kinoshita 中文意思是什麼

kinoshita 解釋
機下
  1. The cinematic universe of kinoshita keisuke

    電影詩人孫瑜
  2. Was kinoshita s colleague at shochiku, while yamada taichi wrote screenplays for and worked as an assistant director under kinoshita before establishing himself as a scenarist and novelist, including summer with strangers, winner of the shogoro yamamoto award in 1988

    山田太一曾師事木下任編劇和副導演，之後成為著名編劇和小說家，其中包括1988年獲山本周五郎賞獎的小說《與幽靈共度的夏天》 。
  3. A rare biopic that infuses kinoshita s brand of humanism with the themes of religious faith, he urges his accomplished cast to carry their roles with dignity, while not hesitating to show the graphic outcome of the nuclear devastation

    親情和仁愛一直貫穿于節制的場面調度，結尾一段才讓熱情奔瀉。面對人為災難，是需要吶喊的，但木下對人性的軟弱，始終不失體諒，是他晚年言志力作。
  4. Kinoshita calls to attention the plight of women s status in society, while adding his own touches to the themes frequently tackled by mizoguchi kenji

    母親成為情慾奴隸，也惹人同情。母女間的糾葛，跟《日本的悲劇》同樣撼動人心。
  5. Kinoshita struggled to obtain permission for his next projects. but the end of the war provided the break he needed

    經陸軍一役，軍部學乖了，否決了木下開拍神風敢死隊的計劃。
  6. Group b hk 40 for " a tribute to kinoshita keisuke " and

    B類門票木下惠介回顧展及平日日場港幣40
  7. As she flashes back to her sorrowful past, kinoshita uses a simple yet effective device silence to convey the stark sentiments of her recollection. despite her ignoble history, in which desperations required her to sacrifice her own virtues, she remains steadfast to her ungrateful children until the harrowing end

    木下寫了兩代人的不同人生觀：母親為讓子女過好日子，去賣黑市米，甚至以色相賺錢子女在勢利環境下成長，學曉了利用別人來成全自己。
  8. Though known as the first ever japanese film in colour, kinoshita actually simultaneously shot a black white version of the film as well.

    木下用彩色菲林拍攝卡門還鄉時，也拍了一個黑白版本。
  9. " one of the most nostalgically beautiful of kinoshita s films, " raves japanese cinema expert donald richie

    卿如野菊花，君若膽樹。一段少時初戀，兼具古典和自然美。
  10. And imamura shohei, who remade the classic tale in 1982. with every film he directed, kinoshita experimented with form, narrative and camera movements, employing severe long takes and fast cutting with equal mastery. nonetheless, his innovations never overwhelm the innate humanistic qualities within each work, thus ensuring his legacy as a true cinematic master

    他的《日本的悲劇》緊抓住時代脈膊， 《 ?山節考》活用古典戲劇傳統，反戰的《二十四隻眼睛》讓舉國上下同聲一哭，而《卡門還鄉》則不但是日本首部彩色片，更是傑出風俗喜劇，又能寓同情于諷刺，其荒誕幽默感，在日本電影中可謂首開先河。
  11. Title : yamada yoji and yamada taichi on kinoshita keisuke

    主講：山田洋次，山田太一
  12. The story of carmen s return to her rustic roots also enables kinoshita to lovingly ogle the majestic scenery with his camera

    高峰秀子改變戲路，野性奔放，活脫脫一個摩登傻大姐，但始終不脫善良本色。
  13. In 1961, but the earlier version by kinoshita is evident of the social protest themes embraced by the humanistic director

    部落民古稱穢多，原為敗逃武士後裔，明治初年廢除身份制度改稱新平民，但依舊受人蔑視。
  14. This favourite of kinoshita s delivers another critical assessment on the effect of war, this time illustrating the travails of an english university professor and his family

    原作是波多野勤子的暢銷小說，由一對母子的來往書信構成。借少年于鄉間成長的故事，批判戰時政府對人民的思想箝制。
  15. " a tribute to kinoshita keisuke " film code ends with x or

    木下惠介回顧展（影片編號以x結尾）
  16. " a tribute to kinoshita keisuke " film code ending with x

    木下惠介回顧展場次門票（影片編號以x結尾）
  17. Marks the start of kinoshita s experimentation with film techniques and genres

    木下勇於實驗，各類型都喜嘗試。
  18. Mr. kinoshita of sony

    索尼株式會社木下先生
  19. Or " mother stories ", this acknowledged masterwork presents kinoshita at the prime of his craft

    本片不但是木下自己編劇的得意之作，也實在可入選他最佳作品前三名。
  20. " a tribute to kinoshita keisuke " film code ends with x and weekday matinee screenings film code ends with d

    木下惠介回顧展（影片編號以x結尾）及平日日場（影片編號以d結尾）
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