明星资讯腾讯娱乐2019年09月17日 01:12:36
It’s never easy to say goodbye to a longtime companion. For fans of Naruto, the ending of the manga on Nov 10 is like a farewell to an old friend from a misplaced youth.相见时难别亦难。11月10日,《火影忍者》完结,很多粉丝终于要和这位陪伴了自己整个青春的“旧友”说再见了。After 15 years, the plucky teen with blonde hair and an orange jumpsuit grew to be a mainstay in the lives of many ers.十五年来,那个一头金发、身穿橙色外衣的热血青年已经成为无数读者的精神柱。“He’s far from perfect. He’s a very picky eater. He’s afraid of ghosts. He’s got the habit of giving nicknames to people. Naruto reminds me a lot of my self. But I admire him for his courage and determination, for the way he faces struggles and difficulties. He would never give up no matter what,” said Wu Xian, 25, a faithful fan who works for Enlight Media in Nanjing.今年25岁的吴娴供职于南京光线传媒,作为《火影》的铁杆粉,她眼中的漩涡鸣人是这样的:“他并不完美——挑食、怕鬼,还喜欢给别人起绰号。鸣人总让我想起自己,但是他的勇气和决心,以及面对挑战和困难的态度都令我折;无论如何,他从来都不会放弃!”The anime follows the adventures of leading character Naruto Uzumaki, who wants to be the world’s best ninja. Just like the lead characters in several other young adult comics and cartoons, Naruto wasn’t born to be a hero. Because of a nine-tailed beast sealed within him, Naruto was neglected and ostracized by most people throughout his childhood. But years of scorn and isolation didn’t make him pessimistic or world-weary. On the contrary, he works hard to be a capable ninja and to win the respect and trust of his friends and fellow villagers.《火影》漫画围绕着想要成为世上最强忍者的漩涡鸣人展开。但是,就像其他少年动漫的主人公一样,漩涡鸣人并非生来就是英雄。体内封印了九尾的鸣人在人们的冷漠与不屑中长大,但冷眼和孤立并没有让他悲观厌世。相反,为了成为有实力的忍者,他不断努力,赢得了朋友和村民们的信任。In this global best-selling manga series, Masashi Kishimoto draws out a mysterious world of ninjas with unprecedented abilities and unique personalities.在这部全球最畅销的连载漫画中,作者岸本齐史为我们描绘了一个神秘莫测的忍者世界,每个人都性格迥异,深不可测。。Uchiha Sasuke, who later became Naruto’s best friend, was dismissive of him when they first met at the ninja academy, as he was certain he was superior. Naruto never gave up trying to both surpass and befriend Sasuke.鸣人最好的朋友宇智波佐助,在忍者学校第一次见到鸣人时曾一脸不屑,因为他知道自己更强大。但是鸣人从没有放弃超越佐助,同时两人也成了至交好友。“I felt really touched when Sasuke said to Naruto that for the first time he considered him a comrade. Actually as he grew stronger, Naruto won recognition among his people, but Sasuke was always special to him,” said Shao Shuai, 23, a postgraduate student at Hong Kong Baptist University.23岁的邵帅是香港侵会大学的一名研究生,他说:“佐助对鸣人说他第一次把鸣人当成同伴的时候,我特别动容,虽然鸣人变强后名声大噪,但是佐助对他而言永远是特别的存在。”Finally, Naruto has achieved his goal of becoming the seventh Hokage. There are a few lingering questions: can Naruto’s master Jiraiya see his success, what’s under Kakashi’s mask… But regardless of these loose ends, the young ninja will remain a fond memory in our minds.最终,鸣人实现了他的目标,成为了第七代火影。然而,依有一些问题依旧挥之不去:鸣人的师父自来还能看见自己徒弟的成功么?揭开面具的卡卡西到底是什么样子……虽然还有如此多的未知之谜,但年轻的火影忍者永远是我们脑海中最欢欣的记忆。 /201411/342633

Q. Sakamaki has lived his life as an outsider.Q. Sakamaki在生活中就是一个局外人。As a Japanese photographer based in New York City since 1986, Mr. Sakamaki has spent nearly the last 30 years far from home, documenting wars, conflict and demonstrations. Even growing up in Japan, he moved from place to place, becoming an outsider in his native land.他是一名日本摄影师,自1986年起常驻纽约,远离家乡30年。他拍摄过战争、冲突、游行示威。即使是在日本长大期间,他也曾多次搬离居住地点,成为家乡的局外人。Now, Mr. Sakamaki has turned to China’s fringe provinces — Xinjian, Yunnan, Liaoning and others — where his project, “China’s Outer Lands,” catalogs marginalized minority groups that are rapidly becoming strangers in the territories they call home. The work is on display at The Half King in Manhattan until May 24.现在,Sakamaki来到中国的新疆、云南、辽宁等边远省份,拍摄他的摄影项目“中国的边远地带”。这个项目纪录了中国边远地区的少数族群,正在迅速变为那片他们称之为故乡的土地的局外人。Sakamaki的作品正在曼哈顿The Half King展出,直至5月24日。“#8202;‘China’s Outer Lands’ is about people instinctively looking for their own identity, between conformity or originality or autonomy or dependence,” Mr. Sakamaki said. “It’s natural, it’s happening in not only China, it’s everywhere.”This project is part of a larger, global story Mr. Sakamaki wants to tell. While “China’s Outer Lands” shows the clash between modernity and tradition in China, Mr. Sakamaki says that this conflict, along with wars and migration, has existed in other places and eras, such as during the campaigns of Genghis Khan.“‘中国的边远地带’是关于人们在遵从和独创、自治与依赖之间,本能地寻找自己的身份认同,”Sakamaki说,“这是很自然的,不仅发生在中国,也发生在世界的每个地方。” 这个项目是Sakamaki想要讲述的一个更大的、全球性故事的一部分。Sakamaki说,“中国的边远地带”表现出中国的现代化与传统之间的冲突。这种冲突,随着战争和迁徙的发生,也存在在其他的地方和年代,例如在成吉思汗时代的战役。“Behind the scenes, it’s not a romantic story,” he said. “It’s actually more like blood, blood, blood in history. One small change-up of power creates a huge wave of migration, often with new, bloody war. History shows that.”“在镜头的背后,不是浪漫的故事,”他说,“实际上它更像是历史中的血腥、血腥、血腥。一次小型的权力交替都会制造出新的血腥战争以及大规模的移居潮。历史已经明了这一点。”Chinese development in Xinjiang Province has attracted a rush of Han migrant workers, and Mr. Sakamaki says the native Uighur population, which practices Islam, is being marginalized. The juxtaposition drawn between the Uighur inhabitants of the region and the migrant Han workers is stark.Sakamaki说,中国新疆地区的发展吸引了一大批汉族打工者前来,而本土信奉伊斯兰教的维吾尔族人被边缘化了。这种维吾尔族居民与汉族打工者的并存很突兀。A Han couple poses in a field, dressed in traditional Western wedding clothes, as newly installed wind turbines tower over the countryside. Other signs of China’s new industrialism dominate the landscape.一对汉族夫妇身穿传统西式婚纱在田野间拍照,身后是新安装的风力涡轮机塔架。其他中国新工业化的标志占据了整幅风景。But in the same province, the silhouette of a Uighur boy is shown as he looks at the rubble of a demolished building in a Uighur neighborhood. The Chinese government says it is taking down buildings to build earthquake-resistant structures, but Mr. Sakamaki insists the government is posturing.Mr. Sakamaki works as an outsider, and his photos offer glimpses of indecision and unease.而同样是在新疆,一个维吾尔族男孩站在一个被拆毁的维吾尔族社区中,看着地上的碎石瓦砾。中国政府称拆毁这些建筑是为了修建抗震房屋,但Sakamaki认为政府只是在做样子。作为一个局外人,Sakamaki的照片展现了迟疑与忧虑。Mongolian men riding a motorbike fleck an immense field. The face of a polar bear pelt looms before the uniforms of China’s last emperor, Puyi. An unemployed man, close and out of focus, partly obscures high-rise buildings being erected around a memorial square, dedicated to the region’s iron industry.蒙古人骑着托车驶过巨大的田野。北极熊熊皮的背后隐约可见中国末代皇帝溥仪的皇。一个近景而虚焦的工人肖像,部分遮挡了在纪念广场附近林立的高楼。他曾为这个地区的钢铁行业做出贡献,现在已经下岗。This work is Japanese in style, Mr. Sakamaki says, and much more personal than traditional photojournalism. He sees China’s struggle for identity within himself and says that while the project takes place in China, the same ideas of independence and conformity are universal.“Japanese culture is very personal,” he said. “So I felt maybe I put my personality, my identity, my own Japanese history, and also my own identity as a human being, combined.”Sakamaki说,这组照片很日式,与传统摄影报道相比,带有强烈的个人风格。他在自己身上看到中国对于身份认同的努力与挣扎。他说,虽然这组照片在中国拍摄,但对于自主与遵从的想法是全球性的。”日本文化是非常个人化的,所以我认为也许我应该在作品中融入更多我的个性,我的身份,我自己的日本历史,我自己作为人类的身份认同。” /201505/375331

  Heartburn Drugs Linked to Heart Attacks某些胃药可能增加心肌梗死的风险The widely used drugs known as proton pump inhibitors, or P.P.I.#39;s — gastric reflux preventives like Prilosec and Prevacid — may increase the risk for heart attack, according to analysis of data involving almost three million people.一项涉及近300万人的数据的分析显示,目前广泛用于预防胃反流的药物——质子泵抑制剂(proton pump inhibitors, P.P.I.,如奥美拉唑和兰索拉唑等)可能会增加心肌梗死的风险。Previous studies have found that P.P.I.#39;s are associated with poor outcomes for people with heart disease, probably because of an interaction with clopidogrel, a drug commonly prescribed after a heart attack. This new study examines the heart attack risk in otherwise healthy people.既往研究发现,P.P.I.与心脏病患者预后不良相关,这可能是因为它会与心肌梗死后的常用处方药氯吡格雷发生药物相互作用。而上面提到的这项新研究则分析了健康人中的心肌梗死风险。The researchers used data-mining, a mathematical method of looking at trends in large amounts of data, to analyze the use of the drugs over time. Evidence that they were increasing the risk for heart attack was clear as early as 2000.研究人员使用了数据挖掘,也就是一种从大量数据中寻找趋势的数学方法来分析药物使用随时间的变化。研究结果表明,早在2000年,这类药物会增加心机梗死风险的据就已经十分明显。;This is the kind of analysis now possible because electronic medical records are widely available,; said the lead author, Nigam H. Shah, an assistant professor of medicine at Stanford. ;It#39;s a benefit of the electronic records system that people are always talking about.;;是电子病历的广泛使用才使得这样的分析成为可能,;该研究的主要作者,斯坦福大学(Stanford)的医学助理教授尼加姆·H·沙阿(Nigam H. Shah)说。;这是电子病历系统为人津津乐道的优点之一。;There was no association of heart attack with another class of drugs used to treat gastric reflux, H2 blockers like Zantac, Tagamet and Pepcid. The researchers suggest that P.P.I.#39;s promote inflammation and clots by interfering with the actions of protective enzymes.治疗胃反流的另一类药物——H2受体拮抗剂/阻滞剂(如甲胺呋硫、泰胃美和法莫替丁等)则与心机梗死无相关性。研究人员认为,P.P.I.会促进炎症和血栓是因为它可干扰保护酶的活动。A significant limitation of the study, in PLOS One, is that P.P.I. usage may be a marker of a sicker patient population, more subject to heart disease in any case.不过,这项发表在《公共科学图书馆:综合》杂志上的研究也存在着显著的局限性:使用P.P.I.可能是病情较重的患者人群的一个标志,这些人本来就更容易患心脏病。 /201507/386257



  Teachers may seem strict and boring but I bet they crave for being a student again and have fun. Probably, that is why this school teacher from Thailand carried away while checking test papers.教师通常是又严厉又乏味的,不过我相信,他们内心也渴望能再和学生一样愉快的玩耍。大概正由于此,这位泰国的老师在批改试卷时着实“任性”了一回。 Students usually doodle when, either they finish exam early or they don’t know what to write on the question paper. These doodles are mainly unfinished and totally random. However, this school teacher took the opportunity to complete the unfinished doodles with his own artistic skills. After a while, when students noticed what their teacher was doing, they started drawing more and requested to add more stuff. 当学生们在考试时间截止前完成了试卷,或者不知道该在试卷上写什么的时候,他们常常在试卷上涂鸦。这些涂鸦之作往往是未完成的随性之作。可是,这位老师却趁此机会,运用自己的美术天才续画了这些未完成的涂鸦画。后来,当学生们发现老师的续画作品之后,他们开始变本加厉的画画,要求老师再接着他们的作品画下去。A few of these drawings only needed a little touch from the teacher while others got new body parts or characters.下面这些涂鸦画中,有的只需要老师画龙点睛,有的则被加上了新的主体或者人物。 /201504/369452

  Stark photos of California#39;s devastating drought数幅照片直击极度干旱的加利福尼亚A shepherd rests after loading sheep fortransport. Firebaugh, California.一名牧羊人装载完羊群后立在栅栏前休息。加利福亚,法尔。A dry wheat field. Ducor, California.干旱的麦田。加利福尼亚,杜克。Water well gone dry. Stratford, California.水井干枯。加利福尼亚,斯特拉特福德。A dead almond orchard is removed near Los Banos, California.加利福尼亚巴诺斯市附近一座废弃的杏仁果园。Children at home in Alpaugh, California. 孩子在加利福尼亚阿尔波(Alpaugh)市的家中。Harvesting asparagus. Firebaugh, California.收割芦笋。加利福尼亚,法尔。Fallowed tomato fields near Corcoran, California.加利福尼亚科克伦附近的番茄休耕地。Tomato harvest. Firebaugh, California.收获番茄。加利福尼亚,法尔。A flock of sheep in a denuded wheat field. Mendota, California.行走在麦田裸露地表上的一群羊。加利福尼亚,门多塔。Loading sheep for transport to new pasture.Bakersfield, California.将羊装载到新的牧场。加利福尼亚,贝克尔斯菲市。Main street in Taft, California.加利福尼亚塔夫特(Taft)的主干道。California is in the midst of its worst drought in more than a century. Morethan half the state is in ;exceptional drought,; the driest conditionspossible, according to the ed States Drought Monitor. And after threestraight years of little rainfall and predictions of a drier than usual winter,there#39;s no sign of relief.一百多年来,加利福尼亚一直极度严重的干旱之中。据全美旱情监测项目,该州一半以上的面积处于“极度干旱”,可能达到了干旱的极限。继连续三年降雨量稀少以及预测将迎来干旱于往常的冬日,情况没有缓解的迹象。The pain of the drought has been feltsharpest in California#39;s Central Valley, long described as the nation#39;s bbasket because itprovides more than 50 percent of the country#39;s food supply. Water reservoirsare empty, and wells have run dry. Residents in some tiny towns have no runningwater at all. Many have likened it to a modern day Dust Bowl, andphotographer Matt Black has been documenting it all, producing starkimages that are eerily reminiscent of the work produced by actual Dust Bowlphotographers, including Dorothea Lange and ArthurRothstein.加利福尼亚中央山谷受苦尤甚,由于为国家供应过半的食物,这里自古就被称作国家的面包篮。水库的水用完了,井水也已干涸,一些小镇的居民没有任何的流水可用。很多人将这里比作今日的风沙侵蚀区。摄影师Matt Black将这些都记录了下来,这些荒凉的照片令人可怕地想起摄影师们创作的真实反映风沙侵蚀区的作品,这些摄影师们包括Dorothea Lange和Arthur Rothstein。But it#39;s more than just a photographyproject. It#39;s personal. Black, who grew up in Visalia,Calif., the agricultural heart of the Central Valley, has been documenting the land of hischildhood slowly waste away, starved of the water that farmers desperately needto keep their crops and livelihoods alive. He#39;s been focused not just on theland but on the people—the farmers and the workers, both—who are struggling to survive.但这不仅仅是一个摄影项目,这也是个人记事。加利福尼亚维赛利亚是中央山谷的农业中心地带,在这里长大的Black一直记录着这块渐渐荒芜、缺乏让农民渴望将农作物养活以求得谋生之道的水源的土地。他关注的不只是土地,还有人——那些求生的农民和工人。 /201411/342267MEN’S WEAR DESIGNERS of America: Uncle Sam wants you — for New York Men’s Week this summer.美国的男装设计师们:山姆大叔需要你们——为了明年夏天的纽约男装周。Though the calendar is strafed with sequential and ever-lengthening international fashion weeks, American designers are agitating for a men’s week of their own. Though the idea has been percolating for some time, it has gained momentum in recent weeks as sponsors have signed on. Men’s designers received emails from representatives of the Council of Fashion Designers of America in October gauging interest.如今日程表上已挤满各种国际时装周,它们接连不断、时间越来越长,但美国设计师们正在鼓动设立自己的男装周。这个想法已经慢慢散播了一段时间,但是最近几周,随着赞助商们开始签约,它的势头又开始高涨。10月份,男装设计师们收到美国时装设计师协会的代表们发来的电子邮件,意在评估大家的兴趣。To hear its supporters tell it, creating a midsummer presentation of men’s shows is nothing less than a point of national pride.持者们认为,在夏季中段(译注:7月4日为美国国庆日)举办男装展示会无疑能够增强民族自豪感。“Everybody has a connection to it,” said Steven Kolb, the chief executive of the C.F.D.A., who is spearheading the effort, “because of the patriotism of it all, as American designers.”“每个人都与此有关,”引领这一倡议的美国时装设计师协会首席执行官史蒂文·科尔布(Steven Kolb)说。“因为这完全体现了美国设计师们的爱国精神。”The proposed week would fall, patriotically enough though not expressly for that reason, not long after the Fourth of July.提议举办的时间是7月4日之后不久,这足以体现爱国主义,虽然没有明确说明。At New York Fashion Week, held in February and September, the men’s collections tend to languish in the shadow of the women’s. Many established men’s designers have decamped to fashion weeks abroad.在每年2月和9月举办的纽约时装周上,男装似乎被笼罩在女装的阴影下。很多老牌男装设计师都选择在国外的时装周上发布新装。“New York has such strong men’s wear designers at this point, but I think what happens in New York is that your business gets to a certain point and then you feel compelled to show in Europe,” said Daniel Silver, the co-designer of Duckie Brown.“纽约拥有强大的男装设计师群体,但我觉得纽约现在的情况是,生意壮大到一定程度,你就觉得要被迫去欧洲展示,”达基·布朗(Duckie Brown)的联合设计师丹尼尔·西尔弗(Daniel Silver)说。The reason for this is partly logistical. The selling season for spring men’s wear, when buyers see collections and place orders, occurs over the summer, just after the European men’s wear shows in London, Milan and Paris. New York designers and labels including Calvin Klein Collection, John Varvatos, Thom Browne and Phillip Lim have moved their shows to Europe to close the gap between showing and selling.这其中有物流方面的因素。春季男装的销售时间(也就是买家们观看装系列、下订单的时间)是在夏季,既伦敦、米兰和巴黎的男装秀之后。CK高级时装(Calvin Klein Collection)、约翰·瓦维托斯(John Varvatos)、桑姆·布郎尼(Thom Browne)和林能平(Phillip Lim)等纽约设计师和装品牌把时装秀搬到欧洲,以弥补展示和销售之间的时间差。“One of the biggest puzzles in the industry is why we’re showing men’s wear on the runway three months after we’ve bought it,” said Kevin Harter, the vice president of fashion direction for men at Bloomingdale’s.“这个行业最大的一个谜题是,为什么男装在销售三个月后才在秀台上展示,”布卢明代尔百货公司的男装副总裁凯文·哈特(Kevin Harter)说。The burden falls disproportionately on emerging designers, who may not have the resources to sell their collection early.这种压力主要落在新秀设计师身上,他们可能没有足够的资源,无法提早销售自己的系列。“We have a great pool of young talent in America,” said Jim Moore, the creative director of GQ. “That’s something you don’t have in a lot of places. It seems to be the land of opportunity.”“美国有很多有年轻人才,”《GQ》的创意总监吉姆·穆尔(Jim Moore)说,“这是很多地方没有的。这里似乎是机遇之地。”But by September, Mr. Harter said, the New York collections have “almost become an afterthought, because your budgets have aly been spent by then.”但是哈特说,到9月份,纽约的时装发布会“几乎是马后炮,因为到那时你的预算已经花完了。”Between the megabrands that head to Europe and the smaller ones that stay in New York are midcareer designers like Michael Bastian, who holds sales appointments with buyers in June in Milan but stages a runway show in New York in September.除了去欧洲举办发布会的大品牌和留在纽约的小品牌,还有一些中间层设计师,比如迈克尔·巴斯蒂安(Michael Bastian),他6月份就在米兰和买家们签署销售约定,9月份才在纽约举办时装秀。“Theoretically we could be showing in Milan,” he said. “I just never felt comfortable showing anywhere but America. We’re an American brand.”“理论上我们能在米兰举办时装秀,”他说,“但是在美国之外的地方举办时装秀就是让我觉得不舒。因为我们是美国品牌。”Stumbling blocks persist. One is creating a strong enough lineup to draw international press and buyers to New York. The possibility of a New York event is testing the American spirit of the brands born and bred in the ed States that have migrated elsewhere to show, or elected not to show at all.有些障碍一直存在。其中一个是需要强大的阵容,把国际媒体和买家吸引到纽约。能否在纽约举办男装周,关键在于考验这些土生土长的美国品牌是否具有美国精神,之前它们有的去其他地方展示,有的干脆不展示。Large labels, including Calvin Klein, Ralph Lauren (which has not produced a men’s wear show in recent years) and Tommy Hilfiger (which has shown intermittently) declined to comment on whether they would join a New York men’s week. A representative for John Varvatos did not respond to requests for comment.CK、拉夫·劳伦(Ralph Lauren,该品牌近些年没有举办男装秀)和汤米·希尔费格(Tommy Hilfiger,它偶尔举办)等大品牌拒绝就是否参加纽约男装周发表。约翰·瓦维托斯的一位代表没有回应要求的请求。Another hurdle is sponsorship dollars, to defray costs of sites and production. Three sponsors have committed thus far, but at least one more is needed to meet a proposed budget of million.另一个障碍是付场地和制作费用所需的赞助。到目前为止,已有三位赞助商,但是至少还需要一位赞助商,才足以付200万美元的预算。Mr. Kolb said that creating a stand-alone men’s showcase would have historic significance.科尔布说,创设单独的男装周将具有历史意义。“When I look at the things that C.F.D.A. has been able to accomplish over the last number of years, we’ve changed the organization in a big way,” he said, citing the acquisition of the 65-year-old Fashion Calendar in July as a highlight. “If we were able to pull off men’s and do it right, it would have that same kind of stature.”“我在回顾过去几年美国时装设计师协会取得的成就时,发现我们已经在很大程度上改变了这个组织,”他说。他认为今年7月该协会收购有65年历史的时尚日历(Fashion Calendar)是最大的亮点。“如果我们能成功创办男装周并良好运营,它将具有同样的高度。”But time is running out. Mr. Kolb said that if enough sponsorship to cover the budget is not confirmed by the beginning of the new year, the July shows, in discussion for over a year, would be scuttled and a men’s event once again postponed.但是时间快不够了。科尔布说,如果明年初筹集不到足够的赞助费,讨论了一年多的7月发布会就将流产,男装周将也将再次延迟。It is perhaps especially frustrating that London has managed to create exactly the sort of event the C.F.D.A. is attempting. In 2012, the British Fashion Council moved its men’s wear from a single day at the end of London Fashion Week to the four-day London Collections: Men and quickly found success, first in press, then in sales.特别令人沮丧的是,伦敦成功创办了美国时装设计师协会想要创办的那种活动。2012年,英国时装协会把伦敦时装周最后一天的男装秀改成为期四天的伦敦男装周(London Collections: Men),很快取得成功——先是在媒体上,而后在销售上。“What a huge deal this would be if he could pull this off,” Mr. Bastian said. “It would really validate all of American fashion, in a way, to figure this out.”“如果他能促成此事,那真是了不起,”巴斯蒂安说,“从某种程度上讲,它真的能明所有美国时装的价值。” /201412/348643

  2. Progress of Chinese Movies2、中国电影的发展After the founding of New China, the movie industry developed rapidly. Ten movie studios were set up. They are the Beijing, Shanghai, Changchun, August first, Pearl River, E#39;mail, Xi#39;an, Nangning, Wulumuqi, and Huhehaote Studios. From 1949 to 1966, more than six hundered movies of the 1950#39;s, The White-Haired Girl, Reconnaissance Across the Changjiang, Steeled Fighters and Dong Cunrui had a strong social impact. The following movies The Song of Youth, The Storm and Lin Zexu Which showed that Chinese movies had reached a new level. Movies produced in the early 1960#39;s were more mature ideologically and artistically. Representatives of the period were The Naval Battle of 1894, The Lin Family#39;s Shop, and Threshold of Spring.建国后中时事业迅速发展起来北京上海陈、八一珠江帆西安、南宁、乌鲁木齐和呼和浩特10大电影制片厂相继成立。 1949年到1966年间,创作了 600余部电影。 20世纪 50年代期间制作的《白毛女》、《渡江侦察记》、《钢铁战士》、《董存瑞》引起了社会的极大反响。《青春之歌》、《风暴》、《林则徐》等电影的出版发行标志着中国电影制作发展到了一个新的水平。 60年代早期的电影其意识形态更成熟和艺术价值更高。代表作品有《甲午风云》、《林家铺子》、《早春二月》。From 1966 to 1976 only a small number of movies had been made in that decade. After 1976 movie production started to flourish again. From 1976 to 1980 more than two hundred and fifty feature movies were made. They covered a wide range of themes and varied in style of presentation. In September of 1987, the first China Movie Show was held in Beijing . It was presented by over one hundred movie historians, critics,and distributors from 48 countries. Among those who spoke highly of Chinese movies were Gregory Peck, the American movie star; Regis Bergeron, the French movie historian; and Rubanoy, the Soviet movie critic. They all agreed that China#39;s movie Industry had entered a mature stage.从1966年到 1976年这10年间,只创作出少量电影。 1976年后,电影创作再次走向繁荣。 1976年到 1980年,制作了 250余部电影,并且题材广泛,主题多样。1987年9月,北京举办了第一届影展。来自48个不同国家地区的上百位电影史学家、家及发行人出席了此次影展。美国影星格利高里·派克、法国电影史学家瑞吉伯杰和苏联电影家茹伯诺对中国电影给予了高度评价。他们都认为中国的电影业已经进入一个成熟的阶段。In recent years Chinese movies have been presented in many international movie festivals and have made a strong impression on foreign audiences and movie-makers. Since 1981, more than one hundred movies have been awarded prizes in international competitions. Among them, The Yellow Earth won the 1985 British Movie Institute (BFI) award for the most original and imaginative movie; Old Well scooped the Tokyo Grand Prix and another two awards at the Second Tokyo International Movie Festival in October, 1987; Red Sorghum won the Gold Bear prize at the Thirty-eighth International Movie Festival in West Berlin in 1988; The Year of Bad Luck received the Silver Bear prize at the Fortieth International Movie Festival in Berlin in 1990.近年来,中国电影参加了许多国际电影节,给众多的国外观众和制片人留下了深刻印象。 1981年以来,超过过百部的电影在国际大赛中获奖。其中1985年的《黄土地》被英国电影协会誉为最佳原创和想象电影;{老井》获得了东京大奖并在 1987年 10月的第二届东京国际电影节获得了两个奖项 ;1988年《红高粱》获得了第38届柏林国际电影节金熊奖;{本命年》于1990年的柏林第40届国际电影节获得银熊奖。Chinese cartoon movies have received attention both at home and abroad with interesting and healthy contents and distinctly Chinese Style. They are usually bαsed on traditional paintings, folk art, and local opera. In some cartoon movies, traditional Chinese ink-wash painting has been reproduced on the screen. From 1981 to 1988, 29 cartoon movies had won prizes at international movies festivals. Great achievements have also been made in the production of scientific and educational movies.中国动画片同样也受到了国内外的普遍关注。这些动画片通常以中国传统绘画、民间艺术和地方戏为基础,内容有趣、健康且具有中国特色。一些影片制作中采用了中国水墨画艺术,使中国的传统水墨画在荧屏上得到了再生。 1981年到 1988年间, 29部卡通电影在国际电影展中赢得了大奖。科教电影也是硕果累累。 /201505/373195





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