电影的

The cinema is very bad to search, put a half to give breakdown to go back replay... need memory ability remembers gut, it is a common Hollywood is big so, do not understand why to so much person can buy the ticket of 150, do so that be like ~~~ to appreciate Shanghai one week with Culture Revolution, the Sun Ganlou that still has Shuai Shuai and the film review after all editor ~~~ are small salon, be present possibly mix with respect to me wild goose is not liberal art one's previous experience, they have the blueness that nod anger literary cell, saying is almost,"I feel this film not up to much "... so that Xiang Siwei needs authority later,those who who likes this movie look in light of raise one's hand... wild goose likes 3D, apparent love hate is trenchant, touch field, vigorous speech so " reader "(she is raise one's hand, the 囧 that does not need an editor to call-over), it is this ask her to see a stage play again.

影院很不好找，放了一半出了故障倒回往重放……需要回忆才能想起剧情，所以就是部普通的好莱坞***，不懂为何会有那么多人往买150的票，搞得跟***似~~~感谢上海壹周，还有帅帅的孙甘露及所有编辑~~~之后的影评小沙龙，可能在座的就我和大雁不是文科出身，他们都有点愤青文艺细胞，说起来几乎都是，"我觉得这电影不怎么样"……以至于项斯薇后来需要大家举手来看看有谁喜欢这部电影的……大雁喜欢3D，很明显的爱恨分明，如此碰场、积极发言的"读者"（她是举手的，不需要编辑点名的囧），是该再请她往看话剧了。

In this graduation thesis, I want to point out how they become success in such a terrible circumstance and the artistic characteristics of their films. I will seek the film's esthete characteristics from the distance between the text and spectator, their character's destiny from the controversy, the relationship between the "Milky way Image" and the "New Wave Film of Hong Kong" the plot Mode of those people's work "Milky way Image" creates its own unique brand of cinema.

文章将从"银河映像"诞生之初谈起，从当时惨淡的电影环境入手研究他成功的缘由，着眼于影像文本的艺术特色研究：从作品与观众的距离来探寻作品审美上的特点，从矛盾冲突的角度来探讨人物命运的变化，从历史的角度来梳理"银河映像"与香港新浪潮电影的关系，从叙事情节的角度来剖析"银河映像"极具个人风格的情节模式等等。

Cinema apparatus functions relatively like a mirror, during a film we recognize ourselves through the on screen 'Other' and we project our egos onto that 'Other' - we superimpose ourselves onto them, going through events as they do. Film spectatorship involves the engagement of our entire body – our bodies react to the films, for example our heart rate would go up when sitting through an intense car chase scene, and we feel the natural reflex to throw up when seeing some grotesque zombies with intestines gushing out their abdomen on screen.

住："镜像阶段"是法国心理学家Jacques Lacan所推崇的一个概念，他认为新生儿在刚出生是没有自我意识，它认为自己是和母体连在一起的，又或是不知道自己已经离开子宫；而它将在第一次照镜子时，也就是看见自己的镜像时认识到自己是独立的一个个体）相似的，电影这个视觉机构也有类似镜子一样的功能，在观看电影的同时，我们通过对比银幕上和我们不同的其他人，进而肯定和巩固我们的自主形象和意识。

The film's marketers have parlayed this theme into a robust site that encourages visitors to immerse themselves in the film's storyline through background information about The IHC organization, fictional news releases, and interactive features like registering for a "Survival Lottery" and voting for a post-2012 leader.

该电影的营销人员已将这一主题应用到一个强大的网站中，通过该组织的相关背景资料、发布的虚构新闻以及一些互动功能，比如注册参加&生存彩票&，选举2012年的领导人等，鼓励访客沉浸在电影的故事情节中。

If you are a Mac user you will immediately recognize the type as apple default font, but Helvetica also pops up on sightposts, shop windows and even in high fashion, it's totally ubiquitous and its fifty years old this year, and if you are wondering what the point or the fourteen point, even punctuating such an event is, well one film maker has made a whole documentary telling the whole story of Helvetica, digital planet's own man of letters Peter Price has been to see the movie, and as he now reports.

如果你是麦克用户，你会马上意识到这种字体是苹果默认字体，但是Helvetica也出现在标示牌上、商店的窗户上，甚至非常流行，几乎是随处可见。到如今，这种字体已经有50年的历史了。如果你还不知道点或十四点是什么，甚至不知道标点这类事情，那么一个电影的制作商已经把整个Helvetica的故事编辑成一部纪录片，它将告诉你整个过程。《数字平台》节目的记者彼得·普爱斯看过此部电影，以下就是他所报道的。

We really feel that the movie maker take back his confidence in his tools and capacities. We feel also the width of the bet. Because for a lot of fans, this was the movie of the last chance.

我们真实的感受到电影制作者的在技能掌握和能力展现上的娴熟功底和强大信心，同时我们可以感受到这次制作的赌注之大，因为对于它的许多粉丝来说，这是他们欣赏到如此精彩的电影的最后机会。

For example, the A blood story by a steamed bread incident, which caused the severe debate among internet browsers, is a concentrated show on free producing due to wide use of new technology.

在今天的电影里统一影片讲述的故事的信息量是传统电影的2—3倍。这和技术手段的革新有着非常密切的联系。

Everything about the film—from the sub - cultural biker world it constructs to the lead character and the core audience—is overwhelmingly jantan (male, masculine and heterosexual), except for the presence of a subtextually queer supporting character who develops a homoerotic relationship with the Mat Motor protagonist, whose masculinity he eroticises and obsesses over, literally unto death.

这个电影的一切，从亚文化的自行车手世界，男主角，到它的主要观众，都是& jantan&（马来语，&雄&的意思，指男性阳刚的异性恋者）。电影中只出现了一个有着弦外之音的同性恋配角，他和男主角发生了一段同性恋情。他非常色情地迷恋他的男性气质，一直到死。

Hood said the original movie is not out on DVD yet and when it does it would comprise the follow-ing: the real version of the movie, the director's commentary and the two other endings that were considered, ie the one where Tsotsi is shot and the other one where he runs away, a 22-minute short film by Hood called Storekeeper and homecoming scenes after the Oscars.

胡德表示，原本的电影还没有推出DVD，等到推出时，会包含以下内容：电影的「正版」、导演评论，以及另外两个设想过的结局，包括Tsotsi被枪杀以及逃跑的结局；此外，再加上导演另一部22分钟的短片《店老板》以及获颁奥斯卡之后光荣返国的纪录。

Hellip;the endgame of Lee's artwork was to blend into already existing scenes, while Sherman's was to pump up the cinematic artifice of the isolated frame, suggesting that all the world's not a stage, but a film set, and we men and women are players in our own self-operated viewfinders.

hellip；lee艺术工作的最后阶段是与已经存在的情景相融合，而Sherman则是把电影的技巧从孤立的框架中提取出来，提议认为整个世界不是个舞台，而是一个电影中的设置，我们所有男人女人都是在自己执掌的反光镜中的表演者。

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。