电影

This paper studies the strategies of erasure involved in the creation of a faux utopia that results in a kind of infantilism instead of affirming an alternative queer reality.

电影创造出一个假的乌托邦，但结果不是肯定了非常态的酷儿特质，而是产生了幼稚病。本文分析了电影中的这些消除正统异性恋的手段。

The first movie I with Tony was Infernal Affairs, and I really liked him there.

看的第一部Tony的电影是《无间道》，我真的喜欢电影中的他。

There are interior and exterior films, and the film is then inflated once it is in-situ.

有内部和外部的电影，和电影，然后膨胀，一旦它在原位。

And at the age of 40, Halle Berry still has the striking good looks of the 24-year-old ingenue who made her movie debut in Spike Lee's film Jungle Fever.

在她40岁的时候，哈里贝瑞仍然惊人地保持着24岁时美丽无邪的面容，那一年，她完成了自己的电影处女作-斯巴克李执导的电影"欲望丛林"。

Stone's movie and the Warren report are interestingly symmetrical: the Warren Commission was insensitively, one might say pathologically?, unsuspicious, while in every scene of the Stone film conspiracy theories move painfully underfoot like snakes.

7斯通的电影和华伦委员会的报告形成有趣的对称：华伦委员会是反应迟钝，毫无疑心，几乎可以说到了病态的地步：而在斯通电影的每一场戏中，阴谋论像蛇一样在脚下到处窜动。

This is the gift that the insipid film BOY gave to the film world.

这是电影顽童送给电影世界的一份礼物。

If Cocteau is not the inventor of the experimental cinema he is at least one of the most impactful inspirer and secret godfather of underground cinema.

如果说尚。高克多不是实验电影的始祖，那麼称他为这场地下电影运动的教父准不会有错。

The old Shanghai displayed in these films, different from the one in the 1930s films, is given a weak political image and characteristic of the internationality, consumption and vulgarity.

与20世纪30年代电影中的上海形象相比，怀旧电影中的老上海淡化了政治色彩，被赋予国际化、消费化和世俗化特征。

In movies about wars, On the characterization of characters in the war and the profound expression of human nature as the main content of the performance of movies about war, Since under unusual conditions such as wars, people's ideas and deeds are likely to change dramatically, The intertwinement and conflict of dark side and bright side of human nature are more obvious.

在战争电影中，对战争中人物形象的刻画以及对人性的深刻表达成为战争电影表现的主要内容，因为在战争这个非正常的生存环境下，人的思想与行为都有可能发生很大的变化，人性善与恶的交织与斗争也更加激烈。

These moral issues were often quite responsibly examined in sf stories, but sf CINEMA tended to take a more simplistic line. The mid-1950s saw a procession of MONSTER MOVIES in which very often the monsters were the products of scientific irresponsibility; commonly a religiose voice, impressively baritone, would intone on the sound-track:"There are some things Man was not meant to know."

这些道德问题常在科幻小说中被太负责任的检验，而科幻电影采用简化的办法。20世纪50年代中期，排成行的怪兽电影中大部分的怪兽都是不负责任的科学产物；常常是一个狂热的声音——使人难忘的男中音——在声道中咏唱："有些是人类不该知道的。"

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。