loke wan tho 中文意思是什麼
loke wan tho
解釋
陸運濤-
Unfortunately for mp gi, loke wan - tho, his wife, and other high level executives of the company including wang zhibo, zhou hailong, were killed in an air disaster in 1964. back in 1957, run run shaw shao yifu came to hong kong to manage the restructured shaw brothers, and the construction of the gigantic shaw studio was underway. run run shaw hired a huge corps of multi - faceted talent to make varied kinds of genre films, including the period costume films and the
話說回頭，邵逸夫於1957年親自來港主持改組后的邵氏兄弟有限公司，並興建大的影城，羅致各路人才拍攝多樣化的類型，尤以大製作的古裝宮闈片和黃梅調歌唱片最受觀眾歡迎有趣的是，這些影片在題材的取向上與上海天一公司的通俗民間故事古裝片路線一脈相承。 -
After mp gi s president loke wan - tho and senior executives died in a plane crash in 1964, the once active company tumbled from its summit. kong ngee, on the other hand, enjoyed relatively stable development, chugging along smoothly despite some internal shake - ups like chun kim s move to shaw brothers in 1965. the company was initially formed through the tutelage of the union film enterprise limited veterans, who acted as mentors for a new generation of actors, in works like the company s founding film
光藝開創初期，以中聯一輩的資深影人帶領新一代的年青演員如創業作胭脂虎1955其後的遺腹子上下集， 1956和手足情深1956等，進而遠赴星馬取景，拍了南洋三部曲血染相思谷1957唐山阿嫂1957和椰林月1957 ，捧紅了謝賢南紅嘉玲等新人，並漸漸建立起有別于同期其他粵語電影的片廠風格。 -
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。 -
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 -
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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