【正文】 ，無法發(fā)展同期聲1093全景固定鏡頭東關(guān)街街景1102中景固定鏡頭謝馥春牌樓制作手工藝品所需要的技術(shù)要靠藝人們代代傳承積累，胡師傅李師傅他們都年事已高。糖畫的傳承需要年青一代的努力，而揚(yáng)州糖畫的傳承現(xiàn)狀卻很尷尬。同期聲1113中景鏡頭漆器店內(nèi)景1123近景固定鏡頭玉器店門牌1133中景固定鏡頭糖畫師傅遞糖畫給孩子1142近景固定鏡頭女孩吃糖畫1154近景固定鏡頭草把上糖畫11659近景固定鏡頭李師傅采訪講述收徒的經(jīng)歷和態(tài)度同期聲11718近景固定鏡頭胡師傅采訪老人想來學(xué)，可是學(xué)不會(huì)同期聲11815近景固定鏡頭李師傅采訪不讓子女學(xué)糖畫的原因同期聲1199近景固定鏡頭胡師傅采訪對(duì)傳承問題不管不問1206近景固定鏡頭李師傅采訪頂多再做10年就退休了1218近景固定鏡頭胡師傅采訪再做4年，做到60歲就不做了。1225近景固定鏡頭李師傅采訪我們這一代不做糖畫的時(shí)候，這門手藝就失傳了。1234近景固定鏡頭擺成一排糖畫如今，澆糖花這門消逝中的傳統(tǒng)藝術(shù)仍在繁華的大都市中散發(fā)著自己獨(dú)特的魅力。但是我們依舊擔(dān)憂，多年以后精美的糖花藝術(shù)會(huì)湮沒在時(shí)代發(fā)展的潮流中嗎？到那時(shí)，我們還能悠哉地等待糖畫最后時(shí)光的消逝嗎？1244特寫固定鏡頭木門上糖畫的影子12510近景到特寫固定+推鏡頭夕陽下小孩拿著糖畫玩耍12610遠(yuǎn)景固定鏡頭胡師傅獨(dú)自守在糖畫攤邊揚(yáng)州大學(xué)本科生畢業(yè)論文英文參考文獻(xiàn)廣播電視新聞學(xué) 2007級(jí) 陳欣指導(dǎo)老師 張愛鳳DIRECTOR, TELEVISIONDavid Tetzlaff The television director, who sits atop the chain of mand of the crew during the actual filming or taping of the show, is responsible for the visualization of the TV program, selecting the different camera angles and positions that will used. In the production of films for theatrical exhibition directors frequently devise and initiate their own projects. Many film directors, such as Oliver Stone and Quentin Tarrantino, write their own screenplays. Even in cases where the director is hired after a producer has initiated a project, and a script has already been missioned, the director has great leeway to interpret the material in her or his own way. In addition to controlling visual style, the director may also develop the themes, work with actors on characterizations, even participate in the rewriting of the script. Television directors, however, work on a perepisode basis. Because of the highly pressed production schedule, any series will employ several different directors during a season. When the director arrives on the scene, the characterizations, themes and basic style of the show have already been established by previous episodes. In fact, such creative decisions were often made by the show39。s producer in the development of the series, and they remain the province of the producer during the run of the show. The director, then, takes an existing, basic aesthetic setup and works out the details for the episode at hand. When film directorsSteven Speilberg, Michael Mann, David Lynchwork in television, they generally act as producers because that from that position the more important creative choices are made. Nevertheless, the direction of TV drama episodes still offers excellent opportunities for creative expression. A number of TV drama directors, including Spielberg, have gone on to bee film directors. This was even more the case in the 1950s and 1960s when television served as a training ground for some of the most prominent directors to work in the American film industry. Arthur Penn, Sidney Lumet, Sam Peckinpah, Delbert Mann, Robert Altman and other directors moved from television to the big screen. More recently, some television directors, such as Thomas Carter, noted for directing outstanding pilots for Miami Vice and other shows, have bee producers of their own television series. And in some cases prominent film directorsLynch, Barry Levinsonhave chosen to direct episodes in the series they produce. In the spring of 1995 Quentin Tarrantino elected to direct the concluding episode of the first year of the NBC series . because he found the show pelling. In contrast to singlecamera style, multicamera television production requires that the visual scheme be adjusted around the performance. The oncamera talent deliver their performances in realtime, and the visualization is created by switching among a series of cameras trained on the unfolding event (and, in many cases, among several channels of electronically stored graphics). All live programs, including news and sports broadcasts, are produced this way. So, too, are talk, discussion and game shows which are shot livetotape, then later broadcast with minimal editing. Directing in these genres offers less opportunity for creativity. Multicamera style in itself introduces great technical limitations, but these are often less restricting than the constraints defined by the forms themselveshow much visual flair is desirable in a shot of Peter Jennings reading a report of the latest MidEast conflict? Usually, then, the visual elements in presentational event programs such as news, talk and sports generally follow a rigid preset pattern. This is a necessity given that the production needs to be created almost instantaneously, with little or no time to prepare for the specifics of the particular episode. (Indeed, much of the visual excitement in live events such as sports derives from technical features such as instant replay.) Directing this type of production is more a craft than an art. Though it requires great skill, the demands are mostly technical. Directors of multicamera television productions generally sit in a control room, viewing a bank of monitors on which the images from each camera and graphics source are displayed. They do not operate any studio controlsthey must keep their eyes glued to the monitors. They should not even look away to check notes or a script, but must simply know how the program should unfold and be able to keep their mind ahead of the developing action. The director of an American football game must be ready for the cut to the downfield camera before the quarterback throws the pass, for example, or the talk show director should anticipate an outburst of audience response. And this intensity must be maintained for long periods, with mercials serving as brief breaks from the action. In some ways multicamera direction is a verbal art form. The director literally talks the show into existence, calling out cues for edits, cam