试论英汉电影片名翻译的文本特征

电影作为一种独特的大众和媒体传播方式,在日常生活中发挥着日益重要的作用。不同于其它翻译,电影片名本身肩负着文化和商品的双重使命,因此,它具有简约特征、审美特征、文化特征和商业特征。在翻译过程中,译者必须考虑这些独特特征方能翻译出准确本色且脍炙人口的译名。     

用淬冷法确定饱和液氮中的池沸腾热流密度曲线

用直径为５０ｍｍ、厚度为１２ｍｍ的铜平板在液氮中进行了不同热面方位角的淬冷沸腾实验，各方位角为θ＝０°（热面向下）、１０°、２０°、３０°、５０°和９０°（热面垂直）；随着方位角的增加，临界热流密度、最小膜态沸腾热流密度及其壁面过热度相应地增加，且在方位角θ＜３０°时，θ对上述参数的影响更大；得出ｑＣＨＦ、ｑｍｉｎ与方位角的关系式．     

数码影片非线性编辑的生成方法

阐述了多媒体视作品的非线性编辑的概念，介绍了非线性编辑工具的选用，并详细讨论了数码影片线性编辑的实施方法。     

论改革开放30年广东影视的发展历程及其启示

中国实行改革开放以来，广东影视业获得了发展的大好机遇，在崭新的社会环境中披荆斩棘，奋力创业，变革观念，高扬爱国主义旗帜和勇于探索的精神，30年来不断发展、成熟，逐步形成了自己丰富的影片样式和鲜明的艺术风格，现已成为广东艺术的一个重要门类。“观念开放，受众为先”，是改革开放30年以来广东影视的发展启示。     

目的论视角下对电影《长发公主》字幕翻译的探讨*

随着全球一体化的发展，电影已经成为人们了解学习异国文化的重要途径。这里以目的论为指导，就迪斯尼电影《长发公主》的字幕翻译进行分析，以期就电影字幕翻译这一领域的研究进行新视角的探讨。     

The Cinematic Quiet Girl from The Breakfast Club to the Badlands

This essay is intended to counteract the omission of the quiet girl from critical media thought and to recuperate her for film history and feminism. The quiet girl is a visible presence across numerous films and genres, from heartfelt melodramas like Corrina, Corrina to gruesome horrors like Carrie. Within these diverse texts, the quiet girl represents a consistent threat to authority. She keeps her thoughts to herself and, as such, just beyond the reach of other's surveillance, delineation and control. Her silences unravel the self-certainty of others and deny them access and closure. But, the threat the quiet girl poses is always in danger of being contained via her transformation into a more outgoing—that is, more knowable—version of herself. If all else fails, the quiet girl risks banishment or death. One text that circumvents the containment of the quiet girl, however, is Badlands. In Badlands, the girl protagonist's increasing silence over the course of the film coincides with her increasing freedom from male rule, suggesting the potential that silence holds for girls and feminism.     

我看《生命如歌》

细节描写与叙述方式是一部作品得以成功的重要因素 ,《生命如歌》的细节描写表现出了创作者独到的功力 ,叙述方式也别出一格 ,是一部优秀的电视纪录片     

Neoliberalism,Soul Food,and the Weight of Black Women

This article examines the representation of Black women's weight in contemporary diet advertising and African American film. It positions socioeconomic class as a significant factor that distinguishes between “good” weight and “bad” weight. I argue that there is a distinction to be made between representations of poor and working-class fat Black women and middle-class fat Black women. The increased presence of Black women as diet spokeswomen is also questioned. The social construction and filmic representation of the African American cuisine “Soul Food” and the political economic notion of neoliberalism are used as frameworks to deconstruct how notions of self-discipline, personal responsibility, and citizenship impact upon Black women's bodies. As a case study, I examine the careers of Oprah Winfrey and Gabourey Sidibe and the ways in which their weight has been differently coded based on class, the neoliberal rhetoric of “personal responsibility,” and food. I ultimately critique how contemporary media has helped to shape contemporary discourses on Black women's weight.     

中国电影产业对外合作问题探究

随着经济全球化的不断推进,国际经济合作使得不同国家企业生产要素组合与配置得以优化和提升,同时也使企业自身得以壮大和发展.电影产业作为文化产业的核心内容之一,不仅传递着一国的文化,更渗透着一国的价值观和意识形态,通过国际合作,不仅能够拓宽我国电影产业链条,增加海外票房收人,提高电影制作水准,同时对国家"软实力"的提升也将...     

从东西方文化差异看电影片名翻译

本文从东西方文化差异论述翻译的相关问题。