因此“空间叙事”为电影叙事研究打开了一个崭新的视野。
Therefore, "Narrative Space" as the narrative of the film opened a new horizon.
第四章，分析了叙事角度的多样化对中国电影叙事模式的影响。
In chapter 4, it investigated the influences that the diversity of narrative perspective exerted on the narrative pattern of Chinese movie.
而在电影叙事学中“叙事空间”和“空间叙事”各自的侧重点各不相同。
The narrative in the film "narrative space" and "narrative space" their focus varies.
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.
反讽取代传统的严肃单一的电影叙事语言，成为电影叙事语言的重要手段之一。
Irony has become the important means in movie narrative language, which replace the traditional serious and simple narrative language.
对于中国第五代和第六代电影作品而言，空间叙事是电影叙事形式与叙事观念自然演变的结果。
For the fifth generation and sixth generation of Chinese films, the narrative space is the concept of film narrative form and narrative result of natural evolution.
本文旨在研究这两次改编的差别，同时对两位改编者借助小说展开的电影叙事和意图进行分析比较。
This paper purposed on analyzing the difference between two movies, also trying to compare and analyze the two directors 'adapting narrative and intentions which based on the fiction.
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.
虽然电影叙事内在地包含着时间叙事，但从电影创作的基本层面来看，电影叙事却是以空间叙事为基础的。
Although the film narrative inherently includes time narrative, but the film created a basic level, the film narrative is based on space-based narrative.
前者指明了这一系列电影通过“交叉的叙述”、“分立的时空”、“失线的人物”对传统电影叙事的颠覆；
The former shows the subversion to the traditional ways of narration by crossing the narration, breaking up the time and space and doing away with the character's clue.
电影的空间叙事功能主要体现在以下四个方面：电影空间可以真实的显现电影叙事的基本信息和内在元素；
Narrative feature film of the space in the following four areas: the film room to show real film narrative basic information and internal elements;
接下来的电影叙事是插话式的，从一个事件到另一个事件叙述三天的在家里举行（基于家族惯例）的葬礼过程。
The remainder of the film is episodic, moving from one incident to another over the course of the three-day funeral, which is held (as is customary) in the home.
本文主要利用电影叙事学这一理论话语，从“家庭三部曲”的时空结构入手，剖析电影的真实内核和本质内涵。
This thesis mainly analyzes the Family trilogy's real essence and essential connotation from the structure of space and time, using the movie narrative theory words.
本章选取了“在路上”电影叙事结构上的一些重要特征，以此来发掘此类影片在故事、结构与思想之间的贯通性。
Through analyzing some important narrative characteristics of on the road movie, this part tries to unearth the connection among the story, structure and theory of such kind of movies.
从这个意义上说，第五代电影创作者开始打破以往依附于文学艺术的时间叙事模式，开辟电影叙事中的空间叙事的维度。
In this sense, the fifth generation of filmmakers began to break past the time attached to literary and artistic narrative mode, opening up space in the narrative film narrative dimension.
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.
电影叙事是一个复杂的体系，这种复杂来自于电影的表达所具有的多重的元素如影像、对话、旁白、音乐、色彩、视角、剪辑等等诸多的表现元素。
Film narration is a complex system, for the mulriple film elements as image, dialogue, aside, music, colour, perspective, and editing, and so on.
正如你所看到的一样，与喜欢搜索特殊的图片的男性相比，这些女性更喜欢故事性较强的小说（同人小说，或者是以现有电影/电视/文学为基础的叙事小说）。
As you can see, this woman tends to prefer stories ("fanfiction, " or narratives based on existing movies/TV/literature) much more than the man, who searches for specific images.
——过去的十年里，无论是书籍、电视连续剧还是电影，都目睹了英雄化叙事风格的复兴。
In books, on TV series and in film, thisdecade saw the triumphant return of the heroic narrative.
帕克运用倒叙的叙事手法漂亮地导演了《鸟人》。这部电影是根据威廉·沃顿的同名小说《鸟人》改编的，电影《战火赤子心》亦为威廉·沃顿所著。
Alan Parker directed this film (from the novel "Birdy" by William Whorton, who also wrote the source novel for "A Midnight Clear") with a flashback narrative which works beautifully.
约翰.贝拉：《 我危险的爱》是一部有着强烈的叙事风格的纪录片，当你剪接这部电影时，你是否会担心这部影片过于惊险，而不是以记录事实为主。
JB: I’m Dangerous with Love has a tremendous narrative drive for a documentary; were you concerned when editing the film that it was too exciting and not sufficiently fact-heavy?
诺兰凭本片为电影制作树立了最佳典范：既从时间、空间，乃至万有引力的自然法则中跳脱而出，又从未偏离基本的叙事法则。
Nolan exemplifies the best kind of filmmaking, unchained from the laws of time, space and even gravity, but never from the most basic rules of narrative.
阶级意识在迈克·李德电影中总是占有一席之地。迈克·李的生活背景是现代的英国，因而作为一个叙事者，他无法不触及阶级这一问题。
Class consciousness has frequently played a role in Mike Leigh's films, and not only because, as a storyteller whose native terrain is modern Britain, he can hardly hope to avoid it.
这是我的第一部电影，我能看出整个画面中的每一个错误和每一处小瑕疵，但我仍然欣赏它叙事的方式。
It was my first film, and I see every mistake, every hang-nail in the whole picture, but I still appreciate it as a piece of story telling.
我们把影片处理成经典的叙事电影，《源代码》中当然有些从技术角度出发。
While there's certainly a technological Angle to Source Code, we approached the film as fairly classic film storytelling.
比利时导演让·皮埃尔·达登和吕克·达登的作品 《罗尔娜的沉默》拍摄于比利时的列日，电影超越了实用性自然主义的叙事手法，采用了大量象征性和戏剧化元素。
In “Lorna’s Silence” (Sony), the Belgian directors Jean-Pierre and Luc Dardenne, shooting on location in Liège, use symbolic and theatrical elements to transcend practical naturalism.
但这不是一部真正的叙事电影。
影片细致地呈现了在充满变数的生活中，人们相互探询内心世界的意图以及想要把握自己不可知命运的努力，迥异于中国电影以往的叙事风格，获2000年莫斯科国际电影节国际评委大奖。
This film won the Jury Prize at 22nd Moscow International Film Festival in2000 and also took part in the Forum unit of 50th Berlin International Film Festival.
我不禁好奇他是否在苦苦思量关于电影改编本身或是梦想或是量子物理叙事相关的一些奥妙之处。
I begin to wonder if he's mulling some deeply esoteric point about the nature of film adaptation or dreams or the quantum physics of narrative.
电影化倾向是当代中国实验话剧文体实验性的一个重要体现，主要表现为电影式的镜头化叙事、蒙太奇结构方式和视觉逻辑等。
One of the experimentation of the experimental drama in contemporary china lies in its filmic tendency manifests as a narration in scenes montage structures and visual logic etc.
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