影片的镜头

"She smokes four cigarettes in the film that are very specific moments, and they're for very specific reasons," said the film's director and co-writer, Todd Field.

该影片的导演兼编剧托德·菲尔德说："她在影片中有四处吸烟的镜头，但是每次吸烟的原因都不同。"

The film's famous final shot, a zoom in to a freeze frame, shows him looking directly into the camera.

影片最后的镜头很有名，一个变焦长镜头跟拍到他直视镜头定格为止。

From third chapter to seventh chapter , unscrambled detailedly Godard's five films.

第三章《筋疲力尽》重点分析了影片运用到的长镜头和"跳接手法"的运用；第四章《阿尔法城》从分析叙事结构开始，详细分析了该片黑白影像以及光影的美学效果；第五章《中国姑娘》把影片色彩、画面的几何线条作为研究重点；第六章《狂人皮埃罗》从心理学上对影片的色彩展开分析，重点探讨画面的不对称构图；第七章《卡宾枪手》从电影符号学的角度对该片的镜头语言进行分析。

There are some nerve-racking scenes, but it is also surprisingly tender, even heartbreaking film.

影片里有一些恐怖的镜头，但出人意料的是，这也是一部温柔、甚至令人心碎的影片。

Are shown sidewise in one scene - a shot used to convey a post-binge Pacino waking up from a rough night of booze and pills.

而帕西诺最终从一夜的豪饮和吸毒中清醒过来的时候，影片中又出现了世贸中心的镜头，不过这次是侧面横拍的镜头。

The twin towers are shown sidewise in one scene - a shot used to convey a post-binge Pacino waking up from a rough night of booze and pills.

而帕西诺最终从一夜的豪饮和吸毒中清醒过来的时候，影片中又出现了世贸中心的镜头，不过这次是侧面横拍的镜头。

In another, Fuzzy Logic (1995), we witness the last twitching movements of a dying fly.

在每部作品中，影片的主题都是摄影机的囚徒，正如我们观众是影片的囚徒，被冷酷的镜头所禁锢。

Obviously, it seems that his intention is to make another kind of voice out of the deep water, which makes it fight against traditional phalloccntrism; while also entangle on the male dcsire peering at female bodies in his narrative words, using the supposing visual center in the film picture to disguise the ubiquitous male desire peering at female bodies, all which embody the desire to close the western cultural center regardless of the picture handling and cameral lens cutting. Finally, he spends every strain to alleviate visual pressure and catering to the visual feeling of the western audience using narrative tactics, while the real intention to fight for language right with traditional phallocentrism. So it"s safe to say that this is a right fight between traditional phallocentrism and marginal counterpart. Just as the sacrifice of women in Zhang"s films, the marginal women again betrayed in Lous, and women again become the punishing and desire subject and swapping subject between men.

似乎让另外一种声音浮出水面是他的叙事意图，使它能够对抗传统中心话语权威；然而，在他影片的叙事话语中，仍然纠缠于固执的男性对于女性的窥视，利用设定影片画面中的表层观看&中心&，企图掩饰他影片中无处不在的对于女性的窥视欲，无论是在影片画面处理、影片镜头的剪辑上都显示出对西方强势文化中心的靠近，利用其中叙事策略来尽量减轻或者迎合西方观众的视觉接受，而其真正的叙事权威就是利用&边缘&来争夺西方观众的肯定，来与传统男性中心权威话语争夺话语权，这是一场传统男性中心话语权威与男性边缘群体争夺话语权的斗争，就如张艺谋的影片中以牺牲女性为代价，娄的影片中同样牺牲了边缘女性群体，女性再一次成为窥视、惩罚的对象，成为男性交换的对象。

Central to the movie is an exciting race using the super-fast "pod racer s", in a sequence reminiscent of the great chariot race in the classic movie Ben Hur

影片的核心部分是令人激动的超高速&飞船赛车&的竞赛，一连串的镜头使人联想到经典影片《宾虚传》中的战车大赛。

Central to the movie is an exciting race using the super-fast "pod racers", in a sequence reminiscent of the great chariot race in the classic movie Ben Hur

影片的核心部分是令人激动的超高速&飞船赛车&的竞赛，一连串的镜头使人联想到经典影片《宾虚传》中的战车大赛。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。