第一部分主要是对商业电影涵义的界定。
The first part is mainly the commercial movie implication limits.
每年，最畅销的电影必定属于商业电影。
Every year, the top selling films must belong to the commercial films.
你是否会去拍商业电影？
在商业电影来说，他是无可争议的顶级明星。
第二章，张艺谋、冯小刚商业电影的艺术表现。
Third, the second chapter, Zhang Yimou, Feng Xiaogang commercial movie's artistic performance.
默片时期的第一次商业电影浪潮是以古装片运动为发端的。
The beginning of the first commercial movie tide in the silent time was the costume movie movement.
他表示这部新片是一个“艺术电影向商业电影转型的失败案例”。
He said the new film turned out to be "an unsuccessful transition from art film to commercial".
商业电影的成功与当今文化之间的关系是一个值得探讨的新领域。
The commercial movie succeeds with now the cultural between relations are the new domain which is worth discussing.
如何最大程度地获得最多的观众，是商业电影所面临的最大问题。
As to a commercial film, one of the most important problems it faces is how to obtain audience at the most.
商业电影既是艺术，又是一种商品，因而必然要受商品生产规律的制约。
As both art and commodity, commercial movies have inevitably fallen under the restriction of commodity production rules.
优胜劣汰是一种非商业电影，但访问会抛出一个熟悉的题材和惊人的新灯。
SINK OR SWIM is the kind of non-commercial but accessible film that throws a new and startling light on familiar subject matter.
随着大众文化对影视创作的影响，商业电影已逐渐成为一种主要制作类型之一。
With the influence of mass culture on film creation, commercial film has become one of the primitive types.
第三部分是从张、冯的商业电影看90年代末以来中国商业电影基本的美学问题。
The third part has been since opens, Feng's commercial movie to look in the late 90s the Chinese commercial movie basic esthetics question.
但是，如果我为了使我的名字不被公众遗忘而拍一些商业电影，这就只是工作而已。
But no, if I'm doing some commercial movie just to keep my name in the public eye, then it's just a job.
大陆电影从商业电影的崛起、国际化策略、民族化等方面应对着挑战，把握着机遇。
The thesis discussed these questions by analyzing challenge and opportunity facing the Chinese movie from different ways.
阿尔莫多瓦在资本和艺术之间找到了平衡点，取得了商业电影和艺术电影两个维度上的成功。
Almodovar found a balance point between the capital and the art, made great success on the two dimensions of commercial films and art films.
透过IMAX的科技效果，让喜欢看商业电影的观众也能享受不同于一般戏院的高水平影音表现。
IMAX effect through science and technology so that commercial films like to watch the audience will enjoy the high level of cinema is different from the general audio-visual performance.
因此，从张艺谋对商业电影的尝试到其商业大片的成功，或许透露出中国电影商业化的迷人前景。
From this point of view, Zhang's endless trying on the commercial movies may reveal the promised and charming future of the commercialization of Chinese movies.
走出成功商业电影哈利波特的爱玛沃森虽然生活中看不出万事通小女巫的痕迹，但也在布朗大学混得风生水起。
Emma Watson plays a key role in one of the biggest movie franchises in history, while also attending Brown.
中国电影自古典时期开始便从未间断过的商业电影传统，为电影艺术的每一次进步提供着各种条件。
From the beginning, Chinese films have never broken out the tradition and supplied all sorts of conditions for the development of film arts.
它的出现和繁荣，主要得益于中国早期电影的商业语境，也是欧美商业电影影响中国电影的必然后果。
The emergence and prosperity of film gen re benefit a lot from the commercial context of early Chinese films. The influence of Western commercial films also leads to it.
他的事业生涯涉及几百部电影，其中包括好几部奥斯卡获奖作品和很多部与大明星、大导演合作的商业电影。
His career spanned hundreds of films, including several Oscar winners and he worked with some of the biggest stars and best directors in the business.
第二部分是分析张艺谋、冯小刚商业电影的创作误区：形式的绮丽与内容的空虚、成本的巨大与类型的重复。
The second part is Zhang Yimou, the Feng Xiaogang commercial movie's creation erroneous zone mainly displays in the form beautiful and the content void, the cost huge and type redundant.
韩国电影在20世纪末开始呈现出繁盛局面，无论在艺术电影还是在商业电影方面都取得了令世界瞩目的成绩。
Korea movie has been reached its prosperous status at the end of the 20th century. It procures compelling achievement not only on art movie but also on commercial movie.
哈萨克斯坦第一部纯商业电影——从拍摄、制作到发行没有从国家拿一毛钱，全靠票房收入——上片后引起博客众多讨论回响。
The first Kazakh fully commercial movie - shot, cut and promoted without state support with the purpose to extract money from the box-office - has produced a big debate in the blogosphere.
奥古斯特说：“电影院……没什么商业前景！” 一部电影的利润25%来自影票，46%来自光盘销售，还有29%来自电视。
Auguste said, "Cinema... has no commercial (商业) future!" 25% of the money by a film comes from ticket sales, 46% from DVD sales, and 29% from television.
而纪录片的制片人通常会强调‘禁止演绎’，因为他们不希望内容被篡改，但他们会允许商业使用，这样电影院里就可以播放他们的作品。
Documentary producers often say 'no derivatives' because they don't want the story to change, but will allow commercial use so that movie theatres can show their work.
而纪录片的制片人通常会强调‘禁止演绎’，因为他们不希望内容被篡改，但他们会允许商业使用，这样电影院里就可以播放他们的作品。
Documentary producers often say 'no derivatives' because they don't want the story to change, but will allow commercial use so that movie theatres can show their work.
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