| 1. | The creation of social realism in hong kong s cantonese cinema
香港粤语片中社会现实的营造 |
| 2. | 1948 , etc . social realism in hong kong cinema was an offshoot of the influence exerted by mainland chinese films such as the spring river flows east
四十年代香港电影的写实潮流，主要是受了中国出产的卖座写实电影影响，如一江春水向东流四七及万家灯火四八等。 |
| 3. | Social realism , one of the most remarkable characteristic of post - war hong kong cinema , has resulted in many outstanding films . this can be found in mandarin comedies like zhu shilin s the dividing wall
例如朱石麟以喜剧的手法刻划困窘的处境，其导演的国语片一板之隔1952和中秋月1953哀而不伤悲中有喜。 |
| 4. | Social realism , one of the most remarkable characteristic of post - war hong kong cinema , has resulted in many outstanding films . this can be found in mandarin comedies like zhu shilin s the dividing wall
例如朱石麟以喜剧的手法刻划困窘的处境，其导演的国语片《一板之隔》 （ 1952 ）和《中秋月》 （ 1953 ）哀而不伤、悲中有喜。 |
| 5. | From a great deal of discovered social realism , we can find out that the disorder of market in our country bears on the evil competitions between some corporations losing business morals
从大量暴露的社会现实看，目前我国市场秩序的混乱与企业的恶性竞争、不讲商业道德、坑蒙拐骗、愈演愈烈的信用危机和奉行的拜金主义有关，它导致了社会信用整体水平的下降。 |
| 6. | When kosaku s mysterious past is finally revealed , kazami resolves on a radial change a ravishingly beautiful film by yamada yoji who steeped social realism in his aesthetic sense , and in which the art of both serenity and speech can be fully appreciated
女主角倍赏千惠子是日本国内的影后级人马，男主角高仓健则于1999年凭铁道员一片，成为蒙特利尔国际影展影帝。 |
| 7. | Social realism , bourgeois entertainment , tear - jerking sentimentalism , satiric parodies , atmospheric spectacles , energetic romps . . . the cinematic wonders that precipitated from his many and varied talents are coalescences of his time and place
不论社会写实、家庭伦理、浪漫爱情、紧张悬疑、虚幻迷离、嬉笑怒骂、刺激武打、疯狂癫丧… …他的多才多艺，沉淀了一个社会、一个时代的努力与成败。 |
| 8. | Mr stephen sze s article the creation of " social realism " in hong kong s cantonese cinema , analyses the several levels of realism seen in hong kong cinema . he explores with depth the simplistic concepts that shooting on the set equals fabrication and shooting on location equals realism
史文鸿先生的香港粤语片中社会现实的营造分析香港电影中不同层次的现实，把一些简化的观念如厂景制作虚构，实景拍摄现实等作出较深入的探索。 |
| 9. | In the “ abstract series ” , there is a decisive rejection of recognisable imagery in favour of expression , whilst in the “ life series ” , we cannot say that there are pieces that do not have morally loaded themes : the image transcends the transitory and local interest , being concerned with the themes of social realism and urban existance
在“抽象系列"里，画家坚定地拒绝可识别的形象表达，而在”生命系列“里，我们不能说里面有没有精神承载的主题：图像超越瞬间和地方兴趣,与社会现实主义和都市生活的题材相关联。 |
