用英语描述戛纳电影节的历史由来

20世纪30年代末，法国有感于当时德国、意大利高涨的法西斯主义气焰，

In the late 1930s, France was impressed by the high fascist flames of Germany and Italy at that time.

特别是德国宣传部长约瑟夫·戈培尔在1936年大力运作莱尼·里芬斯塔尔拍摄当年的柏林奥运，之后便成为1938年的纪录片《奥林匹亚》，强势入围1938年的威尼斯电影节并还夺下最佳外国影片“穆索里尼奖”；

Especially Joseph Goebbel, the German propaganda minister, made great efforts to run Lenny Rifenstall to shoot the Berlin Olympics in 1936. After that, he became the documentary "Olympia" in 1938. He was strong in the Venice Film Festival in 1938 and won the Mussolini Prize for Best Foreign Film.

于是法国公共行政及艺术部长尚·杰伊接受菲利普·艾蓝杰的建议，决定在戛纳创立新的国际电影节；

The French Minister of Public Administration and Art, Chan Jay, accepted Philip Elanger's proposal and decided to create a New International Film Festival in Cannes.

第一届电影节全名为“国际电影节”。选择戛纳是因为那边气候舒适。

The full name of the first film festival is "International Film Festival". Cannes was chosen because of the comfortable climate there.

1939年6月，路易·卢米埃尔担任第一届“国际电影节”主席，第一届电影节自9月1日进行到9月30日。

In June 1939, Louis Lumier chaired the first International Film Festival, which lasted from September 1 to September 30.

By appointing me General Delegate in August 2007, the President Gilles Jacob and the Board of the Festival de Cannes wanted to project the future Cannes. Following the sixtieth anniversary in 2007, a new cycle has opened on the Croisette.
A natural cycle, primarily, since a new period has commenced which will lead us up to the 70th anniversary in 2017. A symbolic cycle too, since there is a question on all our lips, and in our eyes too: what will the Festival de Cannes be like in ten years time? No one knows – especially us! – and yet, we must anticipate, guess and encourage this future.

Because cinema itself is constantly changing the boundaries, because the world it reflects is more indiscernible than ever, the Festival will not simply coast along on the prestige of its name, however strong that may be. This prestige is above all due to the quality of the films, the creativity of the artists, the fighting spirit of the professionals and the enthusiasm of the press. Cannes is a collective good that each of us, wherever we are
and in our own individual way, builds stone by stone, year after year. It’s through never ceasing to question, through constantly evolving, and through inviting criticism, that we do it the most good. Although solidly rooted in its own history, Cannes is always open to newness. That which is dissimilar to it enriches it: and this is why this festival is our festival.