陸運濤 的英文怎麼說

中文拼音 [liùyùntāo]
陸運濤 英文
loke wan tho
  • 陸 : 陸數詞（六的大寫） six （used for the numeral 六 on cheques, etc. to avoid mistakes or alterations）
  • 運 : Ⅰ動詞1 （物體位置不斷變化） move; revolve 2 （搬運; 運輸） carry; transport 3 （運用） use; wield...
  • 濤 : 名詞（大的波浪） billows; big waves
  • 陸運 : transport by car or train; land transportation; land carriage; carriage by land陸運保險 overland ...
  1. 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。
  2. She is the niece of mp gi founder loke wan tho lu yuntao and she grew up in the film industry. her recollections of the relationship between loke and her father, choo kok leong zhu guoliang, and the men s different approaches to business gave us helpful glimpses into cathay s development, especially in the later years

    朱美蓮是現在新加坡國泰機構的主持人，舅父就是電懋的靈魂人物陸運濤，自小在電影的氛圍中長大，聽她憶述其父朱國良與陸運濤的關系以及二人不同的性格，對我們理解國泰後期的發展，有莫大的裨益。
  3. A southeast asian tycoon and his movie dream : loke wan tho and mp gi

    星馬實業家和他的電影夢：陸運濤及國際電影懋業公司
  4. The next year, loke established motion picture general investment co ltd mp gi to manage his film production activities in hong kong based on the hollywood model

    可惜陸運濤夫婦及電懋高層人員王植波周海等都於1964年的空難中喪生，不然香港電影可能另是一番風景了。
  5. From that foundation, law kar and shu kei probe into mp gi s creative environment, looking at the roles played by studio head loke wan tho and established writers who were involved in the company s scripts. shu even makes the bold attempt to discuss the issues of house style and how individual fimmakers operate within the studio system. finally, stephen teo focuses on the martial arts films of cathay s later period, looking at them from a fresh perspective and filling a gap often neglected in hong kong cinema

    羅卡和舒琪從這個基礎出發，分別探討電懋的創作處境，特別是主事人陸運濤的角色以及文人編劇在制度內的位置，後者更嘗試分析個別創作人如張徹在片廠制度內的存適以及片廠風格等問題，大膽精彩最後，張建德將焦點放在後期國泰的武俠電影上，以一個不尋常的角度豐富了較後期的國泰故事，也為香港電影里武俠類型的演變，填補了一個鮮為人所注意到的空隙。
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