没有情节的

There are no exceptionable scenes in the play.

这出剧中没有能引起争议的情节。

I had done a similar thing in, in Central Station where as we were on the road and when we saw the religious processions in that part of Brazil, we soon incorporated them into the film and it didn't exist in the original screenplay either and here the boy started to imitate, you know, as we went back and forth to the location and the animals were there, he started to imitate all of them and then suddenly we started to incorporate that as well, er, same thing with the fire-eater, when she started to show us what she could do, we, we immediately started to, you know, to organically incorporate those elements into the screenplay and that is really a fascinating part of our film, it's the collaborative aspect of it, you know, it's when you realise that without every single person's input, the film wouldn't be the same and this is what really makes cinema depart from most medium, is that you have to accept it's democratic quality, you know, essence in order for a film to really be alive and interesting to watch, I guess.

唔，有趣的是当卡戴尔看完电影就跑来对我说，你知道吗这是最忠于原著的改编版，可很多元素都不同，最后，我认为当你改编小说时，当你把文学转化成电影时，真正需要重视的是小说精髓之处，这比什么都要紧，并且创造出一种两者如对立沟通式的对白而不只是改编，ipsis literis，你知道这书，运用他作为深刻的灵感来源，他允许你探究，你知道，没有素材来源不可能投入进去，有次我看库布里克的访谈，其中说到他偏爱主人公容易塑造的小说而不是小说本身，如此他就能专注于故事构架和情节而不是依照原本，这我可以明白，但换个角度说，如果我自己没有被故事打动，如果是这样，故事无法让我产生共鸣那进行二次创作很困难，因为人物本身就显得很单薄无法定位和改编，但我真的能理解他的感受。

When concerned narration time, they predigested modern narration time of western novel to hyperbaton narration, and then focused on " the abrupt beginning", and never grasped the flexibility that western novel narration time can cut time according to expression requirements; when concerned the narration angle,"I" in the works of new-novel critics is only the thread to link the stories, and the works never cares about the idea and sensation of "I"; when concerned the narration framework, for the obstinacy of the tradition of Chinese novel preference in plot, it is the most difficult to take in.

在小说的叙事时间上，新小说家把西方小说的现代叙事时间简化成了倒装叙事，又把倒装叙事集中在"开局突兀"上，根本没有领会西方近代小说叙事时间根据表达需要进行剪辑的灵活性；在叙事角度上，"新小说"家作品中的"我"只是串连故事的线索，作品根本没有关注我心里的思想和情感；在叙事结构上，因为中国小说重情节传统的顽固性，对西方小说叙事结构的接受也最难。

When the robbers found out after her address to try to retake the chip, the plan has been a resourceful imp obstruction He is as long and had chickenpox ... Home Alone ... this film, the plot is very humorous, in particular protagonist -- the specialty of the Goblin against four of the suspected cases, those who underestimated the runt, kobold was well placed to trap the confused worse at the end of the film even more moving. While the Gang of Four cell phones snow fled the house, but Caught in the Goblin expected, so he lit fireworks parrots, and even send eldest ... I like this film because there are one,"Home Alone 3" movie also tell us the truth. It tells our parents, a brother should not be too persistent in their views, thinks they are right. the kids, on the contrary, has not the ability to look at things, no judgment that what they are wrong. In fact, this is all the parents have problems, but we have to try to "poor Parents" for parents think, from the perspective of parents, but only if both sides understand each other, understand each other, we can have a perfect ending.

当盗匪寻出老太太住址后，设法要重新夺回晶片时，不料却遭到一位足智多谋的小鬼阻挠，这次他是因为长了水痘而不得不……小鬼当家……这部电影中的情节非常幽默，特别是主角——看家的小鬼迎战四个笨贼的时候，那些人小瞧了小鬼，因此被小鬼精心布置的陷阱给弄得苦不堪言，电影的结尾更加感人，虽然四人帮帮主逃到了雪屋里，却逃不出小鬼的预料，他让鹦鹉点燃烟花，把老大送上天……我喜欢这部电影的原因还有一个，就是《小鬼当家3》这部电影还为我们讲述了一个道理，它告诉了我们做父母的、兄长的不能太执着于自己的意见，认为自己什么都是对的，而小孩则相反，没有看待事物的能力，没有判断力，认为他们什么都是错的，其实这是所有父母都有的毛病，但我们也要尽量"可怜天下父母心"，为父母想想，站在父母的角度思考，但是只有双方都体谅对方，理解对方，才能有一个完美的结局。

Mankiewicz for writing the entire script for this film, while alleging that Orson Welles "didn't write one line of the shooting script".

在这篇文章里，她写道，是赫曼·雅各布·曼凯维支完成了整个剧本，影片中没有一处情节是奥逊·威尔斯写的。

As a result of his father''s absence, his desire for his mother was not forbidden during the Oedipal stage.

因为没有父亲在身边，威廉斯的伊底帕司情节并未在童年时解除。

The rest of the storyline is unchanged.

其他的故事情节没有变动。

Plotwise, there were a bunch of ideas in the unaired pilot that we stretched across a couple of episodes.

在情节方面，有大量的想法并没有出现在这一集中，我们将其融入了之后几集中。

Instead of making us feel connected to the real-life events of9/11, its rhythms and cadences recall

电影没有使我们觉得是真实生活中的911事件，却通过节奏和情节发展是我们想起了其他电影，灾难片《火烧摩天楼》或者动作片《终极警探》。

If we endeavored to allow for different circumstances in fixing punishments, we should have no punishments at all.

另一方面，如果我们在确定惩罚时竭力允许不同的情节，我们便会根本没有任何惩罚。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。