| 1. | " a tribute to kinoshita keisuke " film code ends with x or
木下惠介回顾展(影片编号以x结尾) |
| 2. | Group b hk 40 for " a tribute to kinoshita keisuke " and
B类门票木下惠介回顾展及平日日场港币40 |
| 3. | " a tribute to kinoshita keisuke " film code ending with x
木下惠介回顾展场次门票(影片编号以x结尾) |
| 4. | " a tribute to kinoshita keisuke " film code ends with x and weekday matinee screenings film code ends with d
木下惠介回顾展(影片编号以x结尾)及平日日场(影片编号以d结尾) |
| 5. | But kinoshita ? s legacy is beyond sheer populist crowd - pleasing . he pioneered revolutionary techniques , including 1951 ? s
木下惠介为日本战后电影黄金时代健将，松竹其下大师。 |
| 6. | 10 tickets or more of " a tribute to kinoshita keisuke " film code ends with " x " and " weekday matinee screenings " film code ends with " d " for details please refer to p . 65
木下惠介回顾展(影片编号以x结尾)及平日日场(影片编号以d结尾) (详见第65页) |
| 7. | In the rein of ozu yasujiro and kinoshita keisuke , two of his precursors at the shochiku studio , yamada yoji has been particularly keen on portraying the lives of japanese families
与小津安二郎、木下惠介同属松竹片厂的山田，跟两位前辈大师一样，对日本家庭的描写最感兴趣。 |
| 8. | Though known as the first ever japanese film in colour , kinoshita actually simultaneously shot a black white version of the film as well , just in case there were problems with the colourisation process which unfortunately did come to pass with the sequel
木下惠介回顾展选映的十八部电影中，最难得一见的是这部黑白版的《卡门还乡》 。 |
| 9. | No other filmmaker , not even mizoguchi or ozu , was more adored within his home country than kinoshita keisuke 1912 - 1998 . in prolific works that run a gamut of genres , he had a knack for drawing the most tears and provoking the most laughter
木下惠介作品每多肯定人性正直勇敢的一面，讽刺丑恶却不事渲染，看其电影，每令人惊叹其技法高超之馀，情感受到洗涤，回复对生命的希望。 |
