查询词典 silent films

The results showed that the TiN andN films are polycrystalline phase. The properties and structure of TiN films are mainly determined by the N2 mass flow rate, and as the N2 mass flow rate increases, the structure of the TiN films transforms to f.c.c. type leading to better the properties of films. The presence of negative bias voltage can optimize the grain of TiN films, lower the defect proportion and denser the films, which improves the hardness of films. The TiN films conform to the free carrier absorption mechanism and there are many of free electrons with lower N content in TiN films. With the increase of N content, the quantity of free electrons and reflectivity of films decrease, and the plasma frequence shifts to the lower energy, which leads to the regular change of colors of films from silver, yellowy, golden to yellow-red, meanwhile the lightness of films decreases. The goldenN film consists of TiN and ZrN phase, but belongs to a sigle f.c.c. structure with (111) preferred orientation. The Zr-doping dosen't change the position of the valance band, conduction band and forbidden band ofN film, but leads to the presence of new energy levels, which is the reason thatN film remains golden. The transparent hard films with good corrosion resistance and high hardness have been prepared and the further reseachs showed that the grain size of those films is by far smaller than the wave length and the width of forbidden band of those films is very broad, is the reasons that those films are transparent.

研究表明：氮化钛和N 薄膜为多晶态，氮流量决定了氮化钛薄膜的结构和性能，增加氮流量能使氮化钛薄膜的结构向面心立方结构转变，从而得到性能良好的氮化钛薄膜；施加负偏压能优化氮化钛晶粒和减少薄膜中的缺陷，使膜层变得更致密，从而提高薄膜硬度；氮化钛主要遵循自由载流子光吸收，氮含量较少时薄膜中的自由电子数目较多，随着氮含量的增加，薄膜中的自由电子数目不断减少，反射率逐渐降低，等离子体频率向低能端移动，从而使薄膜颜色出现规律变化，由金属色银白色到淡黄、金黄再到红黄，并且薄膜亮度呈下降趋势；金黄色的N 薄膜中存在TiN 和ZrN 的分离相，但其为单一的面心立方结构并具有(111)面择优取向；相对于TiN 薄膜，Zr 掺杂后，并没有使薄膜的导带、价带和禁带发生变化，只是在TiN 禁带内增加了新能级，这也正是掺杂Zr 后，薄膜仍

XRD,X-ray EDS analysis,AFM and Fourier transform infrared spectroscopy were employed to characterize PbSe thin films. The results show that all of the films were heteromorphy and the growth temperature has effect to the diffract peaks of the films. The contents of PbSe thin films by PLD consisted with the targets,and realizing thin films deposited with same constitutes; the films had rather flatness surface and compact structure; the peak-to-tail roughness of PbSe thin films surfaces was less than 200nm;they had sensitivity to light of a specified wavelength and obvious absorption edge at 5μm corresponding to band-gap width of PbSe thin films;light of wavelength less than 5μm was strongly absorbed.

通过脉冲激光沉积法在Si(111)和SiO2玻璃基片上制备了PbSe薄膜。X射线衍射、X射线能谱、原子力显微镜、傅里叶变换红外光谱仪测试结果表明：所有制备的薄膜都为多晶薄膜，发现薄膜生长温度对薄膜衍射峰有一定影响；PLD法制备的薄膜的成分与靶材的基本一致，实现了同组分沉积；所有薄膜表面比较平滑，表面不平整度小于200nm，结构比较致密；PbSe薄膜对红外光具有敏感的响应特性；在波长为5μm处存在有明显的吸收边，此吸收边对应于直接带隙PbSe材料的禁带宽度；对应于波长小于5μm的红外光，PbSe薄膜存在有明显的强吸收。

The results showed that the constitutes of thin films by PLD consisted with the targets ,and realizing thin films deposited with same constitutes;All of the films were heteromorphism;It was revealed that the effect of the growth temperature was significant to the diffract peaks of the films and that of the substrate was negligible;the films had rather flatness surface and compact structure;the peak-to-tail roughness of PbSe thin films surfaces was less than 200nm and that of ZnO and Mn doped ZnO films surfaces was less than 100nm;Flat degree was improved with falling of growth temperature and laser energy .

测试结果表明：PLD法制备的薄膜的成分与靶材的基本一致，实现了同组分沉积；所有制备的薄膜都为多晶薄膜，发现薄膜生长温度是影响薄膜衍射峰的主要因素，基片类型对此影响不明显；所有薄膜表面比较平滑，结构比较致密；其中PbSe薄膜的表面不平整度小于200nm，ZnO和Mn离子掺杂ZnO薄膜的表面不平度小于100nm；生长温度和激光能量降低能提高薄膜表面的平整度。

Meanwhile, Hong Kong films received belatedly and discriminately influences from Western films. Hollywood commercialized films, the European films of art, Japanese films, especially the production system of Hollywood, the French cinematic conception of "new waves", the technique of Japanese swords films, and sex emancipation, post-modernism, recreationism and commercialism have had in varying degrees impact on Hong Kong films, building up their own style which welds Chinese culture and international cinematic culture.

美国好莱坞的商业电影、欧洲的艺术电影乃至日本电影，特别是好莱坞的制片厂制度、法国&新浪潮&的电影理念、日本剑戟片的拍摄技术，还有&性解放&、&后现代&、娱乐主义和商业主义等文化思潮，都不同程度地影响着香港电影的面貌和发展，逐步使香港电影形成了以祖国文化为根基、同时又具有国际化现代电影包装的个性特征。

Bathroom with ground glass, body art is no bathroom glass is not closed . pornographic film lay in a bathtub with shower. Human art is a bathtub with water but no more- Shuai gg at the side of pornographic films eat rice, Art is born of human sausage, pornographic movies were filmed in China, Japanese art is the human body's film is pornographic films within three minutes really not in months. Human art is less than three minutes stripped of clothes, is a film pornographic films, only one female, the human body is an art they have some film actress, is a film pornographic movies Lane women exposed to less than 2 times. the human body is an art film Lane women exposed more than three times. pornographic film has been adapted to the garden machine-jet wet clothes. the human body art h 哥 sas been the kitchen faucet-jet wet clothes. is a screen pornographic films, only one screen, Human art is a screen with four pictures, that is pornographic films for Health Services received a bath mm tip, Art is human health services do not accept tips, using mm body as a tip. pornographic films and everyone can see the stitches, Art is human and everyone can have silenced the pornographic film

洗澡间用毛玻璃的，是人体艺术洗澡间没玻璃也没有关门的，是色情电影躺在浴缸里洗澡的，是人体艺术浴缸里没水却多了个帅 gg 在旁边的，是色情电影吃米饭的，是人体艺术吃香蕉香肠的，是色情电影中国人拍的，是人体艺术日本人拍的，是色情电影三分钟内没有动真个的，是人体艺术三分钟不到衣服就脱光了的，是色情电影一个影片里只有一个女主角的，是人体艺术一个影片里有几个女主角的，是色情电影一个影片里女人裸露2次以下的，是人体艺术一个影片里女人裸露3次以上的，是色情电影被花园里的撒水机喷湿衣服的，是人体艺术被厨房里的水龙头喷湿衣服的，是色情电影一个屏幕里只有一个画面的，是人体艺术一个屏幕里有四个画面的，那是色情电影服务生找洗澡 mm 收小费的，那是人体艺术服务生不收小费，用 mm 身体当小费的，是色情电影和大家一起看还可以哈哈大笑的，是人体艺术和大家一起看却鸦雀无声的，是色情电影

We are not covering silent films in this course. We will begin with the first talking motion picture, The Jazz Singer, released in 1927. The next week, we'll be looking at The Gold Diggers of 1933, a piece that is very representative of the escapist trend in films released during the depression. Some of the films we will be watching will probably be new to you, like Frank Capra's Why We Fight. Others you might have already seen on TV like Rebel without A Cause starring James Deane, or Stanley Cooper's Doctor's Strange Love. However, I hope you see even familiar film with new eye. In the last three weeks of the course, we will be watching films from the 1980s and you'll choose one of them as a subject for an extensive written critique.

这门课不讲无声电影，我们将从1927年放映的第一部有声电影＇爵士歌手＇开始，下周我们也将观看1933年放映的＇掘金人＇，一部非常能表现萧条时期逃避注意的电影，有一些电影对你们来说可能很新奇，象Frank Capra的＇为什么我们会打架＇，别的你们可能在电视上已经看过了，象James Deane主演的＇没有目标的反抗＇或Stanley Cooper的＇医生的怪癖＇，但是我希望你们对即使很熟悉的电影，也采取一种崭新的观点去看，在本课程的最后三周内，我们会观看一些80年代的影片，同时你们需要从中选出一部电影作为撰写深入评论的对象。

Taking the Chinese films development course of time as the longitudinal axle, this essay discuss the characteristics and varieties of the photoplay view and its creation practice of Chinese Films in different age. The discussion focused on the characteristics and development countermeasure of photoplay view and its creation practice of Chinese films in new age by analyzing the classic cases. This essay used such methors like historical materials arrangement, induction and comparison during the discussion. Thus conclusions are drawn as follows: In order to guide the Chinese films towards the world, we must carry forward national films vigorously. So the traditional photoplay views, which pay attention to audiences and meeting the aesthetic habits and appreciating ways, should not be abandoned.

本文运用史料整理、归纳、比较等方法，以时间上的电影发展历程为纵轴，探讨不同时期中国电影影戏观及其创作实践的特点及变化，重点通过经典案例探讨新时期中国电影影戏观创作实践的特点与发展对策，从而得出以下结论：要让中国电影走向世界，必须弘扬民族电影，因而重视观众、适应中国观众审美习惯与欣赏方式的传统影戏观在电影实践中仍不能丢弃。

The results indicated that the composite films exhibited much improved gas sensing performance.The phthalocyanine and its a-Fe2O3 embedded nano-particulate LB filmswere prepared by Langmuir-Blodgett technique. The films were characterized by AFM, UV-Vis and FT-IR spectra. The results indicated that the embedded LB films were composed of a-Fe2O3 nanoparticles and isopropoxyphthalocyanine molecules. The gas sensitivity of such prepared composite LB films was greatly improved. The film could detect 5ppm of propyl alcohol at room temperature. The composite films could be considered as gas-sensors for alcohols.

利用LB技术制各了异丙氧基酞菁铜LB膜和酞菁铜包埋球形α-Fe_2O_3纳米粒子的杂化LB薄膜，对其AFM、紫外和红外光谱的研究表明，利用LB技术可以实现酞菁与α-Fe_2O_3纳米粒子的有序组装，而且杂化薄膜对醇类气体的灵敏度有较大幅度提高，如对浓度为5ppm正丙醇的灵敏度为3.85，因此，杂化薄膜可以作为室温下醇类气体传感器进行开发研究。

Furthermore, while a rating by the FSK is not legally required for a film to be sold,"unrated" films may be sold only to adults, and since most retail chains and virtually all cinemas will sell / show only films with an FSK rating, all films are normally submitted to the FSK for classification, with the exception of films that will most likely be refused a certificate (pornography or films containing extremely strong violence, for example).

此外，虽然一等级的FSK信号不具有法律的电影需要出售，"评级"电影可能只卖给成年人，而大多数零售连锁店和几乎所有影院将出售/ FSK信号显示与评价只有一个电影，所有的电影通常提交分类FSK信号，随着电影，很可能会被拒绝证书（含色情或电影极强的暴力例外，例如）。

It was indicated by SEM spectra of ZnO thin films that the surface of the sample was leveled off, and the crystals were felsitic. It was found from the experiment that, with the increasing of substrate temperature, there were more oxygen vacancies in the films, which lead the conductance of the sample become larger , and the absorb edge of ZnO thin films shifted toward higher wavelength; with increasing of Ar:O2 ratio, there were lesser oxygen vacancies in the films, which lead the absorb edge of ZnO thin films shifted toward lower wavelength.

实验还发现，随着衬底温度的升高，薄膜中产生的氧空位将会增多，使得ZnO薄膜的电导逐渐增大，而且其紫外透射吸收截止边带向高波长方向漂移；随着氩氧比例的增加，薄膜中的氧缺陷相对减少，薄膜的透射吸收截止边向低波长方向漂移。

Although translator has turned from being a crystal ball by which the original culture can unrestrainedly penetrate to another crystal ball by which the target culture can freely traverse, the translator's personal embodiment, in the process of cognitive act, are still absent in translation studies. Translators are still subjects without body or simply disembodied subjects.

译者虽然由原语文化可以自由穿透的玻璃球变成了译语文化可以自由穿越的玻璃球，但译者认知过程中的个体体验在翻译研究中依然缺席，译者依然仅仅是一个没有躯体体验的主体。

Chillingly, he claimed our technology is 'not nearly as sophisticated' as theirs and "had they been hostile", he warned 'we would be been gone by now'.

令人毛骨悚然的，他声称我们的技术是'并不那么复杂，像他们一样，和"如果他们敌意"，他警告说，'我们将现在已经过去了。