第一篇：Avatar 卡梅隆演講——《阿凡達(dá)》之前的好奇小男孩

I grew up on a steady diet of science fiction.In high school I took a bus to school an hour each way every day.And I always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.And you know that curiosity also manifested itself in the fact that whenever I wasn’t in school I was out in the woods, hiking and taking “samples,” frogs and snakes and bugs and pond water, and bring it back, looking at it under the microscope.You know, I was a real science geek.But it was all about trying to understand the world, understand the limits of possibility.And my love of science fiction actually seemed to mirrored in the world around me, because what was happening, this was in the late’60s, we were going to the moon, we were exploring the deep oceans.Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined.So, that seemed to resonate with the whole science fiction part of it.And I was an artist.I could draw.I could paint.And I found that because there weren’t video games and this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head.You know, we all did, as kids having to read a book, and through the author’s description put something on the movie screen in our heads.And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff.I was endlessly getting busted in math class doodling behind the textbook.That was, the creativity had to find its outlet somehow.And an interesting thing happened, the Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on earth.I might not really go to an alien world on a spaceship someday.That seemed pretty darn unlikely.But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.So, I decided I was going to become a scuba diver at the age of 15.And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean.But I didn’t let that daunt me.I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live.And I actually got certified in a pool in a YMCA in the dead of winter in Buffalo, New York.And I didn’t see the ocean, a real ocean, for another two years, until we moved to California.Since then, in the intervening 40 years, I’ve spent about 3,000 hours underwater, And 500 hours of that were in submersibles.And I’ve learned that that deep ocean environment, and even the shallow oceans, are so rich with amazing life that really is beyond our imagination.Nature’s imagination is so boundless compared to our own meager human imagination.I still, to this day, stand in absolute awe of what I see when I make these dives.And my love affair with the ocean is ongoing, and just as strong as it ever was.But, when I chose a career, as an adult, it was film making.And that seemed to be the best way to reconcile this urge I had to tell stories, with my urges to create images.And I was, as a kid, constantly drawing comic books, and so on.So, film making was the way to put pictures and stories together.And that made sense.And of course the stories that I chose to tell were science fiction stories: “Terminator,” “Aliens,” and “The Abyss.” And with “The Abyss,” I was putting together my love of underwater and diving, with film making.So, you know, merging the two passions.Something interesting came out of “The Abyss,” which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG.And this resulted in the first soft-surface character, CG animation that was ever in a movie.And even though the film didn’t make any money, barely broke even, I should say, I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.You know, it’s Arthur Clark’s law that any sufficiently advanced technology is indistinguishable from magic.They were seeing something magical.And so that got me very excited.And I thought, “wow, this is something that needs to be embraced into the cinematic art.” So, with “Terminator2,” which was next film, we took that much farther.Working with ILM, we created the liquid metal dude in that film.The success hung in the balance on whether that effect would work.And it did.And we created magic again.And we had the same result with an audience.Although we did make a little more money on that one.So, drawing a line through those two dots of experience, came to, this is going to be a whole new world, this was a whole new world of creativity for film artists.So, I started a company with Stan Winston, my good friend S W, who is the premier make-up and creature designer at that time, and it was called Digital Domain.And the concept of the company was that we would leap-frog past the analog processes of optical printers and so on, and we would go right to digital production.And we actually did that and it gave us a competitive advantage for a while.But we found ourselves lagging in the mid’90s in the creature and character design stuff that we had actually founded the company to do.So, I wrote this piece called “Avatar,” which was meant to absolutely push the envelop of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG.And the main characters would all be in CG.And the world would be in CG.And the envelope pushed back.And I was told by the folks at my company that we weren’t going to be able to do this for a while.So, I shelved it, and I made this other movie about a big ship that sinks.You know, I went and pitched it to the studio as “Romeo and Juliet’ on a ship.” It’s going to be this epic romance, passionate film.Secretly, what I wanted to do was I wanted to dive to the real wreck of “Titanic.” And that’s why I made the move.And that’s the truth.Now, the studio didn’t know that.But I convinced them.I said, “We’re going to dive to the wreck.We’re going to film it for real.We’ll be using it in the opening of the film.It will be really important.It will be a great marketing hook.” And I talked them into funding an expedition.Sounds crazy.But this goes back to that theme about your imagination creating a reality.Because we actually created a reality where six months later I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port, not a movie, not HD, for real.Now, that blew my mind.And it tool a lot of preparation, we had to build cameras and lights and all kinds of things.But, it struck me know much this dive, these deep dives was like a space mission.You know, where it was highly technical, and it required enormous planning.You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can’t get back by yourself.And I thought like, “Wow.I am like living in a science fiction movie.This is really cool.” And so, I really got bitten by the bug of deep ocean exploration.Of course, the curiosity, the science component of it.It was everything.It was adventure.It was curiosity.It was imagination.And it was an experience that Hollywood couldn’t give me.Because, you know, I could imagine a creature and we could create a visual effect for it.But I couldn’t imagine what I was seeing out that window.As we did some of our subsequent expeditions I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them.So, I was completely smitten by this, and had to do more.And so, I actually made a kind of curious decision.After the success of “Titanic,” I said, “Okay, I’m going to park my day job as a Hollywood movie maker, and I’m going to be a full time explorer for a while.” And so, we stared planning these expeditions.And we would up going to the Bismark, and exploring it with robotic vehicles.We went back to the Titanic wreck.We took little bots that we had created that spooled a fiber optic.And the idea was to go in and do an interior survey of that ship, which had never been done.Nobody had ever looked inside the wreck.They didn’t have the means to do it, so we created technology to do it.So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at planks that look much like this, where I knew that the band had played.And I’m flying a little robotic vehicle through the corridor of the ship.When I say, I’m operating it, but my mind is in the vehicle.I felt like I was physically present inside the shipwreck of Titanic.And it was the most surreal kind of déjà vu experience I’ve ever had, because I would know before I turned a corner what was going to be there before the lights of the vehicle actually revealed it, because I had walked the set for months when we were making the movie.And the set was based as an exact replica on the blueprints of the ship.So, it was this absolutely remarkable experience.And it really made me realize that the telepresence experience that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence.It was really really quite profound.And may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.So, having done these expeditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing amazing animals.They are basically aliens right here on Earth.They live in an environment of chemosynthesis.They don’t survive on sunlight based system the way we do.And so, you’re seeing animals that are living next to a 500 degree Centigrade water plumes.You think they can’t possibly exist.At the same time I was getting very interested in space science as well, again, it’s the science fiction influence, as a kid.And I wound getting involved with the space community, really involved with NASA, sitting on the NASA advisory board, planning actual space missions, going to Russia, going to the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 3D camera systems.And this was fascinating.But what I wound up doing was bringing space scientists with us into the deep.And taking them down so that they had access astrobiologists, planetary scientists, people who were interested in these extreme environments, taking them down to the vents, and letting them see, and take samples and test instruments, and so on.So, here we were making documentary films, but actually doing science, and actually doing space science.I’d completely closed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real.And you know, along the way in this journey of discovery, I learned a lot.I learned a lot about science.But I also learned a lot about leadership.Now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.I didn’t really learn about leadership until I did these expeditions.Because I had to, at a certain point, say, “What am I doing out here? Why am I doing this? What do I get out of it?” We don’t make money at these damn shows.We barely break even.There is no fame in it.People sort of think I went away between “Titanic” and “Avatar” and was buffing my nails someplace, sitting at the beach.Made all these films, made all these documentary films for a very limited audience.No fame, no glory, no money.What are you doing? You’re doing it for the task itself, for the challenge — and the ocean is the most challenging environment there is, for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team.Because we would do these things with 10-12 people working for years at a time.Sometimes at sea for 2-3 months at a time.And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you’ve done a task that you can’t explain to someone else.When you come back to the shore and you say, “We had to do this, and the fiber optic, and the attenuation, and the this and that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can’t explain it to people.It’s that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it.Creates a bond, creates a bond of respect.So, when I came back to make my next movie, which was “Avatar,” I tried to apply that same principle of leadership which is that you respect your team, and you earn their respect in return.And it really changed the dynamic.So, here I was again with a small team, in uncharted territory doing “Avatar,” coming up with new technology that didn’t exist before.Tremendously exciting.Tremendously challenging.And we became a family, over a four and half year period.And it completely changed how I do movies.So, people have commented on how, well, you know, you brought back the ocean organisms and put them on the planer of Pandora.To me it was more of a fundamental way of doing business, the process itself, that changed as a result of that.So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity.It’s the most powerful thing you own.Imagination is a force that can actually manifest a reality.And the respect of your team is more important than all the laurels in the world.I have young film makers come up to me and say, “Give me some advice for doing this.” And I say, “Don’t put limitations on yourself.Other people will do that for you, don’t do it to yourself, don’t bet against yourself.And take risks.” NASA has this phrase that they like: “Failure is not an option.” But failure has to be an option in art and in exploration, because it’s a leap of faith.And no important endeavor that required innovation was done without risk.You have to be willing to take those risks.So, that’s the thought I would leave you with, is that in whatever you’re doing, failure is an option, but fear is not.Thank you.10

第二篇：阿凡達(dá)(AVATAR)電影觀后感

[阿凡達(dá)(avatar)電影觀后感]幾天前的晚上想去看最新的3d電影阿凡達(dá)(avatar)，到了電影院門(mén)口卻被告知票賣(mài)完了，只好買(mǎi)了第二天的電影票，阿凡達(dá)(avatar)電影觀后感。第二天去的時(shí)候以為會(huì)滿(mǎn)員，卻發(fā)現(xiàn)里面的人還不到一半，原來(lái)不是位置不夠，是3d的眼鏡不夠。我看的是imax版的avatar，出了電影院后一直頭還是昏昏沉沉地，還有點(diǎn)惡心的感覺(jué)，不過(guò)回到家時(shí)間不長(zhǎng)就好了。給準(zhǔn)備要看的朋友一點(diǎn)經(jīng)驗(yàn)，如果有點(diǎn)暈頭的時(shí)候，可以把3d的眼鏡暫時(shí)取下來(lái)一會(huì)兒。這個(gè)電影最吸引人的無(wú)疑是它的3d效果。非常的逼真，因?yàn)橹饕请娔X制作，場(chǎng)景不受任何限制，所以場(chǎng)面非常的宏大，壯觀！它的故事也還可以，是一部科幻片。講2154年一群地球人到一個(gè)外星上去找一種很稀有的礦產(chǎn)，這個(gè)星球pandora上面住著外星人na'vi，地球人制作了和外星人一樣的軀體，通過(guò)某種方式讓地球人的思想進(jìn)入到軀體并且控制軀體，這樣地球人就和外星人表面一樣了，有著同樣的身體功能。主角jake也是因?yàn)楦绺绲囊馔馍硗龆〈鷣?lái)到這里(聽(tīng)起來(lái)有點(diǎn)像潛伏里的游擊隊(duì)長(zhǎng)翠平)，正是一些意外，讓他無(wú)意中留到了星球上，后來(lái)遭遇危險(xiǎn)的時(shí)候被外星人neytiri救了(美女救英雄)，她是那里的公主，他們后來(lái)戀上了。從電影里看，外星人居住的地方是一個(gè)人與自然和諧的地方，他們住在樹(shù)上面，吃的是野果，除了用弓箭，騎馬和騎鳥(niǎo)，其實(shí)和動(dòng)物沒(méi)有多大的區(qū)別。不過(guò)這樣星球上就完全是沒(méi)有被破壞的自然環(huán)境，人與自然達(dá)到了高度的和諧，他們應(yīng)該是生活的很幸福的，觀后感《阿凡達(dá)(avatar)電影觀后感》?！舴窒砗梦摹暨@應(yīng)該是作者的一個(gè)理念，正好和現(xiàn)在的綠色和平的理念相符合，從政治上來(lái)說(shuō)沒(méi)有出格。這個(gè)電影的好評(píng)如潮，票房非常高，我想因?yàn)槔锩娴母呖萍己糠浅８?，相?duì)來(lái)說(shuō)男生可能更喜歡這一類(lèi)的電影，我不是特別喜歡看電影的也去了。不過(guò)電影終究是電影，外星人的美好環(huán)境當(dāng)受到人類(lèi)攻擊的時(shí)候，肯定是不行的。雖然外星人得到了jake等幾個(gè)地球人的幫助，對(duì)神靈的祈禱，使得他們還得到了動(dòng)物的幫助，但是用弓箭與人類(lèi)的導(dǎo)彈對(duì)抗肯定是不行的。影片里人類(lèi)的攻擊最后失敗，這是導(dǎo)演幫忙的結(jié)果，呵呵！再美好的世界，如果不能抵御外來(lái)的侵略總是不行的，戰(zhàn)爭(zhēng)雖然不受歡迎，但是現(xiàn)實(shí)是殘酷的，人類(lèi)的罪惡是生來(lái)就有的，只有強(qiáng)者才是生存的道理。據(jù)說(shuō)這個(gè)還有續(xù)集，可以肯定人類(lèi)總有那些瘋狂的神經(jīng)病希望能控制宇宙，還會(huì)再到這里來(lái)，那一定會(huì)是另一場(chǎng)戰(zhàn)爭(zhēng)，當(dāng)然正義會(huì)戰(zhàn)勝邪惡！從科學(xué)技術(shù)的方面來(lái)說(shuō)，把人的思想用一種方式傳到另一個(gè)地方，用人的思想來(lái)控制人類(lèi)做出來(lái)的東西，這就是用精神來(lái)控制物質(zhì)，這真的能做到嗎?中國(guó)的武俠大師們可以用意念發(fā)功，那畢竟還是要近距離的接觸，而且一定要大師本人到場(chǎng)才是可以的，與這先進(jìn)的技術(shù)相比有點(diǎn)大巫見(jiàn)小巫。至于有些個(gè)什么什么功可以遠(yuǎn)程控制別的人，那就是胡說(shuō)八道，能夠遠(yuǎn)程控制一個(gè)軀體也許會(huì)有用得多。我在想，如果電影里的jake用一個(gè)動(dòng)物的軀體，譬如一個(gè)小蜜蜂，跟蹤na'vi們?nèi)フ业剿麄冃枰牡V產(chǎn)也許會(huì)有效得多呢！從科學(xué)技術(shù)的實(shí)際有用地方說(shuō)，可以斷定不久的將來(lái)，一個(gè)人就可以做一部電影，自己可以演多種角色，或者干脆就直接讓計(jì)算機(jī)扮演所有的角色?，F(xiàn)在的交響樂(lè)就可以一個(gè)人來(lái)完成，可以用軟件模擬各種樂(lè)器，合成就可以了，科技發(fā)展真快！想保證博客的穩(wěn)定與信息安全嗎?快來(lái)，一鍵備份博客大巴文章到新浪博客！請(qǐng)點(diǎn)擊進(jìn)入~

第三篇：review of Avatar 阿凡達(dá)影評(píng)

Shamo Li

March 9, 2010Cinema 201Chris Fisher

Review of ‘Avatar’

According to James Cameron's 'Avatar', it takes place in the year 2154, on a planet called Pandora where American corporations and their military mercbenaries have set up bases to mine a surpassingly precious mineral called unobtanium.A marine named Jake is dispatched to the faraway planet, Pandora, where lives blue-skinned Na'vi people, in order to get Na'vi people's trust and then convince them to decamp.Jake transfers his spirit into a remotely controlled Na'vi body, called an avatar.But as Jake mingles with the Na'vi People, he gradually develops a close bond with the locals and finally decides to stand on their side against the human threat.‘Avatar’ is a very good movie, because it has a good 3-D effect and a nice idea.When the movie begins, put the 3-D glasses on my face and I get a sense of delight that quickly gives way to a sense of astonishment.The 3-D effect mixes live action, motion-capture, animation,computer-generated images and whatever other techniques all together seamlessly.In the beginning, we do not feel lots of 3-D special effect,but the movie seems to be normal, real things.We are in the movie, in the office and see the special and beautiful world on the Pandora through the windows.Or follow Jake Sully(Sam Worthington), the owner of a Avatar, to enjoy the wonderful and magical world – the mountains in the sky, the colorful and light trees, and flamboyant dragons.When the hero and the heroine fall in love, when it is very peaceful, the war comes.It is the first hit of the 3-D effect, from the American military, and give us lots of contrast from before.Mr.Cameron has devoted a significant chunk of his movie to a dark, didactic war, complete with napalm, Agent Orange and helicopter gunships.Whatever one may think of the politics of this antiwar section, two things can be said with certainty: it provokes an adrenaline rush, and it feels a lot better when it's over.Addition to the 3-D effect, the idea of ‘Avatar’ is very nice.Through the movie, we can see many problems about the politic, race, religion, environment and culture.The 3-D effect also stresses these problems, such as what I write above, the dark war, which seems like Vietnam war.The movie also tells us to protect the environment.The nature is our mother and she is very powerful.If we hurt her a lot, we will get revenge.Therefore, ‘Avatar’ is not only a very nice movie, it also is a deep mine of treasure, that we can find more things in it.

第四篇：電影《阿凡達(dá) AVATAR》詳細(xì)資料

電影《阿凡達(dá) AVATAR》詳細(xì)資料

【電影名稱(chēng)】

【主要演員】 沃辛頓 Sam Worthington

【上映日期】 2010年1月4日

【電影票價(jià)】 40元

【影片備注】 無(wú)

劇情介紹

故事從地球開(kāi)始，杰克·薩利（薩姆·沃辛頓 飾）是一個(gè)雙腿癱瘓的老兵，他覺(jué)得沒(méi)有任何東西值得他去戰(zhàn)斗，因此他對(duì)被派遣去潘多拉星球的采礦公司工作欣然接受。

這個(gè)星球上有一種別的地方都沒(méi)有的礦物元素“unobtanium”，能夠吸引人類(lèi)不遠(yuǎn)萬(wàn)里來(lái)到這里拓荒的原因就是它“unobtanium”將徹底改變?nèi)祟?lèi)的能源產(chǎn)業(yè)。但是問(wèn)題是，資源豐富的潘多拉星球并不適合人類(lèi)生活，這里的空氣對(duì)人類(lèi)致命，本土的動(dòng)植物都是兇猛的掠食者，極度危險(xiǎn)。這里的環(huán)境也造就了與人類(lèi)不同的種族：10英尺高的藍(lán)色類(lèi)人生物“Na”vi族“。Na”vi族 不滿(mǎn)人類(lèi)拓荒者的到來(lái)，也不喜歡人類(lèi)的機(jī)器在這個(gè)星球的土地上因?yàn)榈教幫诘V而留下的斑斑傷痕。

由于潘多拉星球環(huán)境嚴(yán)酷，人類(lèi)傳統(tǒng)的宇航服、機(jī)甲都不足以保護(hù)礦工，于是科學(xué)家們轉(zhuǎn)向了克隆技術(shù)：他們將人類(lèi)DNA和Na“vi人的DNA結(jié)合在一起，制造了一個(gè)克隆Na”vi人，這個(gè)克隆Na“vi人可以讓人類(lèi)的意識(shí)進(jìn)駐其中，成為人類(lèi)在這個(gè)星球上自由活動(dòng)的”化身“。然而并不是任何人都可以操縱這個(gè)克隆Na”vi人，只有DNA與他身上人類(lèi)DNA配型相符的人才有這樣的能力。

杰克·薩利的哥哥是這個(gè)克隆Na“vi的人類(lèi)DNA捐獻(xiàn)者，他就可以操縱這個(gè)克隆Na”vi人，然而他被殺死了，采礦的公司為了不讓砸下去的錢(qián)白砸（克隆Na“vi人價(jià)格不菲），必須找到一個(gè)可以代替他操縱克隆Na”vi的人，這個(gè)人的DNA還必須和其配型相符，于是他們自然就找到了杰克?薩利，杰克?薩利對(duì)此很高興，因?yàn)槟且馕吨帜茏呗妨恕?/p>

幾年后，杰克·薩利到了潘多拉星球，他發(fā)現(xiàn)這里的美景簡(jiǎn)直無(wú)法用語(yǔ)言來(lái)形容，高達(dá)900英尺的參天巨樹(shù)、星羅棋布飄浮在空中的群山、色彩斑斕充滿(mǎn)奇特植物的茂密雨林、晚上各種動(dòng)植物還會(huì)發(fā)出光......就如同夢(mèng)中的奇幻花園。不過(guò)很快他就體驗(yàn)到了這里的危險(xiǎn)，一頭毒狼（潘多拉星球一種本土生物）與他狹路相逢，眼看就要被吃掉，一支箭射死了毒狼，杰克得救了。救他的是Na“vi族的一個(gè)女孩（佐伊·薩爾達(dá)娜 飾），杰克從她口中了解到了更多潘多拉星球的知識(shí)。

Na”vi族人一直以來(lái)都與潘多拉星球的其他物種和諧相處，過(guò)著一種簡(jiǎn)樸天然的生活，杰克在和這個(gè)Na“vi女孩的相處過(guò)程中逐漸轉(zhuǎn)變了對(duì)人類(lèi)來(lái)這里采礦的看法，他意識(shí)到他已經(jīng)找到值得為之戰(zhàn)斗的東西了。

不過(guò)杰克?薩利如果要加入Na”vi族人對(duì)抗人類(lèi)入侵者的戰(zhàn)爭(zhēng)，要付出很大的代價(jià)：他并不能永遠(yuǎn)呆在“化身”中，當(dāng)“化身”--克隆Na“vi人睡覺(jué)時(shí)，他就會(huì)回到自己半身不遂的人類(lèi)身體中，只有通過(guò)專(zhuān)門(mén)的連接設(shè)備才能重新回到”化身“中。一旦與自己的同胞為敵，他就失去了與”化身“結(jié)合的可能，只能困在殘疾的身體里，并失去那個(gè)他越來(lái)越喜歡的Na”vi女孩

本文由河北制冷網(wǎng)http://整理提供

本文由河北制冷網(wǎng) http:// 整理提供

第五篇：《阿凡達(dá)》

<<阿凡達(dá)>>電影鑒賞

專(zhuān)業(yè)：10網(wǎng)絡(luò)工程姓名：江劍學(xué)號(hào)：10226001701

4摘要

由詹姆斯·卡梅隆導(dǎo)演的《阿凡達(dá)》以未來(lái)世界為背景，講述了人類(lèi)攻占潘多拉星球的故事，詹姆斯卡梅隆導(dǎo)演用科幻的阿凡達(dá)把電影主題進(jìn)一步升華，達(dá)到了在哲學(xué)、宗教及現(xiàn)代科技三者語(yǔ)境中最自然的融合。關(guān)鍵詞

科幻、潘多拉、先進(jìn)

正文

1、電影簡(jiǎn)介

《阿凡達(dá)》（Avatar）是一部科幻電影，由著名導(dǎo)演詹姆斯·卡梅隆執(zhí)導(dǎo)二十世紀(jì)?？怂钩銎?，該片有3D、平面膠片、IMAX膠片三種制式供觀眾選擇。影片預(yù)算超過(guò)5億美元，成為電影史上預(yù)算最高的電影。主要講述了戰(zhàn)斗中負(fù)傷而下身癱瘓的前海軍戰(zhàn)士杰克?薩利（薩姆?沃辛頓Sam Worthington 飾）決定替死去的同胞哥哥來(lái)到潘多拉星操縱格蕾絲博士（西格妮?韋弗Sigourney Weaver 飾）用人類(lèi)基因與當(dāng)?shù)丶{美部族基因結(jié)合創(chuàng)造出的“阿凡達(dá)” 混血生物。杰克的目的是打入納美部落，外交說(shuō)服他們自愿離開(kāi)世代居住的家園，從而SecFor公司可砍伐殆盡該地區(qū)的原始森林，開(kāi)采地下昂貴的“不可得”礦。在探索潘多拉星的過(guò)程中，杰克遇到了納美部落的公主娜蒂瑞（佐伊?索爾達(dá)娜Zoe Saldana 飾），向她學(xué)習(xí)了納美人的生存技能與對(duì)待自然的態(tài)度

與此同時(shí)，SecFor公司的經(jīng)理和軍方代表上校邁爾斯（史蒂芬?

朗Stephen Lang 飾）逐漸喪失耐心，決定訴諸武力驅(qū)趕納美人...最后，人類(lèi)在利益的驅(qū)動(dòng)下，派遣了戰(zhàn)機(jī)去摧毀Navy族人所生存的一棵巨樹(shù)，盡管杰克等人一再爭(zhēng)取希望可以不要那么做，但是采礦公司還是決意要去摧毀。杰克與他們協(xié)商，自己去和Na'vi族人交涉，讓他們離開(kāi)那顆大樹(shù)，然而當(dāng)他說(shuō)明了一切之后，Na'vi族人都很憤怒，特別是杰克喜歡的那個(gè)Na'vi族人女孩也是很憤怒，Na'vi族人就把杰克和一名女教授一起捆在了刑架上了。采礦公司派遣的戰(zhàn)機(jī)發(fā)現(xiàn)他們協(xié)商失敗了。于是下令開(kāi)火，摧毀了他們前進(jìn)的阻礙——Na'vi族人賴(lài)以生存的那棵巨樹(shù)，Na'vi族人的領(lǐng)袖也被炮火炸死。

沒(méi)有了生存之地的Na'vi族人被迫暫居神樹(shù)之下。而杰克等人的正義

行為因?yàn)楹筒傻V公司的利益沖突，被他們關(guān)了起來(lái)。后來(lái)，他們借機(jī)駕機(jī)逃跑了，杰克騎著“魅影”到達(dá)了Na'vi族人暫居的神樹(shù)下，呼吁Na'vi 族人作出反抗，他終于又得到Na'vi族人的信任。在他的呼吁下，他們聯(lián)絡(luò)了潘多拉星球上了其他民族的人，一起組建了一支幾千人的反抗軍，形成了陸空兩路的防線(xiàn)。采礦公司的軍隊(duì)也發(fā)現(xiàn)了Na'vi族人的反抗跡象，他們迅速裝填了大量的高烈性炸藥，準(zhǔn)備提前消滅Na'vi族人。于是，Na'vi族人的反抗聯(lián)盟和采礦公司的軍隊(duì)展開(kāi)了血戰(zhàn)，結(jié)果，Na'vi 族人反抗軍最終打敗了人類(lèi)，而人類(lèi)的軍隊(duì)指揮也被殺死，Na'vi族人在杰克的幫助下，將遣送采礦公司全部離開(kāi)潘多拉星球。在Na'vi的精神領(lǐng)袖的帶領(lǐng)下，Na'vi族人用自己的感受器（辮子）與神樹(shù)相連，借助神樹(shù)的力量，將杰克·薩利的精神（靈魂）轉(zhuǎn)移到他的阿凡達(dá)身上，杰

克最終成為了這個(gè)星上Na'vi人的領(lǐng)袖。故事到這里就結(jié)束了。

2、電影分析《阿凡達(dá)》按影片的類(lèi)型分，屬于科幻片。用經(jīng)典的好萊塢三幕式來(lái)分析這個(gè)影片，可以把影片分為三個(gè)大的部分，背景-發(fā)展-結(jié)局。

其中包括引子、主線(xiàn)、引發(fā)性事件、第一轉(zhuǎn)折點(diǎn)。在這部影片中開(kāi)場(chǎng)空軍大集合，一大批人被送到了潘多拉星球，交代了故事的背景是影片的一個(gè)引子，杰克雙腿殘廢，當(dāng)他與哥哥控制的阿凡達(dá)合二為一時(shí)，在路上行走的感覺(jué)使他非常興奮。他在巧合中與納威人的公主相遇，圣母艾瓦附在杰克身上，公主很驚奇，便把他帶到了族人面前，從此他就與納威人生活在一起了，這是影片的一個(gè)轉(zhuǎn)折點(diǎn)。

故事的發(fā)展階段，納威的公主教杰克如何在潘多拉生存，如何用他們的語(yǔ)言，經(jīng)過(guò)一個(gè)月的努力，杰克掌握了納威的語(yǔ)言、納威的生活方式，并且還愛(ài)上了那個(gè)勇敢的納威女孩，但是他又有任務(wù)在身，他是來(lái)勸說(shuō)讓他們遷居的，而且將軍馬上就要才去強(qiáng)制性的手段攻打納威了這便是影片的不可逆轉(zhuǎn)點(diǎn)。人類(lèi)在益的驅(qū)動(dòng)下，派遣了戰(zhàn)機(jī)去摧毀 Navy族人所生存的一棵巨樹(shù)，盡管杰克等人一再爭(zhēng)取希望可以不要那么做，但是采礦公司還是決意要去摧毀。杰克與他們協(xié)商，自己去和Na'vi族人交涉，讓他們離開(kāi)那顆大樹(shù)，然而當(dāng)他說(shuō)明了一切之后，Na'vi族人都很憤怒，特別是杰克喜歡的那個(gè)Na'vi族人女孩也是很憤怒，Na'vi族人就把杰克和一名女教授一起捆在了刑架上了。后來(lái)，他們的把人體交換器運(yùn)到了高磁場(chǎng)區(qū)，將軍找不到的地方，至此，是情節(jié)的第二個(gè)轉(zhuǎn)折點(diǎn)。

接近尾聲，Na'vi族人的反抗聯(lián)盟和采礦公司的軍隊(duì)展開(kāi)了血戰(zhàn)，結(jié)果，Na'vi族人反抗軍最終打敗了人類(lèi)，而人類(lèi)的軍隊(duì)指揮也被殺死，Na'vi族人在杰克的幫助下，將遣送采礦公司全部離開(kāi)潘多拉星球。在Na'vi的精神領(lǐng)袖的帶領(lǐng)下，納威族人用自己的感受器（辮子）與神樹(shù)相連，借助神樹(shù)的力量，將杰克·薩利的精神（靈魂）轉(zhuǎn)移到他的阿凡達(dá)身上，杰克最終成為了這個(gè)星上Na'vi人的領(lǐng)袖。

3、結(jié)論

近年3D電影雖然大行其道，但詹姆斯這次所拍的3D《阿凡達(dá)》片，卻為3D技術(shù)帶來(lái)歷史性的突破。我們看到的花鴉三維影動(dòng)研究室的捕捉虛擬合成扣像技術(shù)在這里被詹姆斯加以提升，當(dāng)演員穿上有節(jié)點(diǎn)的衣服后，我們可以適時(shí)捕捉到逼真的動(dòng)畫(huà)。詹姆斯手持3D攝影機(jī)拍攝主角穿上動(dòng)作感應(yīng)緊身衣的一舉一動(dòng)時(shí)，現(xiàn)場(chǎng)即可在電腦上看到主角變身成藍(lán)皮膚的Na'vi在特技森林場(chǎng)景中演戲的畫(huà)面。這個(gè)實(shí)時(shí)觀看3D拍攝效果的技術(shù)是史無(wú)前例的，同時(shí)詹姆斯還在實(shí)景中拍攝，令觀眾難分真假。

雖然主角是藍(lán)色外星人，但所有演出均是演員的努力而不是只為角色配音。演員除了親身上陣打斗外，片中他們經(jīng)常與飛天野獸作伴，并騎著它們到處飛，原來(lái)演員也要在類(lèi)似野獸形體的物體上來(lái)演繹，所以他們必須學(xué)習(xí)“真騎野獸”，怎么樣移動(dòng)及保持身體平衡，并要掐算好時(shí)間配合同樣轉(zhuǎn)動(dòng)的3D背景。演員穿上感官緊身衣，戴上吊著一個(gè)微型攝影機(jī)的頭套。其次，影片的結(jié)局精彩，不禁讓人折服。詹姆斯提到全片中最享受的是男女主角在天空中自由自在地騎著野獸飛行的場(chǎng)面，但最精彩的則是結(jié)局的動(dòng)作場(chǎng)面。他花了兩年時(shí)間研究怎樣拍攝結(jié)局，2.7米高的 Na'vi人利用箭與人類(lèi)的吉普車(chē)及直升機(jī)對(duì)決會(huì)是怎樣，詹姆斯說(shuō)：“類(lèi)似《未來(lái)戰(zhàn)士續(xù)集》最后二十分鐘那樣一氣呵成，包含空中，陸地、裝甲部隊(duì)及步兵等等上陣，是所有戰(zhàn)爭(zhēng)片的始祖，是我生平做過(guò)最大的東西，這部片也代表了我的畢生成就”。

最后，不得不贊嘆導(dǎo)演對(duì)納威族語(yǔ)言的創(chuàng)造花盡心思，設(shè)計(jì)潘多拉的生態(tài)環(huán)境及星球上的文化，甚至找來(lái)語(yǔ)言學(xué)者創(chuàng)造一種全新的納威語(yǔ)言，將其想象的星球呈現(xiàn)在銀幕上。他又根據(jù)地球上的生物，創(chuàng)造了各種在潘多拉生存的野獸。整個(gè)影片從一開(kāi)始就吊足了觀眾的胃口，情節(jié)跌但祈福，特效無(wú)與倫比，真可謂是科幻中的極品。