waterfall, which extinguishes the fire caused by Mars' first Molotov. He and a recovered Smith then go to a rundown inn where Talley's wife and daughter are being held captive by the Watchman and his crew.
Smith, feigning hatred for Talley, is freed in exchange for the family. While demanding that the Watchman kill Talley, Smith shoots the Watchman in the head. This allows Talley to kill the other gunmen in similar fashion and rescue his own family.

Cast

Bruce Willis as Police Chief Jeff Talley

Kevin Pollak as Walter Smith

Jimmy Bennettas Tommy Smith

Michelle Hornas Jennifer Smith

Ben Foster as Marshall "Mars" Krupcheck

Jonathan Tucker as Dennis Kelly

Marshall Allman as Kevin Kelly

Serena Scott Thomas as Jane Talley

Rumer Willis as Amanda Talley

Kim Coates as The Watchman

Robert Knepperas Wil Bechler

Tina Lifford as Deputy Sheriff Laura Shoemaker

Ransford Doherty as Officer Mike Anders

Marjean Holden as Officer Carol Flores

Michael D. Roberts as Bob Ridley

Art LaFleur as Bill Jorgenson

Keith Hines as Simmons

Randy McPherson as Kovak

Hector Luis Bustamante as Officer Ruiz

Kathryn Joosten as Louise

Johnny Messner as Mr. Jones

Glenn Morshower as Lt. Leifitz

Jamie McShane as Joe Mack

Jimmy Pinchakas Sean Mack

Production

The film's plot is roughly the same as Crais's novel. The main difference is that the novel's complicated subplot involving powerful West Coast Mafiacrime lord Sonny Benza was removed, with the film giving little explanation of Walter Smith's criminal associates. The film also makes the first group of hostage-takers somewhat younger in age than depicted in the novel. In addition, the criminal syndicate in the film were portrayed as domestic right-wing extremistsrather than a Mafia.
Filming took place in the Malibu area (in western Los Angeles County). The exterior views of Smith's lavishly appointed house were filmed at a real house in the unincorporated Topanga Canyonarea, between Malibu and Los Angeles; the interior scenes were done on sound stages in Hollywood.
The character Mars, played by Ben Foster, was modeled after Bay Area rapartist Mars by Robert Crais after a friend Dennis Bsharah urged him to look into the horrorcoregenre. In the movie adaptation, Foster strongly resembles the rapper.Jonathan Tucker's name was later changed to Dennis.
The movie's opening scenes were filmed in the Boyle Heightsneighborhood of East Los Angeles, just east of downtown.
The fictional city of Bristo Camino was possibly intended to be a representation of Ojai or Moorpark. Bristo Bay is the name of Bristo Camino in the 2001 Robert Craisnovel.

Reception

Critical response

This section needs expansion. You can help by adding to it. (May 2010)

The film received mixed reviews from critics. Rotten Tomatoesgave the film a score of 35% based on 155 reviews.Audiences polled by CinemaScoregave the film an average grade of "B+" on an A+ to F scale.
Roger Ebert gave the film three stars out of four.

Box office

The film earned $34,639,939 at the box office in the United States and a total international gross of $77,944,725.

Home media

Hostage was released on DVD & VHS June 21, 2005.

Wednesday, August 07, 2019

dream

dream
H:夢，20190806W2。
dream
劍橋解釋
dream
noun [ C ]
UK /driːm/ US /driːm/
dream noun [ C ](SLEEP)

A2 a series of events orimages that happen inyour mind when you aresleeping
夢，睡夢，夢境

Yahoo!
dream變化形同義字反義字

KK[drim] DJ[dri:m]

n.名詞

1. 夢[C]

I had a bad dream last night. 昨天夜裡我做了一個噩夢。

2. 白日夢[C]

3. 幻想，空想[S1]

Sophie lives in a dream. 蘇菲生活在夢幻之中。

4. 理想，願望[C]

He realized the dream of his life time. 他實現了他畢生的願望。

5. 【口】夢一般美妙的人，美妙之事[C]

His new sports car is a dream to drive. 他的新賽車開起來好極了。

Wiki:
A dream is a succession of images, ideas, emotions, and sensations that usually occur involuntarily in the mind during certain stages of sleep. The content and purpose of dreams are not fully understood, although they have been a topic of scientific, philosophical and religious interest throughout recorded history. Dream interpretation is the attempt at drawing meaning from dreams and searching for an underlying message. The scientific study of dreams is called oneirology.

For other uses, see Dream (disambiguation).

The Knight's Dream, 1655, by Antonio de Pereda
Dreams mainly occur in the rapid-eye movement (REM) stage of sleep—when brain activity is high and resembles that of being awake. REM sleep is revealed by continuous movements of the eyes during sleep. At times, dreams may occur during other stages of sleep. However, these dreams tend to be much less vivid or memorable.The length of a dream can vary; they may last for a few seconds, or approximately 20–30 minutes.People are more likely to remember the dream if they are awakened during the REM phase. The average person has three to five dreams per night, and some may have up to seven; however, most dreams are immediately or quickly forgotten. Dreams tend to last longer as the night progresses. During a full eight-hour night sleep, most dreams occur in the typical two hours of REM.Dreams related to waking-life experiences are associated with REM theta activity, which suggests that emotional memoryprocessing takes place in REM sleep.
Opinions about the meaning of dreams have varied and shifted through time and culture. Many endorse the Freudian theory of dreams – that dreams reveal insight into hidden desires and emotions.[qualify evidence]Other prominent theories include those suggesting that dreams assist in memory formation, problem solving, or simply are a product of random brain activation.
Sigmund Freud, who developed the psychologicaldiscipline of psychoanalysis, wrote extensively about dream theories and their interpretations in the early 1900s.He explained dreams as manifestations of one's deepest desires and anxieties, often relating to repressedchildhood memories or obsessions. Furthermore, he believed that virtually every dream topic, regardless of its content, represented the release of sexual tension. In The Interpretation of Dreams (1899), Freud developed a psychological technique to interpret dreams and devised a series of guidelines to understand the symbols and motifs that appear in our dreams. In modern times, dreams have been seen as a connection to the unconscious mind. They range from normal and ordinary to overly surreal and bizarre. Dreams can have varying natures, such as being frightening, exciting, magical, melancholic, adventurous, or sexual. The events in dreams are generally outside the control of the dreamer, with the exception of lucid dreaming, where the dreamer is self-aware.Dreams can at times make a creative thought occur to the person or give a sense of inspiration.

Cultural meaning

Main article: Dream interpretation

Ancient history

The Dreaming is a common term within the animistcreation narrative of indigenous Australians for a personal, or group, creationand for what may be understood as the "timeless time" of formative creation and perpetual creating.
The ancient Sumerians in Mesopotamiahave left evidence of dream interpretation dating back to at least 3100 BC. Throughout Mesopotamian history, dreams were always held to be extremely important for divinationand Mesopotamian kings paid close attention to them. Gudea, the king of the Sumerian city-state of Lagash(reigned c. 2144–2124 BC), rebuilt the temple of Ningirsu as the result of a dream in which he was told to do so.The standard Akkadian Epic of Gilgameshcontains numerous accounts of the prophetic power of dreams.First, Gilgameshhimself has two dreams foretelling the arrival of Enkidu. Later, Enkidu dreams about the heroes' encounter with the giant Humbaba.Dreams were also sometimes seen as a means of seeing into other worlds and it was thought that the soul, or some part of it, moved out of the body of the sleeping person and actually visited the places and persons the dreamer saw in his or her sleep. In Tablet VII of the epic, Enkidu recounts to Gilgamesh a dream in which he saw the gods Anu, Enlil, and Shamashcondemn him to death. He also has a dream in which he visits the Underworld.
The Assyrian king Ashurnasirpal II(reigned 883–859 BC) built a temple to Mamu, possibly the godof dreams, at Imgur-Enlil, near Kalhu. The later Assyrian king Ashurbanipal(reigned 668–c.627 BC) had a dream during a desperate militarysituation in which his divine patron, the goddess Ishtar, appeared to him and promised that she would lead him to victory.The Babyloniansand Assyrians divided dreams into "good," which were sent by the gods, and "bad," sent by demons. A surviving collection of dream omens entitled Iškar Zaqīqu records various dream scenarios as well as prognosticationsof what will happen to the person who experiences each dream, apparently based on previous cases. Some list different possible outcomes, based on occasions in which people experienced similar dreams with different results. Dream scenarios mentioned include a variety of daily work events, journeys to different locations, family matters, sex acts, and encounters with human individuals, animals, and deities.
In ancient Egypt, as far back as 2000 BC, the Egyptians wrote down their dreams on papyrus. People with vivid and significant dreams were thought blessed and were considered special.Ancient Egyptians believed that dreams were like oracles, bringing messages from the gods. They thought that the best way to receive divine revelation was through dreaming and thus they would induce (or "incubate") dreams. Egyptians would go to sanctuaries and sleep on special "dream beds" in hope of receiving advice, comfort, or healing from the gods.

Classical history

Dreaming of the Tiger Spring (虎跑夢泉)
In Chinese history, people wrote of two vital aspects of the soul of which one is freed from the body during slumber to journey in a dream realm, while the other remained in the body, although this belief and dream interpretation had been questioned since early times, such as by the philosopher Wang Chong (27–97 AD). The Indian text Upanishads, written between 900 and 500 BC, emphasize two meanings of dreams. The first says that dreams are merely expressions of inner desires. The second is the belief of the soul leaving the body and being guided until awakened.
The Greeks shared their beliefs with the Egyptians on how to interpret good and bad dreams, and the idea of incubating dreams. Morpheus, the Greek god of dreams, also sent warnings and prophecies to those who slept at shrines and temples. The earliest Greek beliefs about dreams were that their gods physically visited the dreamers, where they entered through a keyhole, exiting the same way after the divine message was given.
Antiphon wrote the first known Greek book on dreams in the 5th century BC. In that century, other cultures influenced Greeks to develop the belief that souls left the sleeping body.Hippocrates (469–399 BC) had a simple dream theory: during the day, the soul receives images; during the night, it produces images. Greek philosopher Aristotle (384–322 BC) believed dreams caused physiologicalactivity. He thought dreams could analyze illness and predict diseases. Marcus Tullius Cicero, for his part, believed that all dreams are produced by thoughts and conversations a dreamer had during the preceding days. Cicero's Somnium Scipionisdescribed a lengthy dream vision, which in turn was commented on by Macrobius in his Commentarii in Somnium Scipionis.
Herodotus in his The Histories, writes "The visions that occur to us in dreams are, more often than not, the things we have been concerned about during the day."
Beginning of "The Dream of Macsen Wledig" from the White Book of Rhydderch, f.45.r
In Welsh history, The Dream of Rhonabwy(Welsh: Breuddwyd Rhonabwy) is a Middle Welshprose tale. Set during the reign of Madog ap Maredudd, prince of Powys (died 1160), it is dated to the late 12th or 13th century. It survives in only one manuscript, the Red Book of Hergest, and has been associated with the Mabinogion since its publication by Lady Charlotte Guest in the 19th century. The bulk of the narrative describes a dream vision experienced by its central character, Rhonabwy, a retainer of Madog, in which he visits the time of King Arthur.
Also in Welsh history, the tale 'The Dream of Macsen Wledig' is a romanticised story about the Roman emperor Magnus Maximus, called Macsen Wledig in Welsh. Born in Hispania, he became a legionary commander in Britain, assembled a Celtic army and assumed the title of Emperor of the Western Roman Empire in 383. He was defeated in battle in 385 and beheaded at the direction of the Eastern Roman emperor.

Religious views

In Abrahamic religions

Jacob's dream of a ladder of angels, c. 1690, by Michael Willmann
In Judaism, dreams are considered part of the experience of the world that can be interpreted and from which lessons can be garnered. It is discussed in the Talmud, Tractate Berachot 55–60.
The ancient Hebrewsconnected their dreams heavily with their religion, though the Hebrews were monotheistic and believed that dreams were the voice of one God alone. Hebrews also differentiated between good dreams (from God) and bad dreams (from evil spirits). The Hebrews, like many other ancient cultures, incubated dreams in order to receive divine revelation. For example, the Hebrew prophet Samuel would "lie down and sleep in the temple at Shiloh before the Ark and receive the word of the Lord." Most of the dreams in the Bible are in the Book of Genesis.
Christians mostly shared the beliefs of the Hebrews and thought that dreams were of a supernatural character because the Old Testamentincludes frequent stories of dreams with divine inspiration. The most famous of these dream stories was Jacob's dream of a ladder that stretches from Earth to Heaven. Many Christianspreach that God can speak to people through their dreams. The famous glossary, the Somniale Danielis, written in the name of Daniel, attempted to teach Christian populations to interpret their dreams.
Iain R. Edgar has researched the role of dreams in Islam. He has argued that dreams play an important role in the history of Islam and the lives of Muslims, since dream interpretation is the only way that Muslims can receive revelations from God since the death of the last prophet, Muhammad.

In Hinduism

In the Mandukya Upanishad, part of the Vedascriptures of Indian Hinduism, a dream is one of three states that the soul experiences during its lifetime, the other two states being the waking state and the sleep state.

In Buddhism

In Buddhism, ideas about dreams are similar to the classical and folk traditions in South Asia. The same dream is sometimes experienced by multiple people, as in the case of the Buddha-to-beleaving his home. It is described in the Mahāvastuthat several of the Buddha's relatives had premonition-like dreams preceding this. Some dreams are also seen to transcend time: the Buddha-to-be has certain dreams that are the same as those of previous Buddhas, the Lalitavistarastates. In Buddhist literature, dreams often function as a "signpost" motif to mark certain stages in the life of the main character.
Buddhist views about dreams are expressed in the Pāli Commentariesand the Milinda Pañhā.

Dreams and philosophical realism

Main article: Dream argument

A Dream of a Girl Before a Sunrise by Karl Bryullov (1830–1833)
Some philosophers have concluded that what we think of as the "real world" could be or is an illusion (an idea known as the skeptical hypothesis about ontology).
The first recorded mention of the idea was by Zhuangzi, and it is also discussed in Hinduism, which makes extensive use of the argument in its writings. It was formally introduced to Western philosophy by Descartes in the 17th century in his Meditations on First Philosophy. Stimulus, usually an auditory one, becomes a part of a dream, eventually then awakening the dreamer.

Postclassical and medieval history

Some Indigenous American tribes and Mexicancivilizations believe that dreams are a way of visiting and having contact with their ancestors.Some Native American tribes used vision quests as a rite of passage, fasting and praying until an anticipated guiding dream was received, to be shared with the rest of the tribe upon their return.
The Middle Agesbrought a harsh interpretation of dreams.[citation needed]They were seen as evil, and the images as temptations from the devil. Many believed that during sleep, the devil could fill the human mind with corrupting and harmful thoughts. Martin Luther, the ProtestantReformer, believed dreams were the work of the Devil. However, Catholics such as St. Augustine and St. Jeromeclaimed that the direction of their lives was heavily influenced by their dreams.[citation needed]

In art

Jacob's Dream,<

Harvard-E寫作資訊雲端

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影星

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