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We are not covering silent films in this course. We will begin with the first talking motion picture, The Jazz Singer, released in 1927. The next week, we'll be looking at The Gold Diggers of 1933, a piece that is very representative of the escapist trend in films released during the depression. Some of the films we will be watching will probably be new to you, like Frank Capra's Why We Fight. Others you might have already seen on TV like Rebel without A Cause starring James Deane, or Stanley Cooper's Doctor's Strange Love. However, I hope you see even familiar film with new eye. In the last three weeks of the course, we will be watching films from the 1980s and you'll choose one of them as a subject for an extensive written critique.

这门课不讲无声电影，我们将从1927年放映的第一部有声电影＇爵士歌手＇开始，下周我们也将观看1933年放映的＇掘金人＇，一部非常能表现萧条时期逃避注意的电影，有一些电影对你们来说可能很新奇，象Frank Capra的＇为什么我们会打架＇，别的你们可能在电视上已经看过了，象James Deane主演的＇没有目标的反抗＇或Stanley Cooper的＇医生的怪癖＇，但是我希望你们对即使很熟悉的电影，也采取一种崭新的观点去看，在本课程的最后三周内，我们会观看一些80年代的影片，同时你们需要从中选出一部电影作为撰写深入评论的对象。

We are not covering silent films in this course. We will begin with the first talking motion picture, The Jazz Singer, released in 1927. The next week, we'll be looking at The Gold Diggers of 1933, a piece that is very representative of the escapist trend in films released during the depression. Some of the films we will be watching will probably be new to you, like Frank Capra's Why We Fight. Others you might have already seen on TV like Rebel without A Cause starring James Deane, or Stanley Cooper's Doctor's Strange Love. However, I hope you see even familiar film with new eye.

这门课不讲无声电影，我们将从1927年放映的第一部有声电影＇爵士歌手＇开始，下周我们也将观看1933年放映的＇掘金人＇，一部非常能表现萧条时期逃避注意的电影，有一些电影对你们来说可能很新奇，象F rank Capra 的＇为什么我们会打架＇，别的你们可能在电视上已经看过了，象 James Deane 主演的＇没有目标的反抗＇或 Stanley Cooper 的＇医生的怪癖＇，但是我希望你们对即使很熟悉的电影，也采取一种崭新的观点去看，在本课程的最后三周内，我们会观看一些80年代的影片，同时你们需要从中选出一部电影作为撰写深入评论的对象。

I have never seen such a film as you described to me.

我从未看过象你描述的这样一部电影。

By disdaining the facetiousness that informed nearly every other fantasy (and most other kinds of Hollywood--type movies), The lord of the Rings located a narrative and emotional grandeur that had been mising nearly as long as the ring that carriers Middle Earth's destiny and Frodo the Hobbit's doom.The digital effects woek, however imposing, built on the achievemets of generations of Hollywood techniciams.

指环王》撇除了几乎所有的幻想作品（以及大部分好莱邬式电影）都具有的轻率滑稽元素，营造出情绪上的高潮以及故事情节上的波澜壮阔，而这一切，在好莱邬电影里已经小时了很长一段时间，就象牵动着中土世界命运和哈比人Frodo的魔戒一样，遗失了好几个世代。

Don't tell me a big movie star like Johnny Fontane has to ask your father for a favor?

"别告诉我象约翰尼·丰塔纳一样的大电影明星不得不向你父亲请求帮助？"

There will ultimately be six, and it will be like a Homeric saga, on a vast scale.

这里会有六部电影，这六部电影将会象一整部以更大规模展现的《荷马史诗》。

The film poster designed by the mostly utilization of the iconology from movie stars. Star adoring phenomenon which is reflected upon the graphic demonstration, which is the prevailing index for that periods.

琼瑶电影海报设计的符号运用以电影明星的肖像性符号为主流，将电影明星崇拜的流行现象，反映在电影海报图像设计的符号表现，是为时代流行指标的意义象徵。

Like the Arcanum they pursue, such mages tend to be subtle, owing much less (despite what others might think) to bad horror movies and heavy metal than to a pervasive, cold and clinical outlook on Creation, one in which they have already perceived the destiny of everything and flensed away their fear in the crucible that is the knowledge that all things must die in time.

象这样的奥秘他们追赶，这种法师往往的狡猾的，由于更少到惊骇电影和重金属比普遍的，寒冷和临时想法在创造，一个在他们之中的人已经察觉万物的命运和剥夺他们的恐惧在严酷的考验中就是说那知识告诉他们世界上的万物都必须死去在时间到了的时候。

Hou uses a retrospective and reflective attitude in making this movie, scripting this historical incident to happen to a normal family, so that the story can be dealt with more rationally. On the other hand, he purposely posed Wenqing, the protagonist in the movie, as a mute. The protagonist being a mute seems to bring about a great restriction to the development of the story, but from another point of view, it actually maximizes the artistic potential of the movie. Visual footages were being presented continuously, and with the various incomplete images being pieced up gradually, it presents Wenqing's world to the viewers in an even clearer light.

导演以一种追忆和反思的姿态面对摄影机介入在已经流逝的时空里演绎一段历史事件在台湾平民家族所发生的故事以一种更为理性的态度去面对和思考电影本身的含义，却偏偏安排了文清，一个哑巴作为整个故事的主角，将电影化的手法扩大到最大，不能说话让故事的进行产生了很大的限制，在另一个角度来看却是将艺术的能量最大空间的给予了发挥的可能性，视觉资源被不断地挖掘，给了看的内容和条件，让人事物的原初画面在断裂的片断中慢慢的连接起来，残象贯穿正是让文清的世界变得更加的明朗化。

And my sentiments towards these 2 movies cannot be easily described in just a few words. It's like the relationship between a father and his child. For the child to gain recognition, it's my pride. Actually when we were first conceptualising the plot, I realised that there was not one single movie depicting the communication gap between a child and his parents. In this world, there is not one single parent who will dislike his own child. I have 4 kids myself. So I hope this movie can be like a tool used to bridge the gap. Whilst there is humour, there are also points to ponder about.

我对它们的感情不是三言两语就可以解释清楚的，就象父亲和孩子的关系一般，它们能得到别人的认同就是我的骄傲了：）其实当初在构思这个题材的时候，我发现到，在全世界的电影种类中，完全没有一部以小孩和父母沟通的问题，天下没有哪个父母不爱自己的孩子的，我本身就有四个小孩，我希望这部电影可以做为一个解释问题症结的工具，有娱乐的同时，也有吸收和思考。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。