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   the mainland 在 戏剧电影与电视艺术 分类中 的翻译结果: 查询用时:0.551秒
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the mainland
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  大陆
    The Image of City and the Style of Narration in the Urban Films of the Mainland of China in the Recent 20 Years
    近20年来大陆城市电影中的城市形象及其叙述方式
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    On the Factors Restricting the Film TV Advertisements in the Mainland and the Development Routes
    大陆影视广告创意的制约因素及发展思路
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    A Literature Review of Studies on Achievement of Film Music in the Mainland of China between 1979 and 1989
    1979-1989年中国大陆电影音乐研究成果述评
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    A Generative Mirror Image: Hong Kong Plays and the Mainland Audience
    生成的镜像:港剧与大陆观众
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    The Survey on the Reform of the Movie System on the Mainland in the New Age
    新时期中国大陆电影体制变革述略
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  “the mainland”译为未确定词的双语例句
    From 1949 to 1977, production of films by individuals came to a complete halt in the mainland of China.
    此前一直潜行的民间影像得到正式命名进一步大众化,中国的影像生产开始从“中心—边缘”模式走向多极化的共存,中国的影像生产迎来了一个大众参与的时代。
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    They show themselves on the international movie circle and greatly differ from the movies of the mainland in the style, representing another aspect of Chinese movies.
    港台电影以独立的姿态代表着迥异于内地电影风格的中国电影的另一面形象在国际影坛上亮相。
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    A study of their connotation and the favorite effect of acceptance of the mainland audiences should be where the present criticism′s attention goes to.
    研究这些香港电视剧的内涵、接受效果等,应该成为当前批评的重要关注点之一。
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  the mainland
The genetic differences between the fish from Nandujiang River and those from the mainland indicated that they were separated early.
      
From September 2001 to 2003, a total of 1077 cases of SPH distributed in 135 hospitals all over the mainland of China were included for analysis.
      
Distribution of water vapor content (WVC) and its seasonal variation over the mainland of China
      
Based on the meteorological data of 105 aerological stations during the period of 1960-1969, the monthly average water vapor content (WVC) in air column over the mainland of China is calculated.
      
In the second population, located on the mainland (Herdsman Lake), snakes feed mostly on frogs (small prey).
      
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How does Chinese film take the chance and challenge in a transcultural context of this new century? How does Chinese film insist on developing a national film of its own in the new period? These are the questions this paper attempts to answer. The Chinese film of the mainland, Taiwan and Hong Kong entered successfully the international competition of art film during 1980s. This will surely initiate Chinese film into the international main commercial film competition in the 21th century.

新世纪即将来临 ,处于跨文化交流中的华语电影应当如何面对机遇与挑战 ?应当如何坚持民族电影的发展道路 ?2 0世纪 80年代两岸三地华语电影成功进入国际艺术电影竞争行列的辉煌业绩 ,无疑将为 2 1世纪华语电影努力进入国际主流电影竞争市场 ,提供许多有益的启示与借鉴

There are some mistakes in the book The Study of Beijing's Theatre in the Era Qianlong , such as some of the statistics in the tables, the historical materials and the results of studies given by the antecedents, All this represents an imprudent and impulsive manner in the scholarship, which occurred in recent Taiwan as well as in the Mainland. We must keep vigilance against it.

《乾隆时期北京剧坛研究》一书存在着表格统计与使用史料和前人研究成果的失误 ,反映了当前台岛与大陆学界同样存在着浮躁之风 ,应予警惕。

The representation of the Films of the West China such as "The Human Life"、"Loess Land"and"The Pretty Big Feet",They were established in the mainland living, served as the mainland audience appealling objects, given their attention to seeking mainland culture lays, opened up historic culture views, for culture of west regions were deeply concerned about human, especially the exquisite art representations and sincerely relating about the Films of the West China, had embodied unique "the interest...

The representation of the Films of the West China such as "The Human Life"、"Loess Land"and"The Pretty Big Feet",They were established in the mainland living, served as the mainland audience appealling objects, given their attention to seeking mainland culture lays, opened up historic culture views, for culture of west regions were deeply concerned about human, especially the exquisite art representations and sincerely relating about the Films of the West China, had embodied unique "the interest of West China". The directors of films of the West China have a culture stance of growing with each passing times, they are from narration turning self-examination, from mainland making for world, from the pickism changing secularism 

以《人生》、《黄土地》、《老井》、《美丽的大脚》等为代表的中国西部电影,立足于本土生活,以本土观众为诉求对象,注意发掘本土性的文化层面,拓展历史性的文化视野,对西部的地域文化充满深切的人文关怀,尤其是中国西部电影精湛的艺术表现与对西部人生体验的真诚表述,体现了独特的"西部趣味"。中国西部电影导演从述说转向反思、从本土走向世界、从精英主义转变到世俗主义的文化立场更体现了与时俱进的文化姿态。

 
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