朱石麟 的英文怎麼說
中文拼音 [zhūdànlīn]
朱石麟
英文
shilin zhu-
Another major contributor to hong kong cinema in the 1950s was director zhu shilin
五十年代初香港電影另一位貢獻良多的電影工作者是朱石麟。Many of its films had zhu credited as director - in - chief, though real work was executed by co - directing newcomers. after a few outings, those neophytes were experienced enough to run things on their own
鳳凰很多出品都掛朱石麟總導演之名，而實際執行的則是聯合導演的新人，幾部片下來，新人便可自立門戶，獨立執導演筒了。Zhu feng and zhu yan, zhu shilin and cinema, hong kong : cosmos books ltd, 1999 in chinese
1 .朱楓朱巖編著：朱石麟與電影，香港，天地圖書有限公司， 1999 。Zhu shilin was the soul of feng huang, a figure frequently mentioned in other interviews. he passed away in 1967 but fortunately his daughter and son, zhu feng and zhu yan, published zhu shilin and cinema
朱石麟是鳳凰的靈魂人物，幾乎每一個受訪者都會提及他，可惜斯人早已作古，值得慶幸的倒是他的後人朱楓朱巖兩年前編寫了朱石麟與電影一書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。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。Social realism, one of the most remarkable characteristic of post - war hong kong cinema, has resulted in many outstanding films. this can be found in mandarin comedies like zhu shilin s the dividing wall
例如朱石麟以喜劇的手法刻劃困窘的處境，其導演的國語片一板之隔1952和中秋月1953哀而不傷悲中有喜。Fei died in 1951 of a heart attack and wu left the company the next year, under circumstances yet to be revealed. zhu shilin stepped in, rallying existing dragon - horse employees to take over while preparing to form feng huang, which debuted in 1953 with festival moon
在這個處境中，當時馬的骨幹朱石麟一方面集合原有員工接手管理，一方面籌組鳳凰影業公司，並於一九五三年拍了創業作中秋月。Great wall s finances came from the business sector and it was able to recruit established filmmakers like yue feng, li pingqian, cheng bugao and huang yu. over at feng huang, the situation was less promising, with zhu shilin the only proven talent
長城是商人出資，早期集合了岳楓李萍倩程步高黃域等資深上海影人，編導人才比較多，而早期鳳凰能獨當一面的卻只有一個朱石麟，對人才自然更加渴求。The newly established feng huang also had an artistic committee, presided over by zhu shilin and many scripts were produced through collective efforts
新成立的鳳凰亦有一個藝術委員會，由朱石麟主持，當時許多電影劇本都是在集體討論中產生的。This is one reason why in our interviews, none of the filmmakers - from directors to actors - failed to acknowledge zhu s contributions. however, such a tradition was also limiting, cutting off the company from outside impetus
曾接受訪問的影人，從演員到導演，幾乎無人不提及朱石麟在這方面的貢獻，但從另一角度看，這種眼睛只向內看的做法卻又難免封閉。分享友人