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數字媒體專業英語
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【作者】	桑莉君、高旭
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【ISBN】	9787302447085
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內容介紹

開本：16開

紙張：膠版紙

包裝：平裝-膠訂

是否套裝：否

國際標準書號ISBN：9787302447085

叢書名：普通高等教育“動畫與數字媒體專業”規劃教材

作者：桑莉君、高旭

出版社：清華大學出版社

出版時間：2016年12月

編輯推薦

數字媒體專業英語（普通高等教育“動畫與數字媒體專業”規劃教材）從數字媒體自身入手闡述數字媒體的相關內容，從數字媒體產業、數字媒體藝術、數字媒體技術和數字媒體應用四方面，數字媒體現狀、波普藝術、計算機圖形學、增加現實、信息設計等17個側面，全面介紹了數字媒體的過去、現在和未來，內容涉及數字媒體概念、數字媒體產業、數字媒體美學、數字媒體技術和數字媒體應用。本書是一本真正意義的數字媒體專業英語教材。本書在內容編排方面注重圖文穿插，逼真的視覺效果將增強讀者對數字媒體形像的閱讀感受。

內容簡介

本書是為數字媒體藝術和數字媒體技術專業英語課程編寫的教材。全書按照數字媒體範疇，共分為數字媒體產業、數字媒體藝術、數字媒體技術、數字媒體應用4個部分，1。都包含課文、詞彙、注釋、練習和多篇閱讀材料。
本書可供應用型本科院校或大專院校數字媒體技術或數字媒體藝術專業師生教學使用，也可供教育技術專業、新聞傳播學類專業師生教學參考。

目錄

Chapter 1Industry Background
UNIT 1Digital Contemporary Life3
Text ADisney Buys Pixar3
Text BChinese Make Big Push into Animation9
Text CWeChat: The Chinese Chat App StealingWeibos
Thunder12
Reading Material7 Lessons You Can Learnfrom Shooting
with a Camera Phone15
UNIT 2The Rise of Digital Media Industry19
Text ADigital Art in China19
Reading MaterialWall Street Has MadeHillary Clinton a
Millionaire22

Chapter 1Industry Background

UNIT 1Digital Contemporary Life3

Text ADisney Buys Pixar3

Text BChinese Make Big Push into Animation9

Text CWeChat: The Chinese Chat App Stealing
Weibos

Thunder12

Reading Material7 Lessons You Can Learn
from Shooting

with a Camera Phone15

UNIT 2The Rise of Digital Media Industry19

Text ADigital Art in China19

Reading MaterialWall Street Has Made
Hillary Clinton a

Millionaire22

Chapter 2Art Background

UNIT 3Dadaism27

Text ADadaism27

Reading MaterialDuchamp31

UNIT 4Pop Art34

Text APop Art Pioneer Richard Hamilton Dies
at the Age

of 8934

Text BRestless Genius: Pablo Picasso37

Text CAndy Warhol and the Can That Sold the
World by Gary

Indiana40

Reading Material“My Mind
Split Open”: Andy Warhols

Exploding Plastic
Inevitable44[1][2][1][3]UNIT 5Montage47

Text AMontage （filmmaking）47

Reading MaterialTaxi Driver （1976）51

Reading MaterialAvatar 3D Film Employs
Cutting Edge Visual Effects54

Chapter 3Technical Elements

UNIT 6Overview Of Computer61

Text AEvolution of Computer61

Reading MaterialWho Invented the
Computer?68

UNIT 7Multimedia Computer Technology72

Text AWindows Media Player 1272

Text BAdobe Fast Facts77

Text CAdobe Character Animator80

Reading MaterialWe Had No Idea84

UNIT 8Computer Graphics87

Text AApples First Macintosh
Turns 2587

Text BHow Mandelbrots Fractals
Changed the World90

Reading MaterialListening to Geometry93

Reading MaterialThe Backbone of Fractals:
Feedback and the Iterator95

Chapter 4Professional Outlook

UNIT 9Virtual Reality99

Text ABuilding a Digital Museum99

Text B5 Ways Virtual Reality Will Change
Education102

Text CDont Compare Virtual
Reality to the Smartphone107

Reading Material“Chinas Google” Baidu is
Making Smart Glasses110

UNIT 10Augmented Reality112

Text A7 Ways Augmented Reality Will Improve
Your Life112

Text BCan Augmented Reality Help Save the
Print Publishing Industry?117

Text C（geolocation
augmented reality QR codes） Libraries120

Reading MaterialGPS App Keeps Drivers Eyes on the
Road123

UNIT 11New Media Advertisement126

Text AMobile Advertising Is Soaring While
Newspapers Continue Their

Inexorable Decline126

Text B8 Reasons to Join the Digital Media
and Advertising Industry129

Reading MaterialWhat is Digital Media?132

UNIT 12UI135

Text ARealism in UI Design135

Text BExperience vs Function—a Beautiful UI
is Not Always the Best UI139

Reading MaterialEyeCatching
Mobile App Interfaces with Sleek Gradient

Effect142

UNIT 13Web Design151

Text ADesign Trend: Ghost Buttons in
Website Design151

Text BHow To Create a Web Design Style
Guide156

Reading Material11 Web Design Trends for
2016164

UNIT 14Information Design171

Text AWhat Is Information Design?171

Text BPhysical, Cognitive, and Affective: A
Threepart Framework for

Information Design176

Reading MaterialAudible Information Design
in the New York City Subway

System: A Case Study180

UNIT 15Architectural Animation184

Text AMaking of Phoenix & Vieques House
Animation184

Reading MaterialArchitecture Software197

UNIT 16Visual Communication200

Text AType Basics200

Reading MaterialStyle Tiles and How They
Work205

UNIT 17Online Game211

Text AAngry Wingless Birds are Taking
Over211

Reading MaterialApple Buys Star Wars Tech
Firm Faceshift to up Its VR

Game219

Reading MaterialMicrosoft Pays $2.5bn for
Minecraft Maker Mojang220

參考文獻224

前言

序言前言序言前言
數字媒體專業是我國近年來興起的熱門專業之一。據*《普通高等學校本科專業目錄（2012版）》，我國的數字媒體類專業主要有數字媒體藝術（專業代碼為130508）和數字媒體技術（專業代碼為080906），此外還有在教育技術、視覺傳達設計、網絡與新媒體等專業下開設的數字媒體方向。數字媒體專業在校學生人數正在逐年增加。“數字媒體專業英語”是數字媒體類專業的必修課程之一。數字媒體專業是傳播、技術和藝術的多學科復合型專業，故“數字媒體專業英語”課程的內容應該能夠基本覆蓋數字媒體產業、數字媒體藝術、數字媒體技術和數字媒體應用幾個方面。本書在此4個方面的基礎上，通過劃分的1，分別對數字媒體各內容進行了細致、專業的介紹。本書以提高媒體類學生的英語文獻閱讀能力為目的，擴展其英語的寫、譯和專項表達能力。立足於實用性，本書從數字媒體常見的產業、藝術、技術和應用幾個方面出發，同時兼顧技術發展熱點和媒體文化原則，分別列入17個：數字媒體現狀、數字媒體產業、達達主義、波普藝術、蒙太奇藝術、計算機技術、多媒體計算機、計算機圖形學、虛擬現實、增強現實、新媒體廣告、用戶設計、Web設計、信息設計、建築動畫、視覺傳達設計、遊戲娛樂。都包含課文、詞彙、注釋、練習和閱讀材料幾個部分，其中課文側重於展示本主題領域的基礎知識和關鍵內容，閱讀材料主要是對主題內容的補充。本書內容的組織不僅有利於學生了解數字媒體的現狀及發展，而且可讓學生在輕松有趣的閱讀中掌握並積累數字媒體專業英語詞彙。本書主要由太原理工大學桑莉君和高旭編寫。此外參加本書編寫工作的還有郝小星、張琤、劉東霞、李烽、趙慧、王玉文、常林梅、常春燕、樊寧、溫芝龍、高永利、吳朋波、趙文慧及大同大學趙慧琴老師。由於編者水平有限，書中的疏漏、不足在所難免，敬請廣大讀者不吝賜教。
編者2016年4月

媒體評論

評論

在線試讀

UNIT5MontageCOMPETENCIESAfter you have read this unit, you should be able to: 1. Discuss what is montage.2. Find some movies use montage and make notes.Text AMontage （filmmaking）For the use of montage in the 1920s Soviet Union, see Soviet montage theory. For other uses of the word montage, see Montage (See figure 51).Figure 51Spacetime video montageMontage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. The term has been used in various contexts. It was introduced to cinema primarily by Sergei Eisenstein, and early Soviet directors used it as a synonym for creative editing. In France the word “montage” simply denotes cutting. The term “montage sequence” has been used primarily by British and American studios, which refers to the common technique as outlined in this article.The montage sequence is usually used to suggest the passage of time, rather than to create symbolic meaning as it does in Soviet montage theory.From the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects （fades, dissolves, split screens, double and triple exposures） dance and music. They were usually assembled by someone other than the director or the editor of the movie.[1][2][1][3]DevelopmentThe word montage came to identify…specifically the rapid, shock cutting that Eisenstein employed in his films. Its use survives to this day in the specially created “montage sequences” inserted into Hollywood films to suggest, in a blur of double exposures, the rise to fame of an opera singer or, in brief model shots, the destruction of an airplane, a city or a planet.Two common montage sequence devices of the period are a newspaper one and a railroad one. In the newspaper one, there are multiple shots of newspapers being printed （multiple layered shots of papers moving between rollers, papers coming off the end of the press, a pressman looking at a paper） and headlines zooming on to the screen telling whatever needs to be told. There are two montages like this in It Happened One Night. In a typical railroad montage, the shots include engines racing toward the camera, giant engine wheels moving across the screen, and long trains racing past the camera as destination signs zoom into the screen.“Scroll montage” is a form of multiplescreen montage developed specifically for the moving image in an internet browser. It plays with Italian theatre director Eugenio Barbas “space river” montage in which the spectators attention is said to “\\[sail\\] on a tide of actions which their gaze \\[can never\\] fully encompass.” “Scroll montage” is usually used in online audiovisual works in which sound and the moving image are separated and can exist autonomously: audio in these works is usually streamed on internet radio and video is posted on a separate site.Noted DirectorsFilm critic Ezra Goodman discusses the contributions of Slavko Vorkapi＇c, who worked at MGM and was the bestknown montage specialist of the 1930s: He devised vivid montages for numerous pictures, mainly to get a point across economically or to bridge a time lapse. In a matter of moments, with images cascading across the screen, he was able to show Jeanette MacDonalds rise to fame as an opera star in Maytime （1937）, the outbreak of the revolution in Viva Villa （1934）, the famine and exodus in the Good Earth （1937）, and the plague in Romeo and Juliet （1936）.From 1933 to 1942, Don Siegel, later a noted feature film director, was the head of the montage department at Warner Brothers. He did montage sequences for hundreds of features, including Confessions of a Nazi Spy;Knute Rockne, All American;Blues in the Night;Yankee Doodle Dandy;Casablanca;Action in the North Atlantic;Gentleman Jim;and They Drive By Night.Siegel told Peter Bogdanovich how his montages differed from the usual ones: Montages were done then as theyre done now, oddly enough—very sloppily. The director casually shoots a few shots that he presumes will be used in the montage and the cutter grabs a few stock shots and walks down with them to the man whos operating the optical printer and tells him to make some sort of mishmash out of it. He does, and thats whats labeled montage.In contrast, Siegel would read the motion pictures script to find out the story and action, then take the scripts one line description of the montage and write his own five page script. The directors and the studio bosses left him alone because no one could figure out what he was doing. Left alone with his own crew, he constantly experimented to find out what he could do. He also tried to make the montage match the directors style, dull for a dull director, exciting for an exciting director.Of course, it was a most marvelous way to learn about films, because I made endless mistakes just experimenting with no supervision. The result was that a great many of the montages were enormously effective.Siegel selected the montages he did for Yankee Doodle Dandy （1942）, The Adventures of Mark Twain （1944）, and Confessions of a Nazi Spy, as especially good ones. “I thought the montages were absolutely extraordinary in ‘The Adventures of Mark Twain’not a particularly good picture, by the way.”Analysis of Two Typical ExamplesThe two montage sequences in Holiday Inn （1942） show the two basic montage styles. The focus of the movie is an inn that presents elaborate nightclub shows only on the holidays. The film was in production when the United States entered World War II.The first montage occurs during the Independence Day show, as Bing Crosby sings “Song of Freedom”. The 50 second montage combines several single screen sequences of workers in an aircraft factory and various military units in motion （troops marching, planes flying, tanks driving） with multiple split screens, with up to six images in one shot. The penultimate shot shows a center screen head shot of General Douglas MacArthur in a large star with military images in the four corners.The second montage occurs near the end of the film, showing the passage of time. Unlike the clarity of the “Song of Freedom” montage, this one layers multiple images in an indistinct and dreamlike fashion. In the film, the character played by Fred Astaire has taken Crosbys partner, Marjorie Reynolds, to star in a motion picture based on the idea of the inn. The 60 second montage covers the time from Independence Day to Thanksgiving. It opens with a split screen showing three shots of Hollywood buildings and a zoom title, Hollywood. Then comes a zoom into a camera lens where Astaire and Reynolds are seen dancing to a medley of tunes already introduced in the film. The rest of the sequence continues to show them dancing, with multiple images of motion picture cameras, cameramen, a director, musical instruments, single musical notes, sheet music and dancers legs circle around them. Several times six images of themselves also circle the dancers. Only the opening shot uses a clearly defined split screen and only the second shot is a single shot.Both of these styles of montage have fallen out of favor in the last 50 years. Todays montages avoid the use of multiple images in one shot, either through splits screens as in the first example or layering multiple images as in the second. Most recent examples use a simpler sequence of individual short, rapidly paced shots combined with a specially created background song to enhance the mood or reinforce the message being conveyed.From: Wikipedia, the free encyclopediaNew WordsMontage n. 蒙太奇;（電影、電視的）鏡頭組接;合成畫;疊化剪輯Soviet n. 蘇聯;蘇維埃;代表會議;勞工代表會議;adj. 蘇聯的，蘇維埃的Edit vt. 編輯;剪輯;（影片，錄音）校訂;主編;n. 編輯Sequence n. 順序;vt. 使按順序排列，安排順序Hollywood n. 好萊塢Multiple adj. 多重的;多個的;復雜的;多功能的Revolution n. 革命;旋轉;徹底改變;運行，公轉Sloppily adv. 馬虎地，草率地Exercises〖*2〗Translation1. Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information.2. “Scroll montage” is a form of multiplescreen montage developed specifically for the moving image in an internet browser.3. Montages were done then as theyre done now, oddly enough—very sloppily.4. The first montage occurs during the Independence Day show, as Bing Crosby sings “Song of Freedom”.5. The second montage occurs near the end of the film, showing the passage of time. Unlike the clarity of the “Song of Freedom” montage, this one layers multiple images in an indistinct and dreamlike fashion.DefinitionsMontageUNIT5MontageCOMPETENCIESAfter you have read this unit, you should be able to: 1. Discuss what is montage.2. Find some movies use montage and make notes.Text AMontage （filmmaking）For the use of montage in the 1920s Soviet Union, see Soviet montage theory. For other uses of the word montage, see Montage (See figure 51).Figure 51Spacetime video montageMontage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. The term has been used in various contexts. It was introduced to cinema primarily by Sergei Eisenstein, and early Soviet directors used it as a synonym for creative editing. In France the word “montage” simply denotes cutting. The term “montage sequence” has been used primarily by British and American studios, which refers to the common technique as outlined in this article.The montage sequence is usually used to suggest the passage of time, rather than to create symbolic meaning as it does in Soviet montage theory.From the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects （fades, dissolves, split screens, double and triple exposures） dance and music. They were usually assembled by someone other than the director or the editor of the movie.[1][2][1][3]DevelopmentThe word montage came to identify…specifically the rapid, shock cutting that Eisenstein employed in his films. Its use survives to this day in the specially created “montage sequences” inserted into Hollywood films to suggest, in a blur of double exposures, the rise to fame of an opera singer or, in brief model shots, the destruction of an airplane, a city or a planet.Two common montage sequence devices of the period are a newspaper one and a railroad one. In the newspaper one, there are multiple shots of newspapers being printed （multiple layered shots of papers moving between rollers, papers coming off the end of the press, a pressman looking at a paper） and headlines zooming on to the screen telling whatever needs to be told. There are two montages like this in It Happened One Night. In a typical railroad montage, the shots include engines racing toward the camera, giant engine wheels moving across the screen, and long trains racing past the camera as destination signs zoom into the screen.“Scroll montage” is a form of multiplescreen montage developed specifically for the moving image in an internet browser. It plays with Italian theatre director Eugenio Barbas “space river” montage in which the spectators attention is said to “\\[sail\\] on a tide of actions which their gaze \\[can never\\] fully encompass.” “Scroll montage” is usually used in online audiovisual works in which sound and the moving image are separated and can exist autonomously: audio in these works is usually streamed on internet radio and video is posted on a separate site.Noted DirectorsFilm critic Ezra Goodman discusses the contributions of Slavko Vorkapi＇c, who worked at MGM and was the bestknown montage specialist of the 1930s: He devised vivid montages for numerous pictures, mainly to get a point across economically or to bridge a time lapse. In a matter of moments, with images cascading across the screen, he was able to show Jeanette MacDonalds rise to fame as an opera star in Maytime （1937）, the outbreak of the revolution in Viva Villa （1934）, the famine and exodus in the Good Earth （1937）, and the plague in Romeo and Juliet （1936）.From 1933 to 1942, Don Siegel, later a noted feature film director, was the head of the montage department at Warner Brothers. He did montage sequences for hundreds of features, including Confessions of a Nazi Spy;Knute Rockne, All American;Blues in the Night;Yankee Doodle Dandy;Casablanca;Action in the North Atlantic;Gentleman Jim;and They Drive By Night.Siegel told Peter Bogdanovich how his montages differed from the usual ones: Montages were done then as theyre done now, oddly enough—very sloppily. The director casually shoots a few shots that he presumes will be used in the montage and the cutter grabs a few stock shots and walks down with them to the man whos operating the optical printer and tells him to make some sort of mishmash out of it. He does, and thats whats labeled montage.In contrast, Siegel would read the motion pictures script to find out the story and action, then take the scripts one line description of the montage and write his own five page script. The directors and the studio bosses left him alone because no one could figure out what he was doing. Left alone with his own crew, he constantly experimented to find out what he could do. He also tried to make the montage match the directors style, dull for a dull director, exciting for an exciting director.Of course, it was a most marvelous way to learn about films, because I made endless mistakes just experimenting with no supervision. The result was that a great many of the montages were enormously effective.Siegel selected the montages he did for Yankee Doodle Dandy （1942）, The Adventures of Mark Twain （1944）, and Confessions of a Nazi Spy, as especially good ones. “I thought the montages were absolutely extraordinary in ‘The Adventures of Mark Twain’not a particularly good picture, by the way.”Analysis of Two Typical ExamplesThe two montage sequences in Holiday Inn （1942） show the two basic montage styles. The focus of the movie is an inn that presents elaborate nightclub shows only on the holidays. The film was in production when the United States entered World War II.The first montage occurs during the Independence Day show, as Bing Crosby sings “Song of Freedom”. The 50 second montage combines several single screen sequences of workers in an aircraft factory and various military units in motion （troops marching, planes flying, tanks driving） with multiple split screens, with up to six images in one shot. The penultimate shot shows a center screen head shot of General Douglas MacArthur in a large star with military images in the four corners.The second montage occurs near the end of the film, showing the passage of time. Unlike the clarity of the “Song of Freedom” montage, this one layers multiple images in an indistinct and dreamlike fashion. In the film, the character played by Fred Astaire has taken Crosbys partner, Marjorie Reynolds, to star in a motion picture based on the idea of the inn. The 60 second montage covers the time from Independence Day to Thanksgiving. It opens with a split screen showing three shots of Hollywood buildings and a zoom title, Hollywood. Then comes a zoom into a camera lens where Astaire and Reynolds are seen dancing to a medley of tunes already introduced in the film. The rest of the sequence continues to show them dancing, with multiple images of motion picture cameras, cameramen, a director, musical instruments, single musical notes, sheet music and dancers legs circle around them. Several times six images of themselves also circle the dancers. Only the opening shot uses a clearly defined split screen and only the second shot is a single shot.Both of these styles of montage have fallen out of favor in the last 50 years. Todays montages avoid the use of multiple images in one shot, either through splits screens as in the first example or layering multiple images as in the second. Most recent examples use a simpler sequence of individual short, rapidly paced shots combined with a specially created background song to enhance the mood or reinforce the message being conveyed.From: Wikipedia, the free encyclopediaNew WordsMontage n. 蒙太奇;（電影、電視的）鏡頭組接;合成畫;疊化剪輯Soviet n. 蘇聯;蘇維埃;代表會議;勞工代表會議;adj. 蘇聯的，蘇維埃的Edit vt. 編輯;剪輯;（影片，錄音）校訂;主編;n. 編輯Sequence n. 順序;vt. 使按順序排列，安排順序Hollywood n. 好萊塢Multiple adj. 多重的;多個的;復雜的;多功能的Revolution n. 革命;旋轉;徹底改變;運行，公轉Sloppily adv. 馬虎地，草率地Exercises〖*2〗Translation1. Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information.2. “Scroll montage” is a form of multiplescreen montage developed specifically for the moving image in an internet browser.3. Montages were done then as theyre done now, oddly enough—very sloppily.4. The first montage occurs during the Independence Day show, as Bing Crosby sings “Song of Freedom”.5. The second montage occurs near the end of the film, showing the passage of time. Unlike the clarity of the “Song of Freedom” montage, this one layers multiple images in an indistinct and dreamlike fashion.DefinitionsMontage

Reading MaterialTaxi Driver （1976）Are you talking to me? Well, Im the only one here. —Travis Bickle in “Taxi Driver” (See figure 52)Figure 52Taxi Driver （1976）It is the last line, “Well, Im the only one here,” that never gets quoted. It is the truest line in the film. Travis Bickle exists in “Taxi Driver” as a character with a desperate need to make some kind of contact somehow—to share or mimic the effortless social interaction he sees all around him, but does not participate in.The film can be seen as a series of his failed attempts to connect, every one of them hopelessly wrong. He asks a girl out on a date, and takes her to a porno movie. He sucks up to a political candidate, and ends by alarming him. He tries to make small talk with a Secret Service agent. He wants to befriend a child prostitute, but scares her away. He is so lonely that when he asks, “Who you talkin to?” he is addressing himself in a mirror.This utter aloneness is at the center of “Taxi Driver,” one of the best and most powerful of all films, and perhaps it is why so many people connect with it even though Travis Bickle would seem to be the most alienating of movie heroes. We have all felt as alone as Travis. Most of us are better at dealing with it.Martin Scorseses 1976 film （rereleased in theaters and on video in 1996 in a restored color print, with a stereophonic version of the Bernard Herrmann score） is a film that does not grow dated, or overfamiliar. I have seen it dozens of times. Every time I see it, it works;I am drawn into Travis underworld of alienation, loneliness, haplessness and anger.It is a widely known item of cinematic lore that Paul Schraders screenplay for “Taxi Driver” was inspired by “The Searchers,” John Fords 1956 film. In both films, the heroes grow obsessed with “rescuing” women who may not, in fact, want to be rescued. They are like the proverbial Boy Scout who helps the little old lady across the street whether or not she wants to go.“The Searchers” has Civil War veteran John Wayne devoting years of his life to the search for his young niece Debbie （Natalie Wood）, who has been kidnapped by Commanches. The thought of Debbie in the arms of an Indian grinds away at him. When he finally finds her, she tells him the Indians are her people now, and runs away. Wayne then plans to kill the girl, for the crime of having become a “squaw.” But at the end, finally capturing her, he lifts her up （in a famous shot） and says, “Lets go home, Debbie.”The dynamic here is that Wayne has forgiven his niece, after having participated in the killing of the people who, for 15 years or so, had been her family. As the movie ends, the niece is reunited with her surviving biological family, and the last shot shows Wayne silhouetted in a doorway, drawn once again to the wide open spaces. There is, significantly, no scene showing us how the niece feels about what has happened to her.In “Taxi Driver,” Travis Bickle also is a war veteran, horribly scarred in Vietnam. He encounters a 12yearold prostitute named Iris （Jodie Foster）, controlled by a pimp named Sport （Harvey Keitel）. Sport wears an Indian headband. Travis determines to “rescue” Iris, and does so, in a bloodbath that is unsurpassed even in the films of Scorsese. A letter and clippings from the Steensmas, Iris parents, thank him for saving their girl. But a crucial earlier scene between Iris and Sport suggests that she was content to be with him, and the reasons why she ran away from home are not explored.The buried message of both films is that an alienated man, unable to establish normal relationships, becomes a loner and wanderer, and assigns himself to rescue an innocent young girl from a life that offends his prejudices. In “Taxi Driver,” this central story is surrounded by many smaller ones, all building to the same theme. The story takes place during a political campaign, and Travis twice finds himself with the candidate, Palatine, in his cab. He goes through the motions of ingratiating flattery, but we, and Palatine, sense something wrong.Shortly after that Travis tries to “free” one of Palatines campaign workers, a blonde he has idealized （Cybill Shepherd）, from the Palatine campaign. That goes wrong with the goofy idea of a date at a porno movie. And then, after the fearsome rehearsal in the mirror, he becomes a walking arsenal and goes to assassinate Palatine. The Palatine scenes are like dress rehearsals for the ending of the film. With both Betsy and Iris, he has a friendly conversation in a coffee shop, followed by an aborted “date,” followed by attacks on the men he perceived as controlling them;he tries unsuccessfully to assassinate Palatine, and then goes gunning for Sport.There are undercurrents in the film that you can sense without quite putting your finger on them. Travis implied feelings about blacks, for example, which emerge in two long shots in a taxi drivers hangout, when he exchanges looks with a man who may be a drug dealer. His ambivalent feelings about sex （he lives in a world of pornography, but the sexual activity he observes in the city fills him with loathing）. His hatred for the city, inhabited by “scum.” His preference for working at night, and the way Scorseses cinematographer, Michael Chapman, makes the yellow cab into a vessel by which Travis journeys the underworld, as steam escapes from vents in the streets, and the cab splashes through water from hydrants—a Stygian passage.The film has a certain stylistic resonance with “Mean Streets” （1973）, the first Scorsese film in which Keitel and De Niro worked together. In the earlier film Scorsese uses varyin

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