| 1. | From shaw brothers to grand motion picture : localisation of
从邵氏到国联黄梅调影片的在地化 |
| 2. | The arts of shao films of huangmei opera
邵氏黄梅调电影艺术论 |
| 3. | 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。 |
| 4. | 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。 |
| 5. | Li ' s cinematic spectacles simulate the visual spirit of chinese landscape painting , which is derived from taoist ideology about space and time
李翰祥导演在黄梅调电影中的电影美学是想模拟中国山水画的精神，而这个精神源自于中国道家对空间与时间的观念及看法。 |
| 6. | 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。 |
| 7. | 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。 |
| 8. | This boxset comprising of five shaw brothers movies which attained the honour , range from " shaolin kung fu " and martial arts classics to huang mei opera and satire comedy , marks the achievements of shaw brothers movies in the history of chinese cinema
邵氏电影勇夺其中五个席位，包括功夫武侠黄梅调以至讽刺喜剧等，均属不同电影类型的代表作，亦标志著邵氏电影在中国电影史上的地位。 |
