| 1. | The arts of shao films of huangmei opera
邵氏黄梅调电影艺术论 |
| 2. | This essay employs thomas schatz ' s genre theory to examine the huangmei opera film genre
本篇文章是采用汤玛斯?雪兹的电影类型理论来检验黄梅调电影。 |
| 3. | Winner of best picture award in the 1965 aian film festival , this grand " huangmei opera " is consider . .
边关告急，相国赵盾启奏，反被屠岸贾下令斩杀赵家二百口。 |
| 4. | Winner of best picture in the 1965 aian film festival , this grand " huangmei opera " is considered one . .
边关告急，相国赵盾启奏，反被屠岸贾下令斩杀赵家二百口。 |
| 5. | Li adapted these visual concepts and ideology to create a utopian ancient chinese world in his huangmei opera films
李翰祥导演采用了这些视觉观念及哲学并运用在他的黄梅调电影中，创造了一个理想乌托邦化的古代中国。 |
| 6. | The scenery travel service in side . this local guide ( miss wang - 13 . 485885727 ) discharges her office as guide . she sings well by huangmei opera
山水旅行社就在旁边，这次的地导(王小姐- 13485885727 )非常称职，还唱得一口好听的黄梅戏。 |
| 7. | This essay applies the auteur approach to analyze the cinematic aesthetics of huangmei opera films of li han hsiang , the most important director of the huangmei opera film genre
本篇文章是采用作者论方法学去分析黄梅调电影类型最重要的导演李翰祥的电影美学。 |
| 8. | In addition , it uses claude l vi - strauss ' s structuralist methodology to analyse the mythical dimensions of the huangmei opera film genre as a means of understanding the cultural and ideological context that produced these films
另外本篇文章也使用李维?史特劳斯的结构方法学去分析黄梅调电影类型的神话层面，以做为了解产生黄梅调电影类型背后的文化及意识形态。 |
| 9. | " a study of the huangmei opera film genre " is a doctoral research project which comprises a documentary series and academic writing in order to advance a film research mode grounded in practitioner research , where the activity of filmmaking and the study of film theory support and reflect on each other
摘要黄梅调电影探索是一个包含多部纪录片制作系列及研究论文的博士专题，其目的是在建立一个新的研究模式，在这模式中电影创作及电影理论互相辉映及印证，本篇文章便是研究论文中的其中一篇。 |
| 10. | According to the division of the cultural area of huangmei opera based on huangmei opera specialized troupes this paper analyses the evolution of huangmei opera cultural area at three time points , 1952 , 1984 and 2005 , whose core is invariable because the fringe area of it " expanded " firstly and then " reduced "
摘要以黄梅戏专业剧团作为划分黄梅戏文化区的依据，分析了1952年、 1984年和2005年三个时点黄梅戏文化区的演变情况：黄梅戏文化区核心区恒定不变，边缘区先“扩展”后“萎缩” 。 |
