查询词典 the western film

The line places thoroughly namely if with us person of Heibei laborious collect says be troubled by old~!But the jest in the human association with these buckish and Bacchic loose to mixing styles,we are indistinct saw neutral of even if film"overrun"but those who communicate is those sexes that are afoundation with love,perhaps be fundamental love with the gender,a variety of patting the result that drag,it is at least in afew kisses,exuding tenderness and love through eyes saw true love in afew dialogs,saw that situation of the intention.The film of Bmerican clique series exaggerated of purpose the to the gender understanding that those resemble our euqally big children in the Western Hemisphere and fumble,although be exaggerated,but mix after all the circumstance conform to of those Bmerican reality,believe to be in what had been our country learns in much and not been for the student of the college,but that is miserable in the ear that the thing has passed parents~!

但是在这些浮华喧闹的派对和荒诞乖张的人际交往中的笑话，我们隐隐约约观到了即便影片中性的"泛滥成灾"但是传达的是那些以爱为基础的性，或者以性为基础的爱，种种拍拖的结果，至少在一些吻中，含情脉脉一些对话中观到了真爱，观到了专心的那份情美国派系列的电影有意的夸大了那些在西半球像我们一样大的孩子们的对于性的认识和摸索，虽是夸大，但是究竟和美国那些现实的情况相符，相信在我们国家大部分中学和高校的学生来说已经不算是什么了，但是事情已经传到父母的耳朵里那就惨了~！

Its on the oriental stage that a series of oncoming and dormant Oedipus tragedies-incest tragedies, with which the westerners are so familiar regardless of performance on the somewhere strange stage, are highlights, so that the western spectators not only can enjoy the different exotic cultural charms, but from the commanding perspective fell the superiority of their own culture in this fabricated cultural context featured with backward, isolation and far from the reality. In addition, Zhang prefers to the method of time lagging in the film text formation, so that the textual times usually drag back to the past on purpose such as 1930s, 1940s, per-anti-Japanese war period as well as 1960s and 1970s; apart from this, the far-off areas far from the cultural center are chosen as the film space, all which get together to set up a static, stagnate and hiding Chinese traditional cultural context symbolized by backward, barbarousness and ignorantness to satisfy the male desire.

为了营造这个虚拟舞台，张艺谋影片中的采用了时间的滞后性策略，影片中的故事本文时间均选择了过去：十九世纪三十、四十年代，抗战前期，六七十年代；影片中的本文空间均选择了远离文化中心的边缘地带，通过时间的滞后策略和空间的边缘策略来满足一个停滞的、凝固的、静止的落后而由愚昧野蛮的中国传统文化语境；将处于社会边缘的女性放置在其中，利用观众位置的双重性认同结构，巧妙利用女性这一表层可见视觉中心和读解影片时意义渐隐的策略来遮掩和移位其真正的作者意识形态：即重复再一次对女性的观看，满足东西方男性的窥视欲望。

In brief, this article is to put the individual research into the collective research of community which to compare and explore the film biography"s works of this special theme lognitudinal and transverse. With the Chinese and the Western comparison of film biography and with the evolutive course of Chinese ones at various stages, this article lead the theory out of the history and analyse the person by the theory which stand out DingYinNan"s creative status and features who is the great master of Chinese biographic moviedom.

总之，这篇论文是将个体研究放入集体群像研究之中；横向、纵向的将传记片这一特殊题材的影片作品加以对比与探究；在中西传记影片的异同比较中在不同时期中国传记影片的演变过程中，以史带论，以论析人，最终突显出中国传记影坛大家——丁荫楠的创作地位与特征。

Early introduction of Western painting, has started over 300 years ago, the main channels: first, the missionaries brought a copy of Western painting; Second, the Western artists to China to teach Western painting techniques; Third, with the advertising and mass merchandise into our country's cigarette brands, brand cloth, cake box above picture of the ocean, photographic film set of King; the establishment of four new art education; Fifth, a limited number of students.

西方绘画传入很早，三百多年前已经开始，其主要渠道有：一是传教士带来的西方绘画的复制品；二是西方画家到中国传授西方绘画技法；三是随商品广告而传入我国的香烟牌子、布牌子、糕点盒子上面的洋画片、照相布景的景片；四是新兴办的美术教育；五是数量有限的留学生。

Oliver Stone's grandiloquent personalization pursues in the film principle and technique gave him the title of "master of style film". The western culture in the 1960s has given his films a special style, which made his films become the footnotes of the modern history in the United States.

奥利弗·斯通对电影理念和电影风格技巧近于夸张的个人化追求为他赢得了"风格电影"大师的美名。1960年代的西方文化血脉赋予了奥利弗·斯通电影特有的风格理念，这使他的电影在某种意义上成为解读美国现代历史的注脚。

Me and my sister, mother sororate look at the film, but by the time I asked if they had read the film has any feeling they gave me the answer is no feeling that my heart suddenly cool, I think another, I should not have too much on their requirements, not because of their wealth to the people, we go to the Western, only to find the food and they eat like, I am so embarrassed, I find it difficult to believe that they had led Western have not eaten in restaurants, we eat very well, after eating my heart is very sad, they are not even drinking wine while drinking, my sister in laws also allow me to take my sister to our meetings, she would like to eat in front of my friends, so I Lose face, really overconfident, I read all heartache.

我和我的小姨妹妹妈妈去看电影，出来的时候我问她们看完电影有什么感觉，她们给我的答案是没有感觉，我的心一下子就凉了，我又一想，我不该对她们有太高的要求，因为她们不是上层社会的人，我们去吃了西餐，却看到她们吃西餐的样子，很让我难堪，我很难相信她们连吃西餐都没有吃过，在西餐厅我们吃的很不好，吃完后，我的心十分难受，她们连喝红酒都不会喝，我的小姨还让我带我的妹妹去我们的聚会，她吃的样子会在我的朋友面前让我丢尽面子，真是不自量力，我看了都心痛。

Although you might imagine that type of music he tried, although you can imagine all types of movies he has done music, but his most famous "spaghetti Western" style is for the director Sergio Leone film background music and fame.

虽然你可能想像到的音乐类型他都尝试过，虽然你所能想象到的所有类型的电影他都做过配乐，但他最著名的"spaghetti Western"风格却是为导演Sergio Leone制作的电影背景音乐而成名的。

In the third part, I will bring it back to the film itself, seeking for the special art style in Tsais film, the relations and reformations to the Taiwan new movies, some conjunction between Tsai and the early movie theories, and the adoption from the western stagecraft theories and practice.

本文第三部分我将回到电影的本体，寻求蔡氏电影独特的艺术风格、其与台湾新电影集体影像的联系与革新，蔡明亮与早期电影理论的某些契合以及对西方舞台艺术理论与实践的借鉴。

In the film Shanghai Triad , yellow is used commonly, with a water-powder tone. The intention is clear: to emphasize the oldness of the old Shanghai, reflect the golden color of sumptuousness and luxury, give the audiences a feeling of the Western water-powder painting, cultivating the atmosphere of the blending Western and Chinese culture, and imply that this bloody society is approaching its sunset.

摇啊摇，摇到外婆桥》在色彩上偏重黄色，且有一种水粉色调，意蕴很清楚，一是为了突出旧上海的"旧"，二是映照出豪华富贵的"金黄色"，三是给人一种西方水粉画的感觉，造成中西文化交融的氛围，四是隐喻这个血腥社会已近黄昏，日子不长了。

In the film Shanghai Triad , yellow is used commonly, with a water-powder tone. The intention is clear: to emphasize the oldness of the old Shanghai, reflect the golden color of sumptuousness and luxury, give the audiences a feeling of the Western water-powder painting, cultivating the atmosphere of the blending Western and Chinese culture, and imply that this bloody society is approaching its sunset.

摇啊摇，摇到外婆桥》在色彩上偏重黄色，且有一种水粉色调，意蕴很清楚，一是为了突出旧上海的&旧&，二是映照出豪华富贵的&金黄色&，三是给人一种西方水粉画的感觉，造成中西文化交融的氛围，四是隐喻这个血腥社会已近黄昏，日子不长了。

Singer Leona Lewis and former Led Zeppelin guitarist Jimmy Page emerged as the bus transformed into a grass-covered carnival float, and the pair combined for a rendition of "Whole Lotta Love".

歌手leona刘易斯和前率领的飞艇的吉他手吉米页出现巴士转化为基层所涵盖的嘉年华花车，和一双合并为一移交&整个lotta爱&。

This is Kate, and that's Erin.

这是凯特，那个是爱朗。