作者电影

DV使专业影像有了更大的创作空间和自由度，把新浪潮倡导的作者电影变成了真正的全球化的现实。

DV has expanded the space and freedom for creating professional videos and has turned the " author movie " advocated by the " new wave " into a global reality .

中国文人电影与欧美作者电影

Chinese " Scholar Film " and European & American " Writer Film "

受意识形态和市场价值的导向，第五代导演对作者电影的探索仍表现出多变性与不稳定性。

Oriented by ideology and market value , the exploration to " Author film " by the fifth-generation director still show variability and instability .

他的电影既看不到好莱坞经典的叙事技巧，又很难和欧洲的作者电影划上等号。

In his movies , we will not see the narrative technique that always used in Hollywood . Wangs films also do not belong to the Author Film in Europe .

谢飞电影是难得的中国作者电影的典范，是艺术守望年代艺术理想的主观栖息地。

Xie Fei s film - making is a rare model for China s author - film production , and a subjective habitat for ideals in an era which keeps vigil for art .

而作为理论的一种，作者电影理论特别强调导演浓厚的个人风格，因而，有后者对前者的借鉴和继承，更有着彼此有着不同的探索方向。

As one branch of theory , author film theory specially stress the individual genre , therefore , the latter has taken reference and inheritance from the former while they have different exploration direction .

这种主题在电影语言上体现出鲜明的美学特征，长镜头与独特的空间营造方式使台湾新电影呈现出强烈的作者电影风格。

The themes embody distinct aesthetic characteristics in the film language . Long - take cinematography and the unique way of space configuration make Taiwanese New Film take on the strong style of auteurism .

当然，作者和电影人自己也会忽略一些细节，比如真正的科技企业需要面对的艰巨的技术挑战。

Of course , authors and moviemakers get to overlook details of their own - like the tough technological challenges that real tech companies face .

通过将原著与1940年版影片加以对比，本文作者发现电影对小说作了不同方面的改动，尤其是对人物的变动。

Comparing the original novel and the film , it is noticeable that the 1940 version made various alterations to the novel , especially the changes on characters .

我们作为读者和观众与小说的作者、电影电视的导演、演员具有不同的文化背景，因此，理解外国小说、电影电视是一个复杂的跨文化交际的过程。

As readers and audience , we have different cultural backgrounds with the writers , directors and actors ; therefore , understanding foreign novels and movies is a complicated process of cross-cultural communication .

《如何吃掉生命》一书的作者、日本电影导演TatsuyaMori认为，任何吃鱼和肉的人一生中至少要上一次生命课。

Japanese film director Tatsuya Mori , the author of a book called How to Eat Life , believes that anyone who consumes fish and meat should take the Class of Life at least once in their life .

本论文是作者对于中国电影植入式广告的一点思考。

The paper is about the Product Placement in Chinese film industry .

与文学作品的作者相比，电影译者在翻译过程中要受到更多的限制，也要权衡更多的因素。

A film translator has to face much more constraints and take more things into consideration than an author of a literary work does .

如果电影字幕译者能够在翻译过程中遵循上述两个条件，作者认为该电影字幕翻译符合关联理论的要求并且能够实现预期的交际效果。

When these two conditions are satisfied , it can be said that " the subtitles translation " is consistent with the principle of relevance and successful communication is thus guaranteed .

因此，作者选择了电影《音乐之声》的两个版本&原声字幕版和配音版来做对比研究。

That is the reason why the author chooses the two versions of the film The Sound of Music , the subtitling version and the dubbing version , for a comparative study .

在本文第一章中，作者试图说明电影、新闻、广告和音乐等美国媒体是如何歪曲青少年的形象的，并通过对这些形象的分析，揭示了媒体所展现的青少年是什么样的。

In the first chapter of the thesis , the author tries to find out how the images of American youth are misrepresented in American mass media , namely movies , TV and newspaper , advertisements and music .

第一章从电影史着手，立足电影作者与作者电影确立了研究对象的身份，对本文的研究方式方法进行界定。

The first chapter from the history of film , based on the " movies writers " and " author cinema " established the identity of subjects , to study ways and means to define in this article .

作者认为，戏曲电影归根结底作为电影工业的产物，在艺术的发展和成熟上和市场的影响和作用息息相关。

The author suggests that Chinese opera film , finally , as a product of film industry , is closely related to the influence and effect of market in the art developing and maturing .

该电影由许幸之执导，剧本作者为夏衍。电影讲述的是青年诗人辛白华与朋友梁质夫从东北流亡到了上海，而当梁质夫很快加入到抗击日本侵略的战争时，辛白华却选择追求刚刚离婚、富有魅力的施夫人。

Children of Trouble Times tells about an intellectual , the young poet Xin Baihua , who fled Shanghai from the northeast with his friend Liang Zhi-fu . However , whereas Liang soon joined the resistance against the Japanese invasion , Xin chose to pursue a relationship with a glamorous woman , Ms. Shi who just divorced .

除了电影的脚本作者，请不要认为有任何作者可以对电影中的任何东西负责。

Please do not hold any writer except the script-writer responsible for anything in a film .