【www.shanpow.com--英语作文】
【一】:阿凡达战前演说
Jake Sully: "The Sky People have sent us a message - that they can take whatever they want and no one can stop 'em... But we will send them a message... You ride out as fast as the wind can carry you, and you tell the other clans to come... and tell them Toruk Makto calls to them! And you fly now, with me, my brothers, sisters! And we will show the Sky People, that they cannot take whatever they want! And that this... This is our land!!!!"人类给我们带来了信息，他们能得到任何他们想要的而且没人能阻止。但是我们也要给他们一个信息，我们能像风一样奔跑，告诉别的部落，告诉他们，魅影骑士需要他们！和我一起飞吧！兄弟们姐妹们！我们要让他们知道他们并不能得到所有因为，这里——永远是我们的土地！
【二】:影视英语鉴赏作业-《阿凡达》
《阿凡达》www.shanpow.com_英语演讲阿凡达。
一个生命结束，另一个生命开始。
A life ends and another life begins.
主人公第一次将意识注入进阿凡达内，在美丽的潘多拉上奔跑，那是重生的感觉，也注定了他的灵魂将要游走在两个躯体内。
I see you!
I see you不是表象的我看见你.
句子虽然很简单，但包含了复杂的意思。可以蕴含看，理解，凝视，明白，观望等无数意义，越是简单的越代表了复杂的含义www.shanpow.com_英语演讲阿凡达。
人的生命有两次，一次是你出生，一次是你得到社会认同时。
Human life twice, once you were born, once when you get social recognition.
So to speak.It'd be a fresh start, on a new world.
可以这么说。这将会是一个全新的开始，一个新的世界。
【三】:励志英语演讲：可以失败，不能畏惧
关于这场演讲：James Cameron的大笔预算(票房更庞大)的电影创造出想象的世界。在这个演讲中，他揭露了自己从小就喜欢奇幻体验的背景：阅读科幻小说，深海潜水，以及这一切如何转变成成功的巨片如《异形二》、《终结者》、《泰坦尼克号》与《阿凡达》。
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 was 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 bringing them back, looking at them 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——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 an exotic 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 deep ocean environment, and even the shallow ocean, is 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 Clarke’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 Terminator 2, which was my 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 Stan Winston, 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 envelope 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 movie. 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 took a lot of preparation, we had to build cameras and lights and all kinds of things. But, it struck me how much this dive, these deep dives was like a space mission. 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, 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 go be a full time explorer for a while.” And so, we started planning these expeditions. And we wound 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 spoolled 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 deja 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 telepresense 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 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 up 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, 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 attentuation, 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 brought back the ocean organisms and put them on the planet 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, and 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.www.shanpow.com_英语演讲阿凡达。
【四】:毕业典礼演讲稿 激情澎湃
大学生活之所以美好，是因为毕业之后面临的社会非常现实。本文是由小编为大家提供的毕业典礼演讲稿 激情澎湃，欢迎阅读：
毕业典礼演讲稿 激情澎湃
亲爱的同学们：
激情的六月，热浪一浪高过一浪。近段时期，美丽校园的夜空，总会划过宿舍里传来的阵阵欢呼声，我不知道那是同学们在为所喜爱的世界杯劲旅摇旗呐喊呢还是在为毕业欢呼。我知道，球迷很多，还看到我们的女同学上报当“非女郞”(好像一个叫舒舒，一个叫刘荫是吧)。只是足球固然精彩，但与我们相距遥远，泱泱大国目前只有“呜呜祖拉”，无缘“大力神杯”。我们还是为自己欢呼吧，欢呼我们的胜利毕业!
今天我们在这里万人集会，以最隆重的场面、最热烈的方式为2011届毕业生举行毕业典礼。在这盛大的节日里，所有的欢呼、所有的荣耀、所有的祝福都归属于在场的每一位毕业同学!在此，我代表学校对圆满完成学业的同学们表示热烈的祝贺!向多年来为同学们健康成长付出辛勤劳动的教职员工表示衷心的感谢!向关注学校发展、关爱同学们成长的家长们表示诚挚的问候和深深的谢意!
时光如流，岁月如梭。年复一年，我们在这里送走了一届又一届毕业学子。年年岁岁人不同，岁岁年年情相似，心中既为你们的成才而欢欣喜悦，又为你们即将远离而依依不舍。你们在重大生活学习的点点滴滴，母校永远也不会忘记。你们面对百年不遇的干旱和高温天气，毅然挺进虎溪，虎溪校区因为有了你们而焕发勃勃生机;你们面对无情的汶川地震，虽心有惶恐却表现得井然有序，在救灾志愿者的队伍里出现了你们爱的足迹;面对来势凶猛的流感，你们镇定自若，积极配合学校的各项决定，让那肆虐的流感在我们校园未能得逞毫厘;不仅仅如此，你们还直接参与学校的建设，直接见证学校发展的历史，学校事业的每一点进步都凝聚着你们的青春汗水，学校前进的每一个步伐都留下了你们拼搏进取的印记;特别是80周年校庆，你们意气风发、激情满怀，所表现出的重大学子风范让海内外校友深刻记忆。在此，我要代表学校向你们道一声谢谢，感谢你们对重大发展做出的卓越贡献!
毕业典礼演讲稿 激情澎湃
我不能忘记，你们在为重大发展做出杰出贡献的同时，也对我的工作给予了极大的支持和鼓励，也许对于你们大多数同学而言，我是一位“最熟悉的陌生人”，虽然我的讲话不是那么睿智，虽然我的歌声不是那么动听，虽然我打网球的动作不是那么标准，虽然我的工作还未达到你们的要求，但你们给了我最响亮的掌声，鞭策着我为学校贡献毕生的精力!对于我，你们可以选择“爱我或者不爱我”，而对于你们，我只能选择“爱你们或者更爱你们”!此般感情，是师生情，是朋友情，你们离开学校，变换的只是从学生到校友的称谓，但永恒的，是我们的情谊!再过20年，李晓红，一位七十岁的退休老人，依旧愿意在这里等你们，将去学点新歌，上台再为你们演唱祝福!
几年前，同学们怀着对大学美好生活的憧憬和对科学知识的渴求，选择了重庆大学，在这里度过了你们人生成长过程中最为灿烂的流金岁月。大学生活是无比美好的，若干年后你一定还会记得，缙、云湖畔的晨读和民主湖旁的吉他，教室里占座的水杯和球场上激昂的叫声，宿舍里常年召开的“卧谈会”和考试前的“挑灯夜战”，难忘的英语四六级和那幸运的“425”及格线，还有思群广场上惊艳的“阿凡达”和知名度颇高的“国民校花”，外语角的邂逅、临江路上的等待、竹林里的浪漫，所有这些都将铭刻在你们的记忆。当然，你们也一定还会记得食堂饭菜的“独特味道”，记得课桌、厕所里的“激扬文学”，记得操着一口“川普”的老教授，还有民主湖论坛上宣泄的“酣畅淋漓”，不过到那时，再提及这些你们一定都会泯然一笑，因为这就是母校!华中科大的根叔说：“什么是母校?就是那个你一天骂他八遍却不许别人骂的地方”，我还想再补充一句：“什么是母校，就是那个左看右看不顺眼，但还要回来看的地方!”
大学生活之所以美好，是因为毕业之后面临的社会非常现实。从明天起你们大部分同学就要离开校园，走入社会，临别之际，我作为校长，应当赠送你们临别寄语。在这里我不想用华丽的词语来堆砌赠言，只讲两个故事共勉。
第一个是关于不同大学文化培养出不同风格学生的故事。上司给下属布置工作，某著名综合性大学的毕业生听完后，还没动手开干就给上司讲了一大通“理论”，论证上司布置的工作有缺陷，建议上司应该这样，应该那样，老板对此极为不快，影响了这个毕业生的升迁和发展，不是炒鱿鱼就是被炒;另一著名理工科大学的毕业生，等上司交代工作完毕，立马表态保证在规定期限内完成任务，完成任务后才给上司谈他是如何创造性地完成任务，并提了很多创新性的建议，所以这个学生得到了重用，并且这个高校产生了很多大领导、大老板、大人物;我们重大的毕业生呢，接到任务后，任劳任怨、默默无闻、循规蹈矩地完成了所有工作，但做完就完了，没有把如何创造性的完成任务向上司讲，也没主动给上司提建议，所以重大的毕业生大多成了总工程师或副手，没有产生太多的大人物。讲这个故事，我是想提醒同学们，埋头苦干固然重要，但也不能因为埋头而默默无闻，淹灭了你们的创新意识和敢为人先的精神，希望你们既要传承“耐劳苦、尚俭朴、勤学业、爱国家”的重大精神，也要弘扬“求知、求精、求实、求新”的重大学风，甩掉第一个，赶超第二个，用你们改革创新的精神和敢为人先的胆略去展现新一代重大人的风采。
第二个故事是关于我自己的故事。我89年赴美国学习，刚去的时候每个月只有420美元的生活费，生活相当拮据。于是，我埋头苦干了1个月，完成了4篇研究报告，并且每天我坚持早起到实验室，导师每天晨跑的时候都看到我在工作。导师见我这个中国人如此刻苦，问我在美国生活有无困难，我如实说：“钱太少了!”，导师觉得找这么个助手不容易，立马决定从第二个月开始再给我每月xx美元的补贴，使我在那个年代一个月就成了万元户。我想告诉同学们的是什么呢?我想告诉同学们在任何岗位，首先要苦干做出一番成绩，有了资本后，要主动地寻找一种合适的方式提出自己的诉求，体现自己的价值。
同学们，千言万语，难以诉说心中深深的离别之情;万语千言，难以表达心中真挚的祝福之意!我相信，今天，你们以母校为荣;明天，母校一定因为你们而骄傲!
再见了，同学们!祝你们一帆风顺，鹏程万里，一生平安!
【五】:芭芭拉乔丹经典英语演讲
芭芭拉 乔丹出生于1936年德克萨斯州休斯顿的南部。她是家里三姐妹中最小的一个，她爸爸是洗礼堂的一位牧师。他教导她要爱家人，为人要忠诚，并且还教她音乐和外语。她经常以她自己的亲生经历来教导所有的美国人，一个人的信念是多么的重要，真理是多么的强大。下面是芭芭拉乔丹经典英语演讲，希望小编整理的对你有用，欢迎阅读：
Thank you ladies and gentlemen for a very warm reception.
It was one hundred and forty-four years ago that members of the Democratic Party first met in convention to select a Presidential candidate. Since that time, Democrats have continued to convene once every four years and draft a party platform and nominate a Presidential candidate. And our meeting this week is a continuation of that tradition. But there is something different about tonight. There is something special about tonight. What is different? What is special?
I, Barbara Jordan, am a keynote speaker.
A lot of years passed since 1832, and during that time it would have been most unusual for any national political party to ask that a Barbara Jordan to deliver a keynote address. But tonight here I am. And I feel that notwithstanding the past that my presence here is one additional bit of evidence that the American Dream need not forever be deferred.
Now that I have this grand distinction what in the world am I supposed to say? I could easily spend this time praising the accomplishments of this party and attacking the Republicans -- but I don't choose to do that. I could list the many problems which Americans have. I could list the problems which cause people to feel cynical, angry, frus
