影片的镜头

Jumping between Manhattan and Fire Island, vignettes carry us from the it-couldn't-happen-to-me mentality of the early days of the disease to the invasive effect it has had on all of our lives, today.

影片的有些观点明显是过分乐观了，在一个小故事里它要我们相信在1984年，一出电视肥皂剧里就出现了一个完整的、深度的男男之吻的镜头。

Emily Watson lounges and smokes in Gosford Park, Gene Hackman and Gwyneth Paltrow light up in The Royal Tenenbaums. Billy Bob Thornton's co-star in The Man Who Wasn't There said all Thornton's character does on screen is smoke and breathe.

艾米莉·沃特森在影片《高斯福特庄园》中扮演了一个懒散的瘾君子；吉恩·哈克曼和格温妮丝帕特洛在《特伦鲍姆一家》中有许多点烟的镜头；和比利·鲍伯斯顿联合出演《缺席的人》( The Man Who Wasn't There )的演员说，比利饰演的这个角色的最大特征就是成天叼着烟卷，喷云吐雾。

The movie 《12 Angry Men》, with a closed space and gray lens to show the Anglo-American jury secrets.

影片《十二怒汉》用一个封闭的空间和灰白的镜头展现了英美陪审团评议的秘密。

However, Jiazhangke's films create the space by using motion, shooting scale ,the relations among performers and the transportation and a outer space of image in Jia's films is also created through dispatching the shot, performers and multiple space ,refering to which this text reexplains and conformities the film's concept of space and analyses how to create the space using audio in order to formulate Jia's understandings to space――the film space view of "non-mirror-image" and the inherent tension and open space idea taking root on the reality.

本文通过对电影空间概念的重新诠释和整合，以及对贾樟柯利用运动、景别、人物关系和交通工具营造空间，通过贾樟柯对影片中镜头、演员、多重空间的调度，创造画外空间，和用声音创造空间等实证性的分析，阐述了贾樟柯对空间的理解——非镜像化的电影空间，以及这种理解扎根于当下、立足于现实而形成的内在的张力和开放式的空间观念，揭示了他的作品独特的空间观念及这种空间观念对中国电影民族化的影响。

By contrast Violence at Noon, like a Soviet silent film, builds up a narrative from some 1500 separate shots, while Diary of a Shinjuku Thief (Shinjuku dorobo nikki, 1968) intersperses scenes of apparent improvisation with text inserts. The latter film, one of the Japanese cinema's most remarkable expositions of the spirit of 1968, is of all Oshima's films the most obviously influenced by Godard.

与之形成鲜明对照的是，《白昼的恶魔》将叙事构建在大约1500个独立的镜头之上，仿佛一部苏联默片；而《新宿小偷日记》（Diary of a Shinjuku Thief，1968）在明显是即兴之作的场景间点缀插入了文本，堪称日本电影中最出色地展现出1968年精神的影片之一的《新宿小偷日记》，也是大岛渚全部作品中受戈达尔影响最为明显的一部。

For the interior of the mask, seen in a dramatic shot as the helmet lowers on Vader's face for the first time, the ILM modelmaker Don Bies crafted the details within.

影片中有一个激动人心的镜头是头盔第一次戴在维德的脸上，面具的内部细节是工业光魔特效公司的模型师东·比斯的手艺。

The film's theme - that, in the words of the heroine Miyoe, the image of the geisha as "symbol of Japanese beauty" is "all lies"–is expressed visually in the superb scene where she is assaulted by a prospective patron and escapes his attentions by violently biting his tongue. There follows a startling near-close-up of a stunned Miyoe staring into the camera in full geisha regalia, her immaculate white make-up broken by a bloody stain around her lips.

本部影片的主题（即女主角荣子所言之、艺妓形象是&日本之美的象征&这一点是&彻头彻尾的谎言&）在一个出色的场景中得到了视觉上的直观表达：在此场景中，荣子被一位未来的资助者施暴，她通过痛咬对方的舌头方才逃脱其注意；随之而来的是一个令人震惊的近距离特写，着艺妓全套盛装、处于惊愕之中的荣子凝视着镜头，她那完美的白色妆饰被唇边的一缕血迹破坏。

His erotic films – especially The Key, Miranda and All Ladies Do It – often accentuate women's buttocks and hairy armpits, almost to the point of fetishizing that particular physical feature.

巴拉斯的情色电影，尤其是《欲望之翼》The Key，《米兰达》Miranda and 《疯狂欲望》All Ladies Do It 这三部影片，镜头往往强调女性的臀部和多毛的腋窝，这种过分的关注几乎达到了一种对于某处特定生理特征痴狂、崇拜的程度。

Most people here assume the movie would have been banned by the government five years ago because of its graphic scenes of rape and murder by Japanese soldiers, including mass executions, decapitated heads, cartloads of naked corpses and a child being thrown from a window to her death.

大多数人认为这部影片在五年之前肯定要被政府禁映，因为它对日本兵犯下的强奸屠杀暴行有写实性的描述，包括集体屠杀、砍头、整车的裸体死尸等，还有把孩子扔出窗外致死的镜头。

The rest of us watched with respectful attention, albeit through steamed-up spectacles in some scenes, as Tony Leung's wartime collaborator with the Japanese made love – over and over, in every position – with Tang Wei's Mandarin Mata Hari.

我们其他人带着恭敬的关注观看了影片，虽然在某些场景里，透过水汽蒙蒙的镜头，梁朝伟饰演的日本汉奸与汤唯饰演的中国版魔女玛塔做爱——反反复复、使用各种体位。

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。