助手标题  
全文文献 工具书 数字 学术定义 翻译助手 学术趋势 更多
查询帮助
意见反馈
   视听语言 的翻译结果: 查询用时:0.467秒
图标索引 在分类学科中查询
所有学科
戏剧电影与电视艺术
社会学及统计学
文艺理论
更多类别查询

图标索引 历史查询
 

视听语言     
相关语句
  audio-visual language
     Interpreting the Cultural Phenomenon with the Audio-Visual Language
     用视听语言来解释人类文化现象
短句来源
     His movie has a distinct personal style difficult to imitate, abundant, minuteness humanity / versa humanity theme, profound philosophy thought and original audio-visual language.
     他的影片有着鲜明、难于仿效的个人风格,丰富、绵密的人文/反人文主题,哲学的玄思以及极富原创性的视听语言
短句来源
     Full text point at "the audio-visual language of showbiz animation" part of the fourth chapter, audio-visual language's canning say is an animation language the most main part is in the showbiz animation, to this part carry on analyzing and studying thoroughly, is the key place that the showbiz animation creates a research.
     全文重点在第四章节的“影视动画的视听语言”部分,视听语言可以说是影视动画中动画语言最为主要的部分,对这个部分进行深入地剖析和研究,是影视动画创作研究的关键所在。
短句来源
     This paper opens out the acquaintanceship of TV culture from the perspective of dissemination and discusses the agent of television and its characteristic. The author thinks that television has created a brand new way for mankind to exchange with the outside world, which developed the new language platform of human in the form of audio-visual language.
     本文主要以传播学的视角展开对电视文化的认识,探讨电视这一媒介及其所承载的文化的特性:本文认为电视创造了人与外界交流的全新方式,它以视听语言的形式发展了人类新的语言平台;
短句来源
  audiovisual language
     With a view to improve the ability to use audiovisual language of non-art university students,the paper tries to seek new approach to foster talents with inventiveness well qualified for the new economy by combining movies with other subjects.
     本文旨在提高非艺术院校学生视听语言的使用能力,使电影与其他各门学科相结合,为培养适应知识经济时代的创新人才,寻找新的途径。
短句来源
     With some common characteristics,these films developed the new audiovisual language,but it is no breakthrough in the recount models.
     在视听语言上有了新的开拓,但是叙事模式并没有创新。
短句来源
     The colors structure based on the basic hue of red, together with other factors, constructs the audiovisual language system of Zhang Yi - mou' s movies, which ultimately engenders a new film art and culture atmosphere.
     以红色为基调的多色彩结构,与电影其他要素共同构成张艺谋电影的视听语言系统,最终形成一种新的电影艺术理念,一种新的电影文化氛围。
短句来源
     The aim of the artistic design of a TV opera is to abstract the opera's spirit rooted in tradition,which is accordant to a new extensity for audiovisual language.
     戏曲电视剧美术设计的目的是要设计出根植于传统戏曲精神,又符合视听语言的崭新空间关系。
短句来源
  seeing and hearing language
     The poem style embodied in content, traditional aesthetic characteristic of China and tactics of poem reflected in the seeing and hearing language, These characteristics make Xiao Cheng Zhi Chun become the classical film.
     电影《小城之春》在内容上体现出的诗化风格 ,在视听语言中渗透的中国传统美学特点以及对诗歌的表现手法的借用 ,确证了《小城之春》在中国电影史上的经典地位。
短句来源
  “视听语言”译为未确定词的双语例句
     On Audi-Visual Language in Game Design
     游戏设计中视听语言研究
短句来源
     Audio and video language marks the special artistic feature of films. It is also a cultural phenomenon in mass communication that generates its own semiotic system. Same as films,animation transfers its semiotic messages through audio and video means.
     视听语言是电影的艺术手段(形式),同时也是大众传媒的符号系统和独特的文化现象,动画在符号传达的意义上和电影是相同的,同样是通过视觉语言和听觉语言把信息传达给观众,动画是在模拟电影的视听语言,但是由于动画制作的方式使动画拥有比电影更为灵活、多样的视觉表现语言,使动画拥有更为丰富多彩的视听表现力。
短句来源
     dialogue". Meanwhile, this kind of \!dialogue" actually is also a collision between the two forms of art and the two forms of dissemination intermediary, between the evident distance from written language form to audiovisual form.
     同时 ,由于文字语言思维与视听语言思维本身存在的差异 ,“对话”事实上也是两种艺术形式、两种传播媒介之间的碰撞。
短句来源
     The (audio-visual) (language) has dynamic (visual) (image) (quality,) (the) (comprehensive) (and) (distinct) (aesthetic) (characteristic) (of) (omni-directional) (information) (interchange.)
     视听语言具有动态的直观形象性、全方位信息交流的综合性和鲜明的审美特性。
短句来源
     As a sub discipline of anthropology, visual anthropology has the function of interpreting the cultural phenomenon with the audio visual language.
     影视人类学和人类学其他分支学科的不同之处在于它使用的是视听语言 ,而相同之处就在于解释人类的文化现象。
短句来源
更多       
查询“视听语言”译词为用户自定义的双语例句

    我想查看译文中含有:的双语例句
例句
为了更好的帮助您理解掌握查询词或其译词在地道英语中的实际用法,我们为您准备了出自英文原文的大量英语例句,供您参考。
  audiovisual language
New avenues of international cooperation in audiovisual language teaching
      
  其他


To a certain extend,the passage can be termed as″the Oriental Violence Aesthetics″as well as″the Popular Aesthetics″which leads to the summarized statement how to show the variety of features of image stories,the audio-visual language,the orientation of cultural val-ue and the psychological confirmation as well,in which there are something looking very nice in China movies especially ones in Hong Kong.The author tries to find out the great difference between the western movies(especially the action films...

To a certain extend,the passage can be termed as″the Oriental Violence Aesthetics″as well as″the Popular Aesthetics″which leads to the summarized statement how to show the variety of features of image stories,the audio-visual language,the orientation of cultural val-ue and the psychological confirmation as well,in which there are something looking very nice in China movies especially ones in Hong Kong.The author tries to find out the great difference between the western movies(especially the action films in Hollywood)and the oriental ones.

本文在一定程度上沿用了对“东方暴力美学”的“通俗化唯美主义”的理解,并在此基础上,引申为中国电影(以香港动作片为主体)中暴力场面“看上去很美”背后的影像故事构成、视听语言风格、文化价值取向和心理认同等种种特征的总括性表述,并试图找到和西方电影(以美国好莱坞动作片为主体)大异其趣之处。

Based on Krashen's "Input-Output" theory, this essay holds that Audio-Lingual-Visual teaching is also a process of input and output. Watching and Listening belong to the process of input, while speaking belongs to the process of output. The two processes are so closely related that they depend upon each other and help each other to produce effects. The teaching pattern is divided into three stages: Presentation,Controlled Practice and Practical use.

视听说教学亦是一个输入与输出的过程,视听是语言的输入过程,而说用是语言的输出过程,二者关系密切,相互依赖,相互促进。其教学模式可分为三个步骤,即:呈现;控制操练和活用语言。

Adaptation is not simply a conversion of style from literature to film, but a \!dialogue". It is a dialogue between the original work that has become history as well as a dialogue between the underdevelopment \!fact": It is a dialogue with the original author yet with the underneath acceptors of future films. Owing to the differences of the time,the history and the cultural background, owing to the differences between the two forms of art and the two forms of dissemination intermediary, owing to the differences...

Adaptation is not simply a conversion of style from literature to film, but a \!dialogue". It is a dialogue between the original work that has become history as well as a dialogue between the underdevelopment \!fact": It is a dialogue with the original author yet with the underneath acceptors of future films. Owing to the differences of the time,the history and the cultural background, owing to the differences between the two forms of art and the two forms of dissemination intermediary, owing to the differences of the authors' personality, aesthetic sense and life experiences, there would be two forms of language expression system between original author and adapter. The process of adaptation is at the same time the process of persuading balance in the contradiction between both sides, and the process of seeking the symbols of conveying language that meet the regulation of the modern civilization, and this is what is so\|called \!dialogue". Meanwhile, this kind of \!dialogue" actually is also a collision between the two forms of art and the two forms of dissemination intermediary, between the evident distance from written language form to audiovisual form. The adapting practice of Xia Yan 's \!17 years after the foundation of our country" successfully fulfilled the \!dialogue" in two aspects: One is the spiritual purport, the other is the form of art\|which not only conveyed the original purport but also conveyed the form--from novel to film. In the view of playwriting. The more important is, the adapting practice fulfilled the dialogue with main stream ideology and also it offered an extraordinary model for the establishment of a new ideology from the aspect of scenario production.

改编并不是简单的从文学到电影的形式转换 ,而是一次“对话”。既是与已经成为“历史”的原作的“对话” ,也是与正在发展的“现实”的“对话” ;既是与原作者的“对话” ,也是与未来影片的潜在接受者的“对话”。由于时代、历史、文化背景的差异 ,由于两种艺术形式、两种传播媒介的差异 ,也由于创作者 (包括原作者和改编者 )艺术个性、审美趣味、生活经历等等各方面的差异 ,原作者和改编者之间势必存在两套不同的语言表达系统。改编的过程也是在两者的矛盾冲撞中竭力寻求平衡的过程 ,是在裂隙间寻找符合现时社会文化所需要的语言表意符码的过程 ,这就是所谓的“对话”。同时 ,由于文字语言思维与视听语言思维本身存在的差异 ,“对话”事实上也是两种艺术形式、两种传播媒介之间的碰撞。夏衍“建国 17年”的改编实践在精神主旨和艺术形式两个层面上 ,成功地完成了与原作和原作者的“对话” ,既相对准确地传达出原作的精神主旨 ,又在剧作的角度创造性地完成了形式的转换———从小说到电影。更重要的是 ,夏衍的改编实践还完成了与主流意识形态的“对话” ,从电影创作方面为新的意识形态的确立提供了引人注目的“范本”。

 
<< 更多相关文摘    
图标索引 相关查询

 


 
CNKI小工具
在英文学术搜索中查有关视听语言的内容
在知识搜索中查有关视听语言的内容
在数字搜索中查有关视听语言的内容
在概念知识元中查有关视听语言的内容
在学术趋势中查有关视听语言的内容
 
 

CNKI主页设CNKI翻译助手为主页 | 收藏CNKI翻译助手 | 广告服务 | 英文学术搜索
版权图标  2008 CNKI-中国知网
京ICP证040431号 互联网出版许可证 新出网证(京)字008号
北京市公安局海淀分局 备案号:110 1081725
版权图标 2008中国知网(cnki) 中国学术期刊(光盘版)电子杂志社