ozu 中文意思是什麼

ozu 解釋
安二郎
  1. Cinespot : a great auteur - yasujiro ozu

    Cinespot動映地帶:黑澤明的電影文化
  2. It is the most distinguishable trademark of ozu and the most important element in positioning him as an auteur

    赤鬍子-又是一近三小時的電影，節奏頗慢，但是內容有趣，適合有耐性的觀眾欣賞。
  3. According to kathe geist, as she writes in her essay " narrative strategies in ozu s late films ", " although it confounds our expectations, it provides a rich and accurate description of the characters, themes, motivations, and events in ozu s story and never deviates from or clutters that story with irrelevant information. ozu indeed omits what is unimportant for his story and neither leaves out important events nor needlessly prolongs unimportant ones " geist p. 98 - 100

    其後他亦繼續編導了多部被視為經典的得獎電影，繼有他自己最滿意的作品留芳頌被不少電影人視為影史最傑出電影的七俠四義活用闊銀幕的武士勤王記縛票片經典天國與地獄獨行俠原版用心棒，以及后來用色豐富的影武者及亂等，無不令人拍案叫絕。
  4. The expertly recorded sound serves to only transport the audience far, far away to the caspian seashore. commissioned as part of the centenary celebration of ozu yasujiro s birth,

    極簡約形式或與不少前衛實驗電影相通，但五段渾成靜觀大自然的一個整體，東方禪味盡出，難怪此片要獻給小津安二郎。
  5. The omission of certain actions seems to obscure the viewers since the theme of the story is about family relationship, there should be more delineation about the actual confrontation or conflict between the parents and their children. however, ozu s omission of these scenes does in fact maximize the narrativity of the film. in this scene, it reinforces the alienation and estrangement between the parents and the children successfully

    本身興趣攝影的他，本欲當攝影師，但是在誤打誤撞下，他被黑澤明看中並成為演員，從此兩人合作無間，拍攝出不少猛片，三船敏郎更兩度于國際電影節稱帝用心棒赤鬍子，而赤鬍子亦成為兩人最後一次合作的電影。
  6. This earnestly sentimental work traces an old man, played by ozu staple ryu chisu, as he returns to the misty village of his childhood

    六十年前，政夫十五歲，寡母操勞成疾，比政夫大兩歲的表姊民子過來幫忙，與他感情要好。
  7. Yasujiro ozu and derek yee, two seemingly unrelated filmmakers, are yet bound together because of the same heritage they share and exhibit in their movies - love

    表面來看爾冬升和日本名導小津安二郎好像扯不上任何關系但兩人的電影卻都擁有一股氣質或者說是一股力量更為貼切。
  8. A camera position that is considered lower than normal eye level is often seen in ozu s films, that it has become his official signature

    除此外，電影故事的深度和拍攝手法的靈活運用亦是他的成功之道。
  9. Many million people sit in the picture houses every evening and purely through vision, experience hap - penings, characters, emotion, moods, even thoughts, without the need for many words " balazs p. 40 - 41. ozu seems to be a supporter of this theory as well

    志村喬1905 - 1982是日本最出色的性格演員之一，主演的電影中以留芳頌的絕癥課長和七俠四義的武士首領角色最為人津津樂道。
  10. One of the most private of ozu ' s films, " there was a father " is resemblance of his early work, " the only son "

    本片是小津早期的作品《獨生子》的變奏，描寫相依為命的兩父子，一直在鄉間生活。
  11. By that i do not mean his attitude toward the protagonist kihachi and his son shinkichi only, it is rather his attitude toward other characters, that is, how ozu also commiserates with the supposed antagonist of the film, kihachi s wife otsune

    對此筆者並非單指他對戲中兩父子的諒解結局而言，而是指他連戲內歹角即從中作梗的大婆都傳包容的寬大態度。
  12. In the rein of ozu yasujiro and kinoshita keisuke, two of his precursors at the shochiku studio, yamada yoji has been particularly keen on portraying the lives of japanese families

    與小津安二郎、木下惠介同屬松竹片廠的山田，跟兩位前輩大師一樣，對日本家庭的描寫最感興趣。
  13. No other filmmaker, not even mizoguchi or ozu, was more adored within his home country than kinoshita keisuke 1912 - 1998. in prolific works that run a gamut of genres, he had a knack for drawing the most tears and provoking the most laughter

    木下惠介作品每多肯定人性正直勇敢的一面，諷刺丑惡卻不事渲染，看其電影，每令人驚嘆其技法高超之餘，情感受到洗滌，回復對生命的希望。
  14. Without the pessimism of ozu and keisuke, yamada ' s " tora - san " comes from a contented and happy family

    相對于小津的無常無奈、木下的感傷與焦慮，山田的寅次郎一家是幸福、快樂的。
  15. As compared with ozu and mizoguchi, i would say that his concern is more individual and internal to a certain extent, and this theme is being exhibited in this film

    那種缺乏安全感的逼力貫串全片，震憾力實在不凡。綜觀現今電影中也鮮有導演能拍出那種獨度的氣氛和感覺。
  16. Since the film always aligns the viewers perspective with noriko s, it is not difficult to understand why ozu would omit the appearance of a character who means nothing to the protagonist

    在黑澤明的電影中，以三船敏郎和志村喬出現次數最多，兩人都是黑澤明的愛將。
  17. Perhaps it was because they knew how to receive, they were not as sensational. their world is only a little sentimental, like a cheered up version of ozu s, as in tao qin s our sister hedy

    你的我的他的她的私人故事，拼貼起來就成為了一個時代的底色，現在容許有點褪了色，但以前大抵是斑斕的伊士曼七彩。
  18. In this film, although the beginning and the end seems similar, kihachi remains to be a traveling entertainer, shinkichi and her mother remains in the town, otsune follows kihachi again, the relationships among the characters are no longer the same. therefore i think it is wrong for some people to say that ozu s films lack progression

    以此片為例，雖然片首和片尾都很相似，都是說劇團班主來到小鎮和離開小鎮，但是在這一來一回間，戲中人物無論在精神或心理上都已經不再是同一個人了。
  19. At first glance, it seems illogical for ozu to totally miss out satake s appearance in the film, since noriko is the protagonist and the theme of the film is about her marriage, this husband character should be an important figure in the story

    在1971年，黑澤明曾因電影票房欠佳而企圖自殺，但是獲救。之後繼續拍攝電影，直至於1998年臨終時亦正在拍攝一部電影，可見其對電影的喜愛和熱誠。
  20. And many more, belong to the genre of shomin geki. it is a genre that focuses on daily lives and interpersonal relationships of the members of lower - middle class families. the characteristics of ozu s shomin geki are that they always have similar plots and involve the use of the same actors playing similar roles

    黑澤明1910 - 1998 ，國際上最多人認識的日本導演，曾執導數十部電影，當中以羅生門和七俠四義最為人稱道，是當代電影界的模範人物。
分享友人
分享到 Line

分享到臉書