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the chinese movie
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  “the chinese movie”译为未确定词的双语例句
     On Cultural Factors of Innate Structure in the Chinese Movie Viewers
     论电影观众先在结构中的文化因素
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     The golden rooster prize was born in 1981, was the Chinese movie association in order to reward the outstanding movie to established, every year a session.
     金鸡奖诞生于1981年,是中国电影家协会为了奖励优秀影片而颁发的一年一度的电影奖,由著名的电影艺术家、评论家等组成评委会,以艺术性、专业性为立奖特色。
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     On the basis of the analysis of the Chinese movie titles, four different translating methods are applied to piloting the Chinese English movie title translation.
     翻译过程中 ,应对片名进行分析 ,根据不同情况采用直译、音译、意译、另译等不同方法 ,使英语译名形式与电影内容达到辩证统一
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     It embodies in the value orientation of Chinese society and the conforlmation of the Chinese movie and television to the culture market of reformed society.
     影视创作“平民化”,既反映了中国社会整体价值取向的变化,也体现了当代中国影视为适应转型社会开始形成的文化市场所作出的努力。
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     The Eastern Image: On "The Asian New Wave" and the Chinese Movie under the Background of Globalization
     东方镜像:全球化背景下的“亚洲新浪潮”与中国电影
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  相似匹配句对
     Chinese Lac
     谈谈中国大漆
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     Chinese on the Train
     中国人坐火车
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     CHINESE ENGLISH
     中国英语初探
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     The Chinese Sheng
     美妙的笙(英文)
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     MOVIE
     电影
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As one of “the fifth generation of the Chinese movie", Chen-Kaige is always regarded for his literate talent. And he also thinks himself as a poet who has the responsibility to exalt Chinese traditional culture. But because of his bitter feelings about the “Chinese Cultural Revolution" and the reality most of his movies pay little attention to box-office, his works are always embodied with bitterness and solemnness.Today, Chen-Kaige seems to have reversed himself. He begins to work at...

As one of “the fifth generation of the Chinese movie", Chen-Kaige is always regarded for his literate talent. And he also thinks himself as a poet who has the responsibility to exalt Chinese traditional culture. But because of his bitter feelings about the “Chinese Cultural Revolution" and the reality most of his movies pay little attention to box-office, his works are always embodied with bitterness and solemnness.Today, Chen-Kaige seems to have reversed himself. He begins to work at pure commercial Hollywood-type movies sand official MTVs. Maybe that is the biggest tragedy in his life as an artist.

陈凯歌是“第五代”电影人中最才华横溢、学贯古今的一位。从很大程度上来说 ,陈凯歌也因此是其中自觉历史文化责任感最强的一位。从“文革”情结到骨子里对商业电影的蔑视(不愿“同流合污”的困境 ) ,陈凯歌的大部分影片中都表现出强烈的悲壮意识。然而今天终于“穷途末路”的陈凯歌居然也低下了他高贵的头 ,开始向他作为文人一向不耻的商业体系和主导意识形态全面投诚 ,也许这才是构成陈凯歌艺术人生的最大悲剧。

The writing trend that focuses on common People is one of the main characteristics of movie and television culture during the reforming Period. It is reflected in the writers standpoint of common people and their considerations for common people in writing. The trend is formed on the basis of aesthetic judgment and appreciation of the audience. It embodies in the value orientation of Chinese society and the conforlmation of the Chinese movie and television to the culture market of reformed...

The writing trend that focuses on common People is one of the main characteristics of movie and television culture during the reforming Period. It is reflected in the writers standpoint of common people and their considerations for common people in writing. The trend is formed on the basis of aesthetic judgment and appreciation of the audience. It embodies in the value orientation of Chinese society and the conforlmation of the Chinese movie and television to the culture market of reformed society.

平民化”创作趋向,是转型期影视文化鲜明的特征之一。它体现为创作视角、叙事视角上所具有的平民意识以及在价值取向上所持的平民立场。观众的欣赏口味和审美旨趣等方面的需要,是形成这种创作趋向的重要依据。影视创作“平民化”,既反映了中国社会整体价值取向的变化,也体现了当代中国影视为适应转型社会开始形成的文化市场所作出的努力。

This paper reveals the subjective awareness of directors of the 4th generation in history description from three aspects, and places their unique mode of history portrayal within the entire framework of the Chinese movie history by analyzing and explaining various modes of history narration in Chinese movies. It is opined that the directors of the 4th generation have displayed their unique approach to narrating history in the movies, thus having established a crucial landmark for the...

This paper reveals the subjective awareness of directors of the 4th generation in history description from three aspects, and places their unique mode of history portrayal within the entire framework of the Chinese movie history by analyzing and explaining various modes of history narration in Chinese movies. It is opined that the directors of the 4th generation have displayed their unique approach to narrating history in the movies, thus having established a crucial landmark for the prospective cultural exploration of Chinese movies.

论文从时空复现的叙事策略、温柔敦厚的影像表达和身心投入的情感结构三个层面 ,揭示了第四代电影导演为了思想启蒙、文化反思和人性诉求而诗化历史的主体意识 ;并在对有史以来中国电影历史叙述的各种模式进行分析阐释之后 ,将第四代电影导演诗化历史的独特姿态纳入中国电影文化史的整体框架之中 :在第四代之前的历史表象呈示和第四代之后的历史重构机遇之间 ,第四代导演的历史诗化策略第一次把中国电影的道德处境、民族形象和家国梦想整合在文化阐发的历史维度 ,并表现出现代中国电影难得一见的批判性和内省性气质 ,为此后中国电影的文化探索矗立了一座不可忽略的丰碑

 
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