观众

Ma has ample opportunities to engage the audience - the film's premise has multiple levels both narratively and thematically - but Ma hands each development to the audience through dialogue and very little onscreen discovery.

马导有足够的机会去贴合观众-在电影的前提下可以有多个层次都narratively和主题除了马导的想法，每一个对话情节的v发展观众很难在屏幕上发现。

He post-Ted Koppel version of ABC 's "Nightline" is winning over audiences by mixing the familiar -- a trademark in-depth report -- with lighter fare aimed at younger viewers.

ed Koppel 之后， ABC 新版的《夜线》节目以年轻观众为收视对象，通过将大家所熟悉的——标志性深度报道——与轻松的话题结合在一起，赢得了观众的喜爱。

Police were called as soon as the bag was opened, Oki said, and the remains are being tested for DNA.

而这名观众显然也是这部动画片的忠实观众。

Ask an opening question or use humor to take control of the audience when you commence your speech.

当你开始演讲时，可以问开放型问题或者使用一下幽默来抓住观众，演讲的前15分钟很关键，如果你能在这15分钟内抓住观众，后面就好办了。

In order to statistic and after-fair service, we have used Visitor Electronic Registration System.

展会使用了观众电子登记系统，使观众在入门、登记等方面有序化，方便展后数据的统计及更进服务。

When Paulina speech to the audience, the audience that her voice and the movie are very different.

当琳娜向观众致词时，观众觉得她的声音和影片的不一样。

Nickelodeon owners began using cartoons to clear the theater between performances, much like movies themselves had been used to clear vaudeville houses when audiences tired of the 30-second vignettes made for carnival peep show machines more than a decade earlier.

如同十多年前当观众对西洋镜30秒的虚像感到厌倦时而在杂耍中播放影片一样，娱乐场主开始在演出中间播放卡通片来清场，告诉观众们节目结束了。

Taking the Chinese films development course of time as the longitudinal axle, this essay discuss the characteristics and varieties of the photoplay view and its creation practice of Chinese Films in different age. The discussion focused on the characteristics and development countermeasure of photoplay view and its creation practice of Chinese films in new age by analyzing the classic cases. This essay used such methors like historical materials arrangement, induction and comparison during the discussion. Thus conclusions are drawn as follows: In order to guide the Chinese films towards the world, we must carry forward national films vigorously. So the traditional photoplay views, which pay attention to audiences and meeting the aesthetic habits and appreciating ways, should not be abandoned.

本文运用史料整理、归纳、比较等方法，以时间上的电影发展历程为纵轴，探讨不同时期中国电影影戏观及其创作实践的特点及变化，重点通过经典案例探讨新时期中国电影影戏观创作实践的特点与发展对策，从而得出以下结论：要让中国电影走向世界，必须弘扬民族电影，因而重视观众、适应中国观众审美习惯与欣赏方式的传统影戏观在电影实践中仍不能丢弃。

But Pinter never helped audiences to unravel the meaning of his plays, telling them:"There are no hard distinctions between what is real and unreal."

但是品特他从不向观众解释他的戏剧的寓意，他是这样告诉观众的："真实和虚幻之间并没有严格的界限。"

One would approach at first warily through the shrub oaks, running over the snow-crust by fits and starts like a leaf blown by the wind, now a few paces this way, with wonderful speed and waste of energy, making inconceivable haste with his "trotters," as if it were for a wager,and now as many paces that way, but never getting on more than half a rod at a time; and then suddenly pausing with a ludicrous expression and a gratuitous somerset, as if all the eyes in the universe were eyed on him —— for all the motions of a squirrel, even in the most solitary recesses of the forest, imply spectators as much as those of a dancing girl —— wasting more time in delay and circumspection than would have sufficed to walk the whole distance—— I never saw one walk —— and then suddenly, before you could say Jack Robinson, he would be in the top of a young pitch pine, winding up his clock and chiding all imaginary spectators, soliloquizing and talking to all the universe at the same time —— for no reason that I could ever detect, or he himself was aware of, I suspect.

有一只赤松鼠开始谨慎地穿过矮橡树丛，跑跑停停地在雪地奔驰，像一张叶子给风的溜溜地吹了过来；一忽儿它向这个方向跑了几步，速度惊人，精力也消耗得过了份，它用"跑步"的姿态急跑，快得不可想象，似乎它是来作孤注一掷的，一忽儿它向那个方向也跑那么几步，但每一次总不超出半杆之遥；于是突然间做了一个滑稽的表情停了步，无缘无故地翻一个觔斗，仿佛全宇宙的眼睛都在看着它，——因为一只松鼠的行动，即使在森林最深最寂寞的地方，也好像舞女一样，似乎总是有观众在场的，——它在拖宕，兜圈子中，浪费了更多的时间，如果直线进行，早毕全程，——我却从没有看见过一只松鼠能泰然步行过，——然后，突然，刹那之间，它已经在一个小苍松的顶上，开足了它的发条，责骂一切假想中的观众，又像是在独白，同时又像是在向全宇宙说话，一我丝毫猜不出这是什么理由，我想，它自己也未必说得出理由来。

The absorption and distribution of chromium were studied in ryeusing nutrient culture technique and pot experiment.

采用不同浓度K2CrO4(0，0.4，0.8和1.2 mmol/L)的Hoagland营养液处理黑麦幼苗，测定铬在黑麦体内的亚细胞分布、铬化学形态及不同部位的积累。

By analyzing theory foundation of mathematical morphology in the digital image processing, researching morphology arithmetic of the binary Image, discussing two basic forms for the least structure element: dilation and erosion.

通过分析数学形态学在图像中的理论基础，研究二值图像的形态分析算法，探讨最小结构元素的两种基本形态：膨胀和腐蚀；分析了数学形态学复杂算法的基本原理，把数学形态学的部分并行处理理念引入到家实际应用中。