李晨風 的英文怎麼說
中文拼音 [lǐchénfēng]
李晨風
英文
chenfeng li-
Lee sun - fung was one of the emblematic directors that predominated cantonese cinema of the 50s and 60s
導演筆記李晨風是五、六十年代粵語文藝片的代表人物之一。Interview with lee sil - hong
訪問李兆熊：談父親李晨風Unconventional women - on early lee sun - fung films
破格的女子李晨風電影閱讀筆記Remembrance of things past - lee sun - fung s costume films
往事知多少漫遊李晨風的古裝世界In japan. wearing kimonos on a movie set, these are dedicated film professionals, but in everyday clothes, they are little more than a bunch of curious tourists. recently, we had a chance to talk to lee sil - hong, who recounted to us amusing anecdotes during the shooting of
另有一本生活照，是李晨風帶同太太李月清和吳楚帆紫羅蓮等到日本拍攝斷鴻零雁記外景時的照片穿上和服戲裝時，他們是專業的演員，換上了便服，他們是好奇的遊客。Going through lee s archive, i was most amused by the interviews in which the director talked about his self - invented film study tool - using a mini leica camera to record film sequences shot - by - shot - in the time when videotapes and dvds were unavailable to film enthusiasts
看檔案里的多篇李晨風專訪，他屢次談及當年看電影時，愛用小型leica攝影機將銀幕上的影片逐個鏡頭快拍下來，那是他學習電影的獨門秘方。那個年代沒有錄影帶或數碼光碟，有心人都要各師各法。Tracking lee sun - fung s artistic development
李晨風藝術生命的線跡歷史脈絡的追尋Cut to a wide shot of the historical era. lee sun - fung was born in 1909, on the eve of the founding of the chinese republic, in a country embroiled in political turmoil and social upheaval. the rough filmmaking journey lee and his war - weary companions had to take was depicted in stephanie chung po - yin s reconfigurating the southern tradition - lee sun - fung and his times and law kar s tracking lee sun - fung s artistic development
李晨風生於二十世紀之初，那是中國政治和文化動蕩多變的年代，鍾寶賢的南國傳統的變更與消長李晨風和他的時代和羅卡的李晨風藝術生命的線跡歷史脈絡的追尋二文，將李放在時間的荒原上，帶領我們走一趟簸蕩的歷史之旅，也讓我們看看同行相伴者的面貌。And most interestingly, the director s reviews of his own works - an eye - opening read for any film researcher. his language is plain, honest, and perhaps unpolished, but his writings mirror the thoughts of the director and his generation of filmmakers on their quest to carve out a creative space in a conservative environment
當然，還有那些小小單行簿里的蠅頭小字，大都寫於五十年代初中期，有談戲劇的，有談分鏡頭的，更有趣的是李晨風對自己作品的檢討，對于研究者很有啟發性。Interview with chow chung
與周驄談李晨風The loner 1972 was an important work in the last years of lee s film career. through the descriptions of tam, lee and chow, we are blessed with a portrait of a gentle, easy - going person who happened to be a dedicated filmmaker
至於周驄，則是李晨風後期愛用的演員，七十年代初與李兆熊合組現代製片公司，獨立製片，其中半生牛馬1972是李晨風晚年的重要作品。At the same time, we learned that lingnan university will publish a manuscript on hong kong film and literature, including a detailed filmography. we have therefore chosen to focus our research and studies on a prolific director of the genre - lee sun - fung. skilled in translating literary works to screen, lee s adaptations encompassed works chinese and western, traditional and contemporary, highbrow and popular, and his achievements were widely acknowledged by fellow filmmakers
李晨風擅長將文學作品改編成通俗文藝電影，從中到外，從古到今，從雅到俗，成績早已得到業內人士的認許，單單是改編自巴金作品的便已有三部春1953寒夜1955人倫1959 ，是討論文學與電影此主題一個很好的切入點。Family, released in january 1953, realises the idealistic ambitions with which the company was founded. the union film group spawned other little companies or units, including shanlian, founded by cheung wood - yau zhang huoyou and pak yin bai yan ; and hualian, founded by ng cho - fan wu chufan and lee sun - fung li chenfeng
於1952年成立的中聯公司，在53年1月推出創業作家，實踐有志的電影工作者的理念其後更有中聯小組，包括張活游白燕的山聯影業公司，吳楚帆李晨風的華聯電影製片有限公司等。1955, directed by lee tit. lee sun - fung, lee tit, and nu wui were the cantonese cinema s most accomplished directors of the period, while chun kim represented the rise of the first young generation of the postwar cantonese cinema. the works of these directors reflected the realist tradition of chinese cinema, focusing on the human relationships in society. the films also made stars out of pak yin bai yan, ng cho - fan, tsi lo - lin zi luolian, mui yee mei qi, cheung ying zhang ying, wong man - lei huang manli, ma si - tsang ma shizeng, hung sin nui hong xian n, siu yin fei xiao yan fei, cheung wood - yau zhang huoyou, etc. this period could be summed up as a golden era of cantonese cinema
中聯中聯小組以及理念接近的新聯在這段時期拍出了不少佳作，如改編自巴金的家1953 ，吳回編導春1953 ，李晨風編導秋1954 ，秦劍導演危樓春曉1953 ，李鐵導演蕓娘1954 ，吳回導演家家戶戶1954 ，秦劍導演寒夜1955 ，李晨風編導父母心1955 ，秦劍導演天長地久1955 ，李鐵導演等。Lee s albums caught glimpses of the screen goddess, in her glamorous woollen overcoat, fur muffler and high heels, gleefully snacking at japanese roadside food stalls like a spoiled child on the loose. among the artefacts we collected were tiny notebooks scribbled with lee s notes, most of them penned in the early and mid - 1950s, discussing drama,
看李晨風的相簿，就會見到不少紫羅蓮的饞咀模樣在日本街頭或火車上的她，穿雍容的絨大衣，頸上纏小巧的皮草，腳上登高跟鞋，卻活像一個頑童，開心忘形地吃日本便當！Tam ning was only fifteen when she worked as lee s continuity person in 1952. when their partnership terminated in 1960, she became a screenwriter in her own right and lee s daughter - in - law. lee sil - hong, lee s third son, started writing screenplays for his father since the late 1950s and later became a frequent collaborator
譚?十來歲已入片場，打從1952年起跟李晨風做場記，直到1960年才離巢別去，從此獨立編劇，可說是李晨風的入室弟子，后來更成為了李晨風的大媳婦。On late night tv from the comfort of her couch, while wong tracks down lee s distant relatives in western cinema, carl theodor dreyer and ingmar bergman. michael lam enters lee s costume - drama world under full license - distant childhood memories intertwined with present day viewing experience - and salvages long forgotten cinema classics from the musty closet
還有邁克，一頭栽進李晨風的古裝世界，嬉皮笑臉把童年的回憶和今天的閱讀攪拌在一起，抵死反斗的同時，也將李晨風一些久被遺忘了的作品，從塵封的角落裡從新挖掘出來。An interview with lee sun - fung : on classic adaptation and production
訪問譚? ：談李晨風A preliminary study of lee sun - fung
初論李晨風The cinema of lee sun - fung
李晨風評論導演筆記分享友人