Film has properties that set it apart from painting, sculpture, novels, and plays. It is also, in its most popular and powerful form, a story telling medium that shares many elements with the short story and the novel. And since film presents its stories in dramatic form, it has even more in common with the stage play: Both plays and movies act out or dramatize, show rather than tell, what happens.
Unlike the novel, short story, or play, however, film is not handy to study; it cannot be effectively frozen on the printed page. The novel and short story are relatively easy to study because they are written to be read. The stage play is slightly more difficult to study because it is written to be performed. But plays are printed, and because they rely heavily on the spoken word, imaginative readers can conjure up at least a pale imitation of the experience they might have been watching a performance on stage. This cannot be said of the screenplay, for a film depends greatly on visual and other nonvisual elements that are not easily expressed in writing. The screenplay requires so much “filling in” by our imagination that we cannot really approximate the experience of a film by reading a screenplay, and reading a screenplay is worthwhile only if we have already seen the film. Thus, most screenplays are published not to read but rather to be remembered.
Still, film should not be ignored because studying it requires extra effort. And the fact that we do not generally “read” films does not mean we should ignore the principles of literary or dramatic analysis when we see a film. Literature and films do share many elements and communicate many things in similar ways. Perceptive film analysis rests on the principles used in literary analysis, and if we apply what we have learned in the study of literature to our analysis of films, we will be far ahead of those who do not. Therefore, before we turn to the unique elements of film, we need to look into the elements that film shares with any good story.
Dividing film into its various elements for analysis is a somewhat artificial process, for the elements of any art form never exist in isolation. It is impossible, for example, to isolate plot from character: Events influence people, and people influence events; the two are always closely interwoven in any fictional, dramatic, or cinematic work. Nevertheless, the analytical method uses such a fragmenting technique for ease and convenience. But it does so with the assumption that we can study these elements in isolation without losing sight of their interdependence or their relationship to the whole.
From the third paragraph we learn that _____.
第三段第三句：Literature and films do share many elements and communicate many things in similar ways明确表明，电影和文学作品有很多共同点，文学作品的分析方法对电影分析也有一定的帮助。
关于绒毛膜癌及侵蚀性葡萄胎的临床分期，II期是指（）
28岁已婚女性，2年前因输卵管妊娠切除右侧输卵管，继发不孕2年，现停经40天，阴道流血10天，尿HCG(+)，B超提示右侧输卵管妊娠3cm×2cm×2cm，盆腔无积液。选择哪种治疗为宜
40岁已婚育妇女，因停经50天，下腹剧烈疼痛2小时急诊。检查：血压70/50mmHg，腹部移动浊音(+)，剖腹探查见左输卵管妊娠破裂型，左输卵管包裹于血块中。选择哪种治疗为宜
40岁已婚育女性，因"先兆流产"做流产刮宫术，术中发现为宫颈妊娠，大量流血，经注射止血药，局部填塞等措施仍血流如注，血压80/60mmHg。此时宜选择哪种治疗
36岁已婚女性，停经45天，阴道流血7天，下腹剧烈疼痛2小时入院。检查：患者面色苍白，腹部移动浊音(+)。剖腹探查诊断为卵巢妊娠，选择哪种治疗方法为宜
最常见的异常胎位是
初产妇，规律宫缩8小时，阴道检查宫口开全，先露部位于坐骨棘水平以下2cm，矢状缝与骨盆横径一致，小囟门位于母体的右侧，胎位是
对母儿危害最大的异常胎位是
胎儿纵轴与母体纵轴平行，先露部宽大而软，胎位是
胎儿枕骨位于母体骨盆左后方，胎位是
