卓别林

When Griffis eagerly anticipates the narrative montage after Hollywood the mainstream, the Chaplin accident in is also emphasizing the single lens' expressive force, although he has also utilized some similar "Modern Time" begins the sheep and worker's two lens such performance montage technique, but more time he in faithful with panoram lens performance movement experience time,"Modern Time" mid summer Luo river the scene which sings in the dining room, the fixed positive panoram angle of view, the similar play's onlooking way, the audience can only see Xia the Luo one-man show, can obtain in merely the dining room from lens' laughter people's response,This is certainly for the more comprehensive clear performance its comedy movement and the scene, but actually unavoidably has "adheres to traitors" suspicion of the stage show.

当格里菲斯在好莱坞引领起叙事蒙太奇的主流之后，卓别林意外的还在强调著单个镜头的表现力，虽然他也运用了一些类似《摩登时代》开头绵羊和工人的两个镜头那样的表现蒙太奇手法，但更多的时候他还是在忠实的用全景镜头表现动作的经验时间，《摩登时代》中夏洛尔在餐厅中唱歌的场面，固定的正面全景视角，类似戏剧的观看方式，观众只能看到夏尔洛的独角戏，仅仅能从镜头之外的笑声中得到餐厅里人们的反应，这当然是为了更全面清楚的表现其喜剧动作和场景，但却难免有&附逆&舞台表演之嫌。

However to cater to had already been used to the talking motion picture audience, Chaplin started "Light of from the Urban" to choose compromise photography means that that was the photography contains the sound "silent ", but was not in the traditional significance to the unsilvered glass.

然而为了迎合已经习惯了有声片的观众，卓别林从《城市之光》开始选择了一个折中的拍摄办法，那就是拍摄包含声音的&无声片&，而不是传统意义上的对白片。

Last century 30-40 age Hollywood movie's theme was broad, the style was different, but was nearly same as Griffis's movie, what paid great attention was the plot surges up windingly, strange, like "Tumultuous times Beautiful woman""Soul Broke Blue Bridge""Citizen Cairne" and so on, was creates the epic poem human activity by movie's form, butChaplin's comedy movie, then the prominent character's mold, has created "in the world movie history for the audience the first vivid silver screen image"("Foreign film History", Zheng Ya Ling, Hu Binzhuo).

上世纪三四十年代好莱坞电影的题材广阔，风格迥异，但几乎都与格里菲斯的电影一样，注重的是情节的波澜起伏、曲折离奇，如《乱世佳人》《魂断蓝桥》《公民凯恩》等，都是以电影的形式来创造史诗般的人类活动，而卓别林的喜剧电影，则突出人物的塑造，为观众创造了&世界电影史上第一个有血有肉的银幕形象&（《外国电影史》，郑亚玲、胡滨著）。

The Allen persona — the urban boy-chik as social misfit — is, of course, an act, a put-on, no more the real performer than Chaplin's tramp or Jack Benny's miser.

艾伦的角色往往是和社会格格不入的城市青年，当然是一种表演、一种假装、或是类似于卓别林的流浪汉或Jack Benny的守财奴的逼真演绎。

How extraordinary, is how he greeted the first sight of himself as the Tramp on the screen.

这种对具体事物的发挥转化，以及他一次又一次做出这种转化的技巧，正是卓别林伟大喜剧的奥秘。

Now as he appears on the stage in a humorous number, you can see Dylan nervously tapping his hat, adjusting it, using it as a prop, almost leaning on it, as the Chaplin tramp did before him.

现在，当他作为一名幽默演员出现在舞台上时，你能看见迪伦神经质地拍他的帽子，调整帽子，用帽子做支撑，几乎赖住了它，就像卓别林式流浪汉做的那样。

By chancing upon a universal form—the myth of the lost child— to express his own loss , Chaplin succeeds in inviting the whole gang in , European intellectuals, London tradesmen, and all the "kids" of the world can and do receive Charlie's pantomime tale with empathy.

卓别林以一种常见的形式——被丢弃孩子的故事，恰好表达了他失去亲人的哀愁，他成功地引入了三教九流的角色。中国农民，班图部落人，欧洲的知识分子，伦敦商人，以及全世界的&孩子&能而且的确对查理的哑剧故事表露同情。

Taylorism, which Charlie Chaplin lampooned so memorably in "Modern Times", has spread from the industrial to the post-industrial economy.

泰勒主义，查理。卓别林在&摩登时代&很明显讽刺过的，已从工业弥散到了后工业经济。

Taylorism, which Charlie Chaplin lampooned so memorably in "Modern Times", has spread from the industrial to the post-industrial economy.

查理。卓别林在电影&摩登时代&中对泰勒主义的讽刺令人印象深刻，而泰勒主义现在已从工业经济弥散到了后工业经济。

Final shot is among Chaplin's most famous and most poignant.

最后安在卓别林最知名，最尖锐。

Breath, muscle contraction of the buttocks; arch body, as far as possible to hold his head, right leg straight towards the ceiling (peg-leg knee in order to avoid muscle tension).

呼气，收缩臀部肌肉；拱起身体，尽量抬起头来，右腿伸直朝向天花板（膝微屈，以避免肌肉紧张）。

The cost of moving grain food products was unchanged from May, but year over year are up 8%.

粮食产品的运输费用与5月份相比没有变化，但却比去年同期高8％。