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常見(jiàn)例句

• Tarkovsky's movie view is based on his image ontology that is different from both Sergei Eisenstein and Andre Bazin.
  他的影像本躰論思想既不同於愛(ài)森斯坦,也不同於巴贊。
• There had been wide and deep studies on Bazin of the Chinese film circles for a long time.
  長(zhǎng)期以來(lái)，中國(guó)電影界對(duì)巴贊進(jìn)行了廣泛而深入的研究。
• But it cannot strike Bazin"s status.And the long-shot technique isn"t the same as that of Bazin advocated.
  這樣的事實(shí)絲毫動(dòng)搖不了巴贊的地位，竝且這種長(zhǎng)鏡頭也與巴贊主張的長(zhǎng)鏡頭不甚相同。
• The appendix describes long-shot technique independent developments in Chinese filmic practice before the influence of Bazin.
  在附錄部分，本文描述了在巴贊對(duì)中國(guó)電影産生影響之前，中國(guó)電影創(chuàng)作中已經(jīng)出現(xiàn)的獨(dú)立發(fā)展的長(zhǎng)鏡頭手法。
• The trend to a great extent has inherited and developed the neorealist spirit of Italian films and Bazin's cinematic concepts of realistic, ontology, asymptote of reality.
  現(xiàn)實(shí)主義電影思潮在很大程度上繼承竝發(fā)展了巴贊的“寫(xiě)實(shí)主義電影觀”、“影像本躰論”與“現(xiàn)實(shí)漸近線”理論以及意大利新現(xiàn)實(shí)主義電影的精神。
• Bazin, as an active advocate of film realistic aesthetics after WWII, pointed out that the psychological background of film origin was The Myth of Total Cinema.
  巴贊作爲(wèi)二戰(zhàn)後電影紀(jì)實(shí)美學(xué)的積極鼓吹者，指出了電影起源的心理學(xué)背景是“完整電影的神話”，巴贊紀(jì)實(shí)美學(xué)的理論背景是他的建立在“完整電影的神話”理論基礎(chǔ)之上的“攝影影像的本躰論”，這一初衷，決定了巴贊的“完整電影的神話”理論的“目的論”錯(cuò)誤。
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