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classical hollywood
相关语句
  经典好莱坞
     We refer to the classical Hollywood hero movies, and by contrast to the practicepattern of narrative ethics of aydreaming we analyze the narrative construct and thecorresponding ideological practice pattern of the movies on revolutionary heroes.
     以经典好莱坞英雄电影为参照,在与“白日梦”的叙事伦理实践方式的对比中分析革命英雄电影的叙事机制及相应的意识形态实践方式。
短句来源
     Let's take the detective film Chinatown as an example to analyse the character modelling in classical Hollywood films.
     本文以经典好莱坞的侦探类型片《唐人街》的剧本前十页为例 ,分析经典好莱坞电影中的人物塑造。
短句来源
  古典好莱坞
     Discovering the Narrate Model of Classical Hollywood Movies From Stagecoach of the Famous Text
     从《关山飞渡》看古典好莱坞影片的叙事模式
短句来源
  相似匹配句对
     HOLLYWOOD
     好莱坞
短句来源
     HOLLYWOOD
     “歌舞升平”好莱坞
短句来源
     Circuit Classical
     电路经典
短句来源
     CLASSICAL MELBOURNE
     经典墨尔本
短句来源
     Discovering the Narrate Model of Classical Hollywood Movies From Stagecoach of the Famous Text
     从《关山飞渡》看古典好莱坞影片的叙事模式
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  classical hollywood
The studio system strongly controlled the classical Hollywood cinema by means of the modern economic production system of Fordism.
      


Film comes from drama, Film producers have been trying to break through the dramatized pattern. Let's take the detective film Chinatown as an example to analyse the character modelling in classical Hollywood films.Most of the characters are static narrating media, They intensify and subordinate to the last plot.It is consistent with Aristaotle's classical dramatic theory.Citizen Kain is a break through of Hollywood classical narrative film and a model of new commercial film.It lists the...

Film comes from drama, Film producers have been trying to break through the dramatized pattern. Let's take the detective film Chinatown as an example to analyse the character modelling in classical Hollywood films.Most of the characters are static narrating media, They intensify and subordinate to the last plot.It is consistent with Aristaotle's classical dramatic theory.Citizen Kain is a break through of Hollywood classical narrative film and a model of new commercial film.It lists the outline of the plot,the models the character in flash back, leaps over time and space to show different periods of Kain's whole life. It's character is living, multi-dimensional, realistic and individual, It is also through flash back that the film realizes its description of this realistic character and self-examination of American society.

电影是从戏剧中产生的 ,电影的作者们始终探索着突破戏剧化模示。本文以经典好莱坞的侦探类型片《唐人街》的剧本前十页为例 ,分析经典好莱坞电影中的人物塑造。该片人物大都是静态的叙事媒介 ,他们激化并最终从属于情节的运转 ,这与亚里士多德的经典戏剧理论是一致的。而《公民凯恩》是好莱坞经典叙事的突破和新商业片的模示 ,以闪回结构塑造人物 ,跨越时空 ,切换凯恩的一生的不同时期。该片塑造的人物是有血有肉的 ,多维度的 ,“现实主义”的个性化的人物。影片所蕴含的对凯恩这存在主义人物的深刻描述和对美国社会的自省也是通过这种结构得以实现的

Gangster movies refer to a type of film developed in Classical Hollywood periods from 1920s to 1930s. It became a hot film trend in Hong Kong,the so called “East Hollywood”,in 1980s,which went through the stages of fairy tales,legend and natural development. Hong Kong Gangster movies made in post 1997 years are,by and large,the continuation of the same film type. However,while keeping the norm,it deconstructed and reconstructed its original connotations. After 1997,people in Hong Kong did not get...

Gangster movies refer to a type of film developed in Classical Hollywood periods from 1920s to 1930s. It became a hot film trend in Hong Kong,the so called “East Hollywood”,in 1980s,which went through the stages of fairy tales,legend and natural development. Hong Kong Gangster movies made in post 1997 years are,by and large,the continuation of the same film type. However,while keeping the norm,it deconstructed and reconstructed its original connotations. After 1997,people in Hong Kong did not get a strong feeling of “returning home”as they had expected,due to the East Asian economic crisis. Compared with the former gangster films in praise of self-centered egos,the new changes are seen in the type of movies with low spirits,gloomy images and cold and glum styles. With it,Hong Kong gangster movies have entered a dark era.

强盗片是指20世纪30年代开始在经典好莱坞发展时期发展而来的一种电影类型,80年代末这种影响在东方好莱坞——香港形成了潮流,并分别经历由神话到传说再到平凡发展的过程。后九七香港的强盗片仍然是类型制作的延续,在与原有类型对话的基础上,拆解了类型的含义,并对之重构。九七之后,港人在经济上遭遇了东南亚金融危机,也并未获得如预期那么强烈的归属感。香港电影中江湖原有的意义被摧毁,它所代言的类型也在形式的瓦解之后被重新结构。与以往飞扬的自我相比,香港强盗片最大的变化莫过于情绪的低落、影像的阴郁、风格的黑色。香港强盗片进入了黑色江湖的时代。

Using American cinematic artist David Bordwell's latest theory about the relationship between story and scenario,the paper,focusing on the film of Stagecoach which is the classical Hollywood typologic one,tries to explore the narrate model of classical Hollywood Movies and to discover the secret of sustained flourish of Hollywood movies,through the research into the figures,the initial circumstances,the structure,the end,the space-time style,the montage and the point of sight of Stagecoach.

本文以美国电影叙事学家大卫.波德威尔最新的叙事学研究成果———故事与情节的关系为依据,以好莱坞经典类型片《关山飞渡》为文本,从人物、初始情境、因果关系、结构、结尾、时空习惯与风格、剪辑、视点等方面对该文本的叙事因素进行了全方位考察,试图以此来探索古典好莱坞电影的叙事模式,揭开好莱坞电影长盛不衰的神秘面纱。

 
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