在叙事电影阶段，电影奇观并没有引起人们的充分注意。
Cinematic spectacle isn't attract the audients'attention in the moment of film narration.
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.
艾丽丝。居伊不仅是第一个女导演，她还是最早期电影导演时期的一员，常被认为执导了第一部叙事电影。
Alice Guy was not only the first woman director, she was one of the very first film directors period and is often credited with directing the first narrative film.
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.
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.
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.
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.
押井守是日本著名的动画电影作家和导演，并以极富哲理的叙事方式而出名。
Mamoru Oshii is a Japanese animation and live-action film writer and director famous for his philosophy-oriented storytelling.
女性主义电影批评大致经历了三个阶段，即形象批评、叙事结构批评和文化批评阶段。
There are about three stages in the feminism film criticism such as image criticism, narrative construction criticism and culture criticism.
一旦中国电影业掌握高端的电影制作技术并改善叙事手法，他们的潜力将会暴发。
Once they master cutting-edge film technology and improve narration, Chinese filmmakers could see their potential unleashed.
第二部分具体进入塔蒂的影片，主要考察其电影主题、原型人物和叙事策略。
Part two enters into Tati's film world, mainly reviewing the subject, archetype character, and narrative strategy of his films.
导演罗曼·波兰斯基与史帝芬·斯皮尔伯格是两位杰出的电影大师，其影像风格和叙事策略独具艺术个性。
The director Steven Spielberg and Roman Polanski are two outstanding film greats whose image style and narrative tactics are full of artistic individuality.
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.
由于电影文本与小说文本隶属不同的传播媒介，两者的叙事定然存在差异。
Since the film and the novel are not the same mass media, there must be some differences in terms of narration.
电影的叙事结构又可以称之为文本结构或影片总体结构。
The narrative structure of a film can also be called a text structure or the framework of a film.
它在本质上是观看的方式——看观众在看这部电影或录像时将会看到和听到的；把这些写下来，以叙事-制作者理解起来不费力的方式写。
It is essentially a way OF SEEING what an audience will see and hear when they watch the movie or video and writing that down in a way that the narrative-makers can easily comprehend.
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.
想象作品，比如小说、戏剧、电影、神话和传奇要比真实的叙事作品更能精确而有意义的展现人类的经历。
Imaginative works such as novels, plays, films, fairy tales, and legends present a more accurate and meaningful picture of human experience than do factual accounts.
文章从叙事结构、主题阐释、电影语言、结尾叙事四个方面分析了该影片独具匠心的叙事策略。
The article analyzes this movie alone ingenuity narrative strategy from the narrative structure, the subject explanation, the movie language, and the ending narration.
从而导致一边是大众的视觉狂欢，一边是文化精英对电影的叙事解读的固守所引发的社会失序。
Accordingly, this leads to the public visual revel on one side and on the other side the social disorder caused by the culture elitist's insisting on the film.
文章从叙事结构、主题阐释、电影语言、结尾叙事四个方面分析了该影片独具匠心的叙事策略。
The article from the narrative structure, the subject explanation, the movie language, the ending narrated four aspects to analyze this movie alone ingenuity narrative strategy.
文章从叙事结构、主题阐释、电影语言、结尾叙事四个方面分析了该影片独具匠心的叙事策略。
The article from the narrative structure, the subject explanation, the movie language, the ending narrated four aspects to analyze this movie alone ingenuity narrative strategy.
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