秦劍 的英文怎麼說
中文拼音 [qínjiàn]
秦劍
英文
kim chun-
Its king is the target of assassins f.
當中殘劍飛雪長空更是秦王的心腹大患。Kong ngee also cultivated its rank of new writing and directorial talent, as represented by chor yuen chu yuan, who worked as chun s assistant director on autumn comes to crape myrtle garden ziwei yuan de qiutian 1958, and made his debut as director - cum - screenwriter with
而在編導的行列里，楚原曾在光藝時期師承秦劍，在紫薇園的秋天1958中任副導，並獨立編導湖畔草1959他其後活躍于影壇，是六七十年代橫跨國粵語片的一名中堅份子。Kong ngee represented a new life force then. the company s first production was the rouge tigress yanzhi hu
光藝是五十年代的一股新興力量，創業作是秦劍編導的胭脂虎1955 。Its king is the target of assassins from all over china
當中殘劍飛雪長空更是秦王的心腹大患。The king of qin ( daoming chen, beaming feral intensity ) lives in mortal terror of these extraordinary martial artists, named broken sword ( tony leung chiu wai ), flying snow ( cheung, who co - starred with leung in kar wai wong ' s “ in the mood for love “ ) and long sky ( martial arts up - and - comer donnie yen )
秦王（陳道明，殘暴無比）生活在對這三位武功超群的刺客的致命恐懼之中，他們被稱作殘劍（梁朝偉） 、飛雪（張曼玉，她與梁一起主演了《花樣年華》 ）和長空（行情看漲的功夫片演員甄子丹） 。As for cantonese cinema, kong ngee actively sought territorial expansion in the mid - 1960s and set up a string of subsidiaries. chun kim, a key player at the union, joined kong ngee to become its flag - bearer. the transition the cinema was undergoing at that time coincided with the transfer of directorial talents necessary for the continuation of the lineage
粵語電影方面，光藝製片公司在六十年代初中期銳意擴展，成立多間光藝系兄弟姊妹公司，而秦劍從中聯的健將到光藝的旗手，可說發揮了承先啟后的作用。The more the merrier, he plays the usual wage slave in a typically supportive task. but it turns out to be an unusually meaty role
遇上出色劇本、識英雄重英雄的編導秦劍，使黃楚山、黃曼梨盡展苦情戲的看家本領。What made kong ngee productions fascinating was its urban touch. whenever this topic came up in conversation among friends, everyone concurred that kong ngee was the motion picture and general investment co ltd mp gi of cantonese cinema. however as a film company, the former fared better than the latter
電懋的主持人陸運濤及公司要員於1964年死於空難，令本來活潑豐盛的電影事業兵敗如山倒，光藝卻在1955年創立之後，雖然也經歷過人事上的變遷，如秦劍於1965年轉投邵氏，但發展基本上相對穩定。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。Hong kong cinema has always been as integral part of chinese cinema, but, because of political and ideological reasons, chinese film historians had often neglected hong kong. such indifference enjoyed a reversal in recent years, when a new interest in hong kong films was found, with quite a number of books published on various aspects. conversely, hong kong film critics had also been resistant to establishing ties to the grand historical traditions of china, working hard to formulate an independent local indigenous perspective
香港電影本來就應該是中國電影的一個重要組成部份，只是由於政治環境和意識形態的分歧，中國電影史學者從來不把香港電影放在眼裡，直到近年，內地才興起一股香港電影熱潮，坊間亦出版了不少論述香港電影的書籍反過來說，香港電影評論界也往往抗拒與中國歷史的大傳統扯上關系，努力建構一種獨立的地方觀點，香港國際電影節歷年來的香港電影回顧部份倒在這方面做了不少工作，如早年的戰后香港電影回顧1946 - 1968 1979戰后國粵語片比較研究朱石麟秦劍等作品回顧1983香港電影的中國脈絡1990香港上海：電影雙城1994等。Nameless explains to the king that how he used their personal relationships to expose and attack their weaknesses, but the king tells a different version of the same story. .
但秦王並未茍同，更徐徐說出三大刺客敗于無名劍下的另一版本This jian should be excavated in shanxi, is it called bronze jian by french
此劍應該是山西大同出土，被法國人西倫收藏的那把秦代銅劍吧？When nameless kilss all there, he is offered a chance to meet the king
當中殘劍飛雪長空更是秦王的心腹大患。Intimate partners : chun kim and chan man grace mak yan - yan
光藝的難兄難弟：淺論秦劍，兼談陳文A mother remembers 1953, directed by chun kim and adapted from lang wun s broadcast script, which was a phenomenal hit at its time
秦劍導演冷魂原著的慈母淚1953是當中一部掀起熱潮的佳作。A mother remembers ( 1953 ), directed by chun kim and adapted from lang wun s broadcast script, which was a phenomenal hit at its time
秦劍導演、冷魂原著的《慈母淚》 （ 1953 ）是當中一部掀起熱潮的佳作。The close link with tradition, especially in the portraying of relations between the generations, was particularly evident in the films he made for shanlian, featuring his father cheung wood - yau and the veteran actress pak yin
楚原初涉影壇時，儼然為五十年代粵語片文藝傳統接棒，他執導初期的作品，有秦劍的細膩寫情吳回的靈活多變。Despite the early decease of chun kim, the very soul of kong ngee, in 1969, we are blessed with the liberty to interview his longtime partner chan man, director lung kong, screenwriters tam ning, woo mei - ping, and the company s major actors patrick tse, kar ling and nam hung
光藝的靈魂人物秦劍早於1969年離世，猶幸我們有機會訪問他的好伴陳文導演剛編劇譚?和胡美屏，以及當年的臺柱演員謝賢嘉玲和南紅。A comparative study of post - war mandarin and cantonese cinema : the films of zhu shulin, qin jian and other directors, takes the effort of a step further, especially sek kei s article left - wing cinema of the 60s and its petit bourgeois quality, a rare article that directly discusses left - wing cinema. in 1985, the film festival had a special programme on li pingqian, offering an introductory look into the director s work
第三屆香港國際電影節1979的戰后香港電影回顧1946 - 1968對戰后的進步電影作出了初步的探討，第七屆香港國際電影節1983的戰后國粵語片比較研究朱石麟秦劍等作品回顧更進一步，其中石琪的六十年代港產左派電影及其小資產階級性是少數直接討論左派電影的文章。Of all the would - be assassins, broken sword, flying snow and sky are the most dangerous. when nameless kilss all there, he is offered a chance to meet the king
俠客無名憑著三人加上殘劍侍俾如月的微妙關系將他們逐一擊破，獲賞賜於十步之內晉見秦王，並道出事件的來去脈。分享友人