每年制作400多部影片,担任主角的是百老汇和伦敦舞台上最出色的明星,作品多出自获奖作家之手,由最有能力和财富的制片人以其巨大的才能和幻想制作;它们的题材选自畅销小说、历史伟人传记或戏剧性的报纸新闻;它们的观众多达几千万,外国作品很难与其明星阵容、主题和篇幅的宏伟抗衡,东部城市如纽约、波士顿却视之为迎合天真质朴观众的粗俗、伤感的便宜货。这是制片厂制度开始之前电影业黄金时代的描述吗?不是,这是当今电视影片和连续剧的真实写照,而现在,正是它们所处的黄金时代。这一黄金时代的出现是电影业由于面临电视挑战而在财政和艺术上的倾斜。从60年代,电视网对于日益增长的租播故事片费用的回答,就是启用大明星拍摄专门为电视制作的影片。这些影片风行一时,通常获得同一时间段里超过故事片的收视 More than 400 films are produced each year, featuring the best celebrities on Broadway and the London stage, and more of the work being produced by award-winning writers, with the greatest talent and illusion of the most capable and wealthy producers; their Theme selection from best-selling novels, biographies of historic greats or dramatic newspaper news; tens of millions of their audience, foreign works is difficult with its star lineup, theme and length of the grand contempt, the eastern cities such as New York, Boston, as catered to Naive rustic audience of vulgar, sad bargain. Is this a prelude to the studio’s golden age of film industry? No, this is a true portrayal of today’s television films and serials, and now it is the golden age they are in. The advent of this golden age was a financial and artistic slant to the motion picture industry in the face of television challenges. From the 1960s, the television network’s answer to the growing cost of renting feature films was to enable big stars to shoot films specially made for television. These films are popular and often gain more than feature films in the same period of time