文章完全用这些孩子的语言写出来，具有音响效果(部分方法章节加有小标题“‘不解之谜’…duh duh duuuhhh”)，还包括用彩色铅笔手工绘制的图表。
It's written entirely in the kids' voices, complete with sound effects (part of the Methods section is subtitled, "' the puzzle '... duh duh duuuhhh") and figures drawn by hand in colored pencil.
第二节更具体分析到韩国恐怖电影的视听语言，在人物造型、镜头运用、色彩音响等方面对韩国恐怖电影的视听元素作深入的研究探讨。
Section II is about the more specific analysis of the Korean horror movie's audio-visual language, including the use of the camera, stereo color, and so on.
语言的节奏美由语音层的音响美、意象层的画面美、语意层的情感运动美构成。
The rhythmic beauty of languages is made up of acoustic beauty in phonetic layer, image beauty in imagery layer and beauty of emotional movement in semantic layer.
画面、音响、蒙太奇和运动性，让电影具有了独一无二的艺术魅力，这种艺术魅力更突出的展示在有电影语言产生的电影的特性之中。
Frame, sound, montage and moving, make movie have a unique fascination, which is presented in the characteristics of movie that are came from the languages of movie.
裴文先生认为语言符号在音响形象与概念之间的关系中存在绝对的任意性。这是对索绪尔理论的误解。
Mr. Pei Wen has misapprehended Saussure's theory by thinking that there is absolute arbitrariness in the relationship between sound-image and the concept of a linguistic sign.
总之，本文受索绪尔符号理论中“音响意象”概念的启发，提出了“语言意象”这一新术语。
Above all, this thesis proposes the term-the linguistic image inspired by the conception of "sound image" mentioned in Saussure's theory of the sign.
在音乐语言与绘画语言的具体应用表现上，着重从比亚兹莱黑白画中线条构成的“音响”效果及“旋律性”、“节奏性”的表现来进行分析与比较。
About his expression of musical and painting language, this article analyzes and compares the musical quality, tempo and rhythm of Beardsley's black and white paintings.
他的音乐语言根基是传统的、有调性的，但为了表现的需要也使用不协和音响与偶然的无调性。
His basic musical idioms were based on the tradition of tonality, but he also, if necessary, resorted to dissonances and occasional atonality.
他的音乐语言根基是传统的、有调性的，但为了表现的需要也使用不协和音响与偶然的无调性。
His basic musical idioms were based on the tradition of tonality, but he also, if necessary, resorted to dissonances and occasional atonality.
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