【完】【奥斯卡最佳导演系列】Delbert Mann by george250

http://www.cinepedia.cn/w/Delbert_Mann 戴尔伯特·曼（1920年1月30日 — 2007年11月12日）是美国电影、电视导演、制片人。曾获得过戛纳电影节金棕榈奖及奥斯卡奖。 [编辑] 生平 曼毕业于范德比尔特大学政治学系，和许多电视黄金时期的导演一样，他来自剧场，大学时候他已经参与了Nashville剧社的活动。后来他自耶鲁戏剧学院获得MFA学位，后工作于纽约，为NBC担任助理导演。 1949年，曼开始为电视台执导剧情电视片，他的同事包括Vincent Donahue、阿瑟·佩恩和Gordon Duff。 在50年代，曼拍摄了许多电视片。 Mann is perhaps most often identified with the Philco-Goodyear Television Playhouse (and subsequent film) production of Paddy Chayefsy's Marty, which has been thought by many of today's critics to be one of the most outstanding original dramas produced by Fred Coe and the Philco-Goodyear Television Playhouse. Although it did not receive outstanding reviews when it first aired, it was one of the first television plays to receive any major press coverage and more than one line in a reviewer's column. When Mann directed the film version of Marty two years later, he was awarded the Oscar for Best Director, and the film won the Cannes Film Festival and Oscars for Best Picture, Actor, and Screenplay. The film was nominated but did not win Oscars for Best Supporting Actor, Supporting Actress, Cinematography, and Art Direction. Many of Mann's works tackled social issues, such as the plight of the elderly in Ernie Barger is Fifty. However, the director contends that, at the time, the plays were not thought of in terms of their social issues--they were stories about people and "just awfully good drama." 曼的剧场训练对他的电视台工作有很大影响。他习惯让摄影机相对固定，让演员在画框内表演。 At Coe's direction, close-ups were used only to emphasize something or if there was a dramatic reason for doing so. The static camera is particularly effective in the Marty dance sequence, which Mann filmed with one camera and no editing. Actors were carefully choreographed to turn to the camera at the exact moment when they needed to be seen. Combined with the crowded, relatively small set, the static camera focused the audience's attention on the characters and their sense of uneasiness in the situation. Chayefsky has credited the success of The Bachelor Party to Mann's direction noting that, through simple stage business and careful balancing of scenes, Mann was able to illustrated the emptiness of life in the small town and the protagonist's increasing depression. Many of Mann's works are period pieces based on the director's own love of history, which he tried to recreate accurately. But historical context serves as background to the personal relationships in the story. The Man Without a Country, produced during the height of anti-Vietnam protests, is a patriotic story of love of country and flag intended to stir a sense of nationalism during the Civil War and, simultaneously, the intimate story of one man's oppression. Mann shifted to filmmaking in the 1960s but periodically returned to television to pursue more personal, people-oriented stories in made-for-television films. Productions such as David Copperfield and Jane Eyre allowed him to, once again, tell stories of personal relationships in an historical setting. Mann returned to his live television roots for the productions of All The Way Home (1981) and Member of the Wedding (1982) for NBC's Live Theater Series. These productions differed from live television in the 1950s in that they were staged as a theatrical production in a theater rather than a studio and were filmed with a live audience in order to show their reaction to the piece. Mann has been nominated for three Emmy awards for directing: Our Town (1955, Producers' Showcase, 1955), Breaking Up (ABC special, 1977), and All Quiet on the Western Front (CBS special, 1979). 2007年11月12日，曼在洛杉矶的Cedars-Sinai医疗中心因肺炎去世。