电影的

Of, relating to, or characteristic of movies; cinematic.

电影的电影的、有关电影的或有电影特征的；像电影的

This, have not at going to a 100 beautiful award, undertake channel of Fang report movie together Yu Qiuyu of Yu Dan 、 besides the moviedom such as Han Han of 、 of He Dong of 、 Zhang Chaoyang 、 personages of more than 20 elite of social all circles, zai establishs shadow of " public report to observe round " first on the history of 100 beautiful award, and Jiang participates in the deepness that closes at Chinese report shadow to investigate questionnaire, a big sound that involves at electric shadow is denounced spread out at this point.

此次，有别于往届百花奖，承办方电影频道联手于丹、余秋雨、张朝阳、何东、韩寒等电影圈之外二十余位社会各界精英人士，在百花奖的历史上首次设立"大众电影观察团"，并将参与关于中国电影的深度调查问卷，一场关于电影的大探讨就此展开。

In the third chapter "Utterly exhausted", analysed expressly those long-lens and jump-cut; In the fourthly chapter "alpha city",analysed expressly the aesthetic purpose of black and white and simulacrum; In the fifthly chapter "Chinese girl",put emphases on the color and component line;In the sixth chapter "madman Pierrot",analysed expressly color and dissymmetry composition of a picture through psychology; In the seventh chapter "carbinier",analysed lens language from film semeiology; it researched Chinese film in eighth chapter,explained detailedly a successful Chinese films;"Yellow land",analysed presentation format of The sign "China".point out our Chinese film various problems in inditing concept as well as film system.

第八章是对中国电影的研究，提出戈达尔对我们中国电影一些有益的启示，分析了一部成功的中国影片《黄土地》，从电影符号学的角度去分析"中国"这个符号的呈现方式。还指出了中国电影目前存在的一些问题，有电影创作观念上以及中国电影体制等方面的原因。

The Rainmaker is a film of mood and atmospheres that liberates the audience to experience the illusions that a film offers. To "feel " and not just to "watch".

造雨者》是一部营造情感和气氛的电影，让观众感受电影的幻觉，是去"感受"电影，而不仅仅是"看"电影。

This small scale point to point shock action between traditional and Guerrilla Movie should lead to a big scale revolution.

06年夏天在台北策办"美丽的马来西亚影展"，串连马来西亚与台湾的独立制片与小众市场资源，以互动式情境让观众体验异国文化；07年於台北正式创办"游击电影"，打破对电影的型态与定义，将电影与观众从电影院中解放出来，在城市中各个角落、扩大串连各种不同的产业资源进行游击放映，对传统电影通路与主流体制进行小规模点对点突击，最后必集结成大规模的革命运动。

During summer 2006, he organized the "Beautiful Malaysia Film Festival" in Taipei, which combined the independent movie and limited market resources of the Taiwanese and Malaysian together to let the audience experience the foreign culture in an interactive way. In 2007, he found the "Guerrilla Movie". It breaks the shape and definition of traditional "movie", and liberates the movies and audiences from cinema. This enlarges and combines different industry resources to show the movie everywhere in the city. This small scale point to point shock action between traditional and Guerrilla Movie should lead to a big scale revolution.

06年夏天在台北策办"美丽的马来西亚影展"，串连马来西亚与台湾的独立制片与小众市场资源，以互动式情境让观众体验异国文化；07年於台北正式创办"游击电影"，打破对电影的型态与定义，将电影与观众从电影院中解放出来，在城市中各个角落、扩大串连各种不同的产业资源进行游击放映，对传统电影通路与主流体制进行小规模点对点突击，最后必集结成大规模的革命运动。

During summer 2006, he organized the "Beautiful Malaysia Film Festival" in Taipei, which combined the independent movie and limited market resources of the Taiwanese and Malaysian together to let the audience experience the foreign culture in an interactive way. In 2007, he found the "Guerrilla Movie". It breaks the shape and definition of traditional "movie", and liberates the movies and audiences from cinema. This enlarges and combines different industry resources to show the movie everywhere in the city. This small scale point to point shock action between traditional and Guerrilla Movie should lead to a big scale revolution. http://www.guerrillamovie.blogspot.com

06年夏天在台北策办"美丽的马来西亚影展"，串连马来西亚与台湾的独立制片与小众市场资源，以互动式情境让观众体验异国文化；07年於台北正式创办"游击电影"，打破对电影的型态与定义，将电影与观众从电影院中解放出来，在城市中各个角落、扩大串连各种不同的产业资源进行游击放映，对传统电影通路与主流体制进行小规模点对点突击，最后必集结成大规模的革命运动。

During 50 years after coming into being in Chinese film, Traditional opera film living space is less , is in authigene state basically, system that the theory and aesthetics creating laws at the same time since Chinese motion picture technique , the artistic media restricting , traditional opera film creation do not form one package to traditional opera film study.

在中国电影诞生后的50年间，戏曲电影的生存空间较小，基本处于自生状态，同时由于中国电影技术、艺术手段的限制，戏曲电影创作没有形成一整套对于戏曲电影创作规律的理论和美学研究的体系。

Below thesis faces the present balelism in the field of recognising TV movie,starts with the discussing about definition,indicates the significance of TV movie"s existance in the course of looking back American TV movie"s development and acruality,emphasizes the effects China TV movie brought out from 1999,analyzes current tanglesome problems and the main reasons,finally brings forward constructive breakthrough methods strating off from medias self developing trend and features.

本文将直面当今社会对电视电影认识上的不清晰的现状，从讨论电视电影的定义入手，再通过对电视电影产生的过程和背景的回顾和总结，指出电视电影生存的意义，同时以美国电视电影的产生、发展、现状和特征为重要参考，重点研究中国电视电影从1999年出现至今所带来的各方面影响，分析问题重重的现状以及背后的深层原因，再从媒体本身的发展趋势和特点出发，建设性地提出适合中国电视电影寻找出路的突围方案。

In the third chapter "Utterly exhausted", analysed expressly those long-lens and jump-cut; In the fourthly chapter "alpha city",analysed expressly the aesthetic purpose of black and white and simulacrum; In the fifthly chapter "Chinese girl",put emphases on the color and component line;In the sixth chapter "madman Pierrot",analysed expressly color and dissymmetry composition of a picture through psychology; In the seventh chapter "carbinier",analysed lens language from film semeiology; it researched Chinese film in eighth chapter,explained detailedly a successful Chinese films;"Yellow land",analysed presentation format of The sign "China".point out our Chinese film various problems in inditing concept as well as film system.

第八章是对中国电影的研究，提出戈达尔对我们中国电影一些有益的启示，分析了一部成功的中国影片《黄土地》，从电影符号学的角度去分析&中国&这个符号的呈现方式。还指出了中国电影目前存在的一些问题，有电影创作观念上以及中国电影体制等方面的原因。

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。