电影死亡诗社简介

[3D电影的简介]D是英文Dimension（线度、维）的字头，3D是指三维空间。国际上是以3D电影来表示立体电影。人的视觉之所以能分辨远近，是靠两只眼睛的差距。人的两眼分开约5公分，两只眼睛除了瞄准正...+阅读

《死亡诗社》是由彼得·威尔执导，罗宾·威廉姆斯、伊桑·霍克、罗伯特·肖恩·莱纳德领衔主演的一部励志电影。该片讲述的是一个有思想的老师和一群希望突破的学生之间的故事。该片于1989年6月2日在多伦多首映。剧情简介：威尔顿预备学院以其沉稳凝重的教学风格和较高的升学率闻名，作为其毕业班的学生，理想就是升入名校。新学期文学老师约翰·基汀（罗宾·威廉姆斯饰）的到来如同一阵春风，一反传统名校的严肃刻板。基汀带学生们在校史楼内聆听死亡的声音，反思生的意义；让男生们在绿茵场上宣读自己的理想；鼓励学生站在课桌上，用新的视角俯瞰世界。老师自由发散式的哲学思维让学生内心产生强烈的共鸣，他们渐渐学会自己思考与索，勇敢的追问人生的路途，甚至违反门禁，成立死亡诗社，在山洞里击节而歌！基汀教授、基汀老师、基汀队长，他的教育宛若春风化雨，润物无声的留在每个人心里。

扩展资料《死亡诗社》角色说明： 1，基丁老师在封闭的时代，他是叛逆者。在学生的记忆里，他是灵魂的拯救者。来到一所传统的贵族学校，中途接班，教授古典文学，第一节课就让学生撕掉诗集扉页上的导言，他让孩子们感受到自己的激情、包容，感受到文学的力量。 2，托德贵族学校的班长。帅气、古典、睿智的英国大男孩。影片制造出一个压抑的环境，孩子们在教条中生活，一切都被安排得细密非常。直到基丁老师的出现打破了这一潭死水。班长是学生们的代表，对这位独树一帜的老师，他由质疑到观望，由观望到接受，由接受到赞同并被其深深影响。参考资料来源：百科-死亡诗社...

死亡诗社的剧情详细说明！看过的朋友进！

1959年，威尔顿预备学院以它凝重的风格受到了当时人们的尊敬。在那里，教育的模式是固定的，不仅单调而且束缚了思想。然而这一切在一个新教师的手中发生了改变。John Keating 反传统的教育方法给学院带来了一丝生气：在他的课堂里，他鼓励学生站在课桌上，用一个崭新的视角去观察周围的世界；他向学生说明了许多有思想的诗歌；他所提倡的自由发散式的思维哲学在学生中引起了巨大的反响。渐渐地，一些人接受了他，开始勇敢地面对每一天，把握他们自己的人生。不幸也在这时发生了…… 这部影片是Peter Weir 的上乘之作，曾得到四项学院奖的题名，并且赢得了最佳电影原创剧本奖。另外，罗宾·威廉姆斯的出色演技，也为本片增色不少。...

死亡诗社的英文说明和影评

I'm the first to admit that I get a little sappy when writing about Dead Poets Society. I first saw the film during my senior year of high school, and 16 years later it's a movie that is still with me, one that I go back to time and time again.

There's a little bit of formula at work here: A stuffy rep school, 1950s, a collection of impressionable young boys, and a teacher that will change their lives. But there's something at work that turns what could have been a forgettable, droll piece of saccharine storytelling into a classic. Part of it is Robin Williams as Mr. Keating, a young English teacher that uses poetry to teach them how to ＂Sieze the day,＂ to suck the marrow out of life, as Thoreau put it.

The poetry angle is an interested and unexpected one. And writer Tom Schulman and director Peter Weir have no confusion that the idea is a little corny. Putting a kid in front of the class, covering his eyes, and forcing him to free associate until he comes up with a verse about Walt Whitman? Sounds ridiculous, but it works. In fact, it's one of the most powerful scenes in the film.

That's because the kids in the film are just as good as Williams is here. Robert Sean Leonard is the ostensible star as Neil, a deeply repressed lad who's the class president type yet dreams of doing something artistic, despite the insistence by his father (Kurtwood Smith) that he become a doctor. And then there's roommate Todd Anderson (Ethan Hawke), an intensely shy young man who's attending Welton Academy for the first time this year and will be memorably brought out of his shell, fighting all the way, by Keating. The other students of note -- Josh Charles as a lovesick kid and Gale Hansen as the unforgettable rebel ＂Nuwanda＂ -- are equally apt.

Ultimately the film revolves around Neil's story, when he decides for the first time to defy his father and act in a local play -- as Puck, in A Midsummer Night's Dream, of all things. This leads to a series of catastrophic events that culminates in (spoiler alert from here on out) Neil's suicide and the scapegoating/firing of Keating for it.

At once uplifting and emotionally crushing, there's no way to leave this movie without wanting to somehow improve your life and follow Keating's advice by seizing the day. Every time I watch the film I'm compelled to complete some lingering project, plan a trip, move into a new house, or do something unforgettable. Weir's direction perfectly captures the 1950s mood -- an era of repression just on the verge of breaking wide open -- and Williams manages to keep his mania in check for the bulk of the film, trotting out an impression here or there when the story requires it.

In recent years, Dead Poets Society has become a curious platform for deconstruction and revisionism. Viewers wonder, among other things, whether Neil was so troubled because he was secretly gay. Whether Keating might genuinely be guilty of contributing to his death. Whether ＂Sieze the day＂ isn't such a great motto after all. I'm not actually supporting any of these ideas per se, but the latter-day ruminating gives the film more weight than you might otherwise think, and it makes the movie all the richer for it.

I only have one question: What the heck is a Thigh Man (as it reads in Keating's yearbook)?