冯小刚电影已经形成了一种品牌效应，成为了一种文化现象。
Feng's film has become one kind of cultural phenomenon, with a brand effect in the audience.
本篇论文试图采用关联理论对冯小刚电影的字幕翻译进行分析。
This paper attempts to adapt Relevance Theory to guide the analysis of the subtitles translation of Feng Xiaogang's films.
冯小刚电影作为一个大众文化成功的范本，其创作是模式化的。
As a successful text of mass culture, the producing of Feng Xiaogang's film has its Pattern.
除了电影本身的魅力，冯小刚电影的成功还得益于其采取的市场运作模式。
Apart from the attraction of his films themselves , commercial operation patterns which he adapts also contribute to the success of box-office value of his movies .
第四部分探讨冯小刚电影叙事的转变—转型与症候，既看到成绩又注意到不足。
The fourth part discusses Feng Xiaogang film narrative transformation - reforming and the symptom, both the result and insufficient of Feng Xiaogang's film are included.
第五部分是结语，先是总结冯小刚电影的特征，然后指出冯小刚电影对中国电影的现实意义。
This part first summarizes the features of the films of Feng Xiaogang, and then points out the practical significance of his films to Chinese film.
文章从语言形态层面上讨论冯小刚电影的语言艺术，从冯氏电影的台词语言来分析其电影魅力所在。
This paper aims at discussing the language art of the Feng′s films and analyzing the fascination of the film from the lines.
第三部分是冯小刚电影叙事的价值判断，本文认为其对冯小刚电影对市场的成功培育有着重要意义。
The third part is the Feng Xiaogang film narrative value judgment, this article believes it has the vital significance to Feng Xiaogang film on successful market cultivation.
第二部分是冯小刚电影叙事的喜剧风格，也是本文论述的重点，将冯小刚电影的游戏化和喜剧语言结合冯小刚从影的渊源进行剖析。
The second part is the Feng Xiaogang film narrative comedy style, also is the key point which this article elaborates. To analyze the comedy language by unifying Feng Xiaogang film's origin.
但是，这部影片仍被限制在亚裔人口众多的地区的20家影院上映，这就让冯小刚对这部电影的前途的预测悬而未决。
But it's still limited to 20 theaters in areas with large Asian populations, which may make Mr. Feng's prediction about his film's appeal moot.
此片对冯小刚个人而言，则是有利地巩固了他在这个国家最重要的电影制作人的声誉。
The film also goes a long way toward cementing Feng’s reputation as the country’s most important filmmaker.
冯小刚去年九月成立了电影工作室东阳美拉传媒，两个月后其70％的股份被华谊兄弟收购。
Feng set up a film studio Dongyang Meila last September and 70 percent of the stakes in it was acquired by Huayi Brothers two months later.
业内人士称，冯小刚为中国民族电影的商业化蹚出了一条出路，给疲软的中国电影市场注入了活力。
Critics have said that Feng has found a way for the commercialization of national cinema and injected vitality into a sluggish Chinese film market.
央视正在与电影导演冯小刚一同对今年的春晚进行全面调整，并且正在与一些地方媒体公司联合制作几部新电视剧。
It is teaming with film director Feng Xiaogang to overhaul this year's Spring Festival Gala and is co-producing several new TV series with a handful of local media companies.
王宝强开始出名是在冯小刚2004年的电影《天下无贼》中，在这部电影中他扮演一个天真幼稚的农村孩子、带着毕生积蓄坐火车回家。
Wang began to gain fame after his appearance in Feng Xiaogang's 2004 film a World Without Thieves, where he played a naive village boy carrying his life savings home with him on a train.
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.
某种程度上来说，冯小刚是在电影里演着自己。
于是他们率先找到了一条将电影与市场相结合的路子——把文化变为一种消费品奉献给观众，这就是冯小刚的贺岁片。
So they will be the first to found a film market and a combination of road - the consumer culture into a dedication to the audience, and this is Feng Xiaogang's The Surreal.
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.
冯小刚意识到电影首先是一种特殊的商品，而商品必然有其应有的价值。
Feng Xiaogang's aware of the first film is a special commodity, and commodities must have their proper value.
新世纪武侠电影的成功是导演们的成功，李安、张艺谋、陈凯歌、冯小刚各有自己的特色。
The new century, the success of the martial arts movie directors are of the success of ang Lee, Zhang Yimou, Chen Kaige, Feng Xiaogang has its own characteristics.
冯小刚贺岁电影的成功是因为其成功的文化生产市场运行模式。
The success of Feng Xiao-gang's New Year greeting films is due to the successful running mode of cultural production market.
电影《唐山大地震》由冯小刚执导，感动了无数的观众。
The movie Aftershock, which is directed by Feng Xiaogang, moves a lot of audience.
冯小刚在上周六接受采访时提到：“目前，该片在全国其他院线排片平均值为40%以上，我们的电影在首映当天占到了总票房的62%。
With 40 percent of screens nationwide, our film achieved 62 percent of total box-office receipts on its opening day.
冯小刚的贺岁电影没有宏大的场面，没有绚丽的色彩，没有曲折的情节，但却历来被观众所称道。
The new year′s greeting film directed by Feng Xiaogang, without grand scene, beautiful landscape or amazing story, is always popular with the audience.
那么，从冯小刚贺岁电影的成功来分析和探讨其电影的主要创作风格，是很有必要的。
Then, analyse and probe into the main style of creating of its film from success of Feng Xiaogang movie for greeting the New Year, it is very necessary.
那么，从冯小刚贺岁电影的成功来分析和探讨其电影的主要创作风格，是很有必要的。
Then, analyse and probe into the main style of creating of its film from success of Feng Xiaogang movie for greeting the New Year, it is very necessary.
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