《人猿泰山》读后感
野蛮还是文明——读《人猿泰山》有感 泰山,一个有着强健体魄的男人,一个唯一在原始森林里存活的男人,一个身手敏捷得令人发指的男人,一个真正堪得上称为男人的男人……我将永远记住他,记住他那隆起的肌肉和生死未卜的爱情,因为,泰山的一切,都已经深深地刻在了我的脑子里…… 一 泰山的父亲格雷斯托克勋爵由于雇船奔赴非洲,在途中历经磨难,最终被黑心的船老大送到了一个荒无人烟的小岛上,结果没多久就被一群类人猿给杀了,那时他们的孩子泰山,当然,他们并不这样叫他,那时的泰山已经一岁多大了,一只丧子母猿拉卡救下了这个小生灵,并把他培养成了类人猿的王,而后他爱上了姑娘简·波特,并为追随她而去. 二 泰山一生什么都不怕,他用他那把长长的刀子和一条细细的绳子称霸了整个原始森林，使原先为自己的外表发愁的他名声大振，成了人见人怕的森林之神，可是为了他的爱情，他毫不犹豫地踏入了美国的大地，竭力去争夺着属于他自己的东西，可是他不习惯的东西太多了，吃不惯熟食，拿不惯刀叉，穿不惯衣服，此时此刻那些愚蠢的美国教授们，却正在为去原始森林探险是突然冒出一只狮子而对着动物园大发雷霆，还以为是狮子自己跑到那十万八千里的地方去的，这些在泰山见来习以为常的，那些细皮嫩肉的美国人却受不了，但这些细皮嫩肉的家伙习以为常的，泰山却无法忍受，总之，这就是野蛮与文明的挑战吧，希望回到新生活的格雷特斯托克勋爵的长字——人猿泰山能早日适应那儿的环境吧……
急求人猿泰山观后感英文版
1999年版动画片(Tarzan)观后感：Without a doubt, t is the most visually impressive animated movie has ever created. In the entire visual tory of animated films, t one stands head and shoulders with the best, and above most. The concept of incorporating all or part of the actual person's face and mannerisms who provides the voice for an animated character (which pioneered), has been raised to near art form in this movie. The casting of voices for the characters is excellent, and adds greatly to the impact of the animated performances. Indeed it adds immensely to the entire movie. The visual richness in this film is absolutely awe inspiring.I look for little things, that rmally get overlooked, as a guide for how devoted animators are to bringing quality to the screen. For a small example of this, check out the scene (pretty early in the film) where boy Tarzan asks Terk if he can come with to play. Terk says , because `...you can't keep up'. The next scene Terk comes through a group of ferns and starts talking to his friends. Check out the movement of the ferns behind Terk, and also when boy Tarzan comes through them. They are incredibly detailed and are constantly moving (realistically). All this requires time, money and talent and WHERE in this film is that scrimped on. Canvas, the new technique created by , adds immeasurably to Tarzan. This film wouldn't be NEAR what it is without it. Normally for animation to occur where we follow the action `into' the frame or toward and away from you, the background has to be redrawn continuously because (for instance) elements get larger as you move toward them. This, In contrast to action that moves side-to-side where the background can be drawn once and only character cells need be redrawn. Its like moving `into' a painting, rather than back and forth across the canvas (hence the name probably).Animators rarely do much action `into' the frame, because the time and cost involved is very great. Canvas uses backgrounds, hand drawn into the computer, to computerize (to an extent) this process. This not only greatly reduces the time and cost involved, but it also adds new tools at the animators disposal. Really, it allows the background to come alive. It doesn't look computerized though, it looks like traditional animation. The technique resulted in many spectacular sequences in Tarzan. The scenes where he `surfs' the trees showcases just how awesome this new tool is. There is MUCH more to Canvas than my over-simplified definition. There is MUCH to like in Tarzan... the visual lushness, excellent character animation and voice performances, the music (even if you aren't a Phil Collins fan, it's good) and it has an excellent sense of humor. It also shies away from the overly cute depictions of animals (as in Bambi) for more realistic ones which really took a big turn for the better in The Lion King. The sequences with babies and children (human and animal) and interactions between parent and child also rang very true, something else that began to really take off in The Lion King.Some scenes are very powerful, and will rock even adults. One scene in particular comes to mind. Directly after the fight sequence with Sabor (the leopard), Tarzan does his traditional Tarzan yell. This raised the hair on top of my head. I have found myself watching this over and over again. It's just about as perfect as animation can get. The yell itself is new and fresh, not the traditional yell we have heard so many times before (which is great, but shows it's age). Tremendous power and emotion is translated by less than six seconds of screen time. You will feel yourself fighting back your own yell, or tears when you watch this.Disney did so much right in this movie, but they continued one long, bad tradition. Which is the weak writing and casting of the villain. Indeed the whole conceptualization and portrayal of the antagonist in Disney films, including this one, needs a massive overhaul.Alfred Hitchcock, above all others, understood how important the villain or antagonist was to a film. Hitch made the `heavy' attractive and intelligent. Often the villain was a much better person in most respects than the protagonist of the film, with only one fatal flaw marring . The villain might be a person that you would really want as a friend or a lover, if it weren't for that ONE thing - which was a BIG thing, like he (or she) was a psycho or a traitor or a murderer. On one hand you wanted the `good-guy' to triumph, but you could identify with the villain and you often liked more. Making the villain a desirable and multi-faceted character created incredible tension in the audience.I mention all this because this is one area where Disney REPEATEDLY fails in it's animated films, and Tarzan is no exception. The anti-hero in Tarzan is one-dimensional, and we don't identify with him in any way. He is the `bad hunter', used often as a villain in recent Disney movies, e.g., Beauty and the Beast and Pocahontas. We are drawn into the way Tarzan himself is torn between his adoptive gorilla family, and his identity with the human race. This tension is well done in the film, in every way from the writing and casting to the actual animation of emotion. We aren't however, a bit drawn in by the antagonist of the film.That aside, overall this film was GREAT. I loved it and anyone who likes animated films will love it too. Even if you don't like animation you will probably like this one. It far surpasses most if not all in recent memory. The only gripe I have is the cardboard cut-out villain. I long for more three dimensional antagonists that can get the audience thinking and emotionally involved in the struggle occurring on screen. Enrolling all the writers of the Disney animated movies in a college-level course on the films of Alfred Hitchcock could do WONDERS for their next projects. But that's about the only area where they need help. In every other way Disney is holding class, and all other feature animation studios could do well to sign up for a course or two.
人猿泰山，泰山2，观后感是什么呢
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人猿泰山观后感600字
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人猿泰山英文观后感 急求
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British girl Jane and her boyfriend together with father to Africa elephants tomb looking for. On the way, Jane meet danger shriek, taishan swings from the bushes, and out her save to a tree crest. From then on, simple just can't help falling love with mount tai. Later, Jane was such a savage pygmies captive, almost become chimpanzees snacks, fortunately taishan led a herd of elephants to rescue hostage. ...Victorian naive girl Jane parker go wild African, want to look for her missing explorer father, results in a primitive lost in the jungle, and recognize the muscular and several shy taishan...自己看了自己的感悟 所以自己写吧
1999年版动画片人猿泰山 观后感 英文 100个单词 急求
hjj tyk iu y ytjyu olghl,
