TV documentary must stick to the principle of truthfulness, the essence of which is to guarantee people s right to know the facts and demonstrate a humanistic concern.
电视纪实片一定要坚持真实性原则,以事实为本体。
The films directed by ZHANG Yi-mo,Hong Gao Liang and Shi Mian Mai Fu,experience the legend of the drama,on-the-spot record of the stories and the poetic quality of the images,going step by step from the traditional descriptive style of the Chinese films to the present style with modern smell.
张艺谋拍摄的影片,从《红高粱》到《十面埋伏》,经历了戏剧性的浪漫传奇、故事性的理性纪实、影像性的虚幻诗意的嬗变过程,一步一步从中国电影传统的叙事风格迈向目前世界具有现代性的电影叙事风格。
There is a powerful tendency to the record of actual events in the contemporary film and TV which is embodied in the creation of record called "New Record Campaign" named by Lu Xinyu,in a few films having on-the-spot record and more plenty of TV programs belonging to on-the-spot record made by many TV stations.
当代影视创作中出现了一股声势浩大的纪实倾向,它表现在被吕新雨命名的“新纪录运动”纪录片创作中;在一些“纪实”性电影故事片;更多的体现在许多电视台制作的大量“纪实”类电视节目中。
The paper mainly expounds Wang Anyi’s novels and her theories on novels and elaborates the situation of conversion of their binary opposition from the point of narration around the mutual relationship between record of actual events and fiction in novel’s nature.
本文对王安忆的小说及其小说理论进行论述,围绕纪实与虚构在小说文本中的相互关系,从叙事角度来阐述它们二元关系的转化。
This paper aims to discuss the literary value of Ye Yonglie s documentary literary works in terms of writing style and techniques and distinctive features.
本文主要对叶永烈的纪实类文学作品进行分析论证,从他的创作风格,创作手法和特色进行梳理,分析其作品的价值。
Contrary to its tradition, documentary TV program is also on the way of entertainmentization becoming to a part of entertainment TV program, as the trend of entertainment in Chinese TV industry is more and more popular.
基于电视纪实语言的电视纪实节目和基于电视艺术语言的电视娱乐节目是当代电视节目中的两大基本节目形态,其所承担社会功能各有侧重。
In terms of the form of the program, "Reality TV" incorporates such program conformations as documentary, amusement, games, talk shows, indoor opera, and news reporting.
在节目形式上，“真实电视”融纪实、娱乐、游戏、脱口秀、室内剧，新闻等节目形态于一体，继承了广播、电影等媒体的特点，特别是将纪实手法运用于虚构类的游戏娱乐节目中，用电视续写了“真实电影”纪实美学的传统。
By means of either imagination or documentation , he has had as his writing purpose the keen-edged criticism.
在长达半个多世纪的“写作之旅”中,奈保尔以后殖民社会为主要写作对象,以想象与纪实为写作手段,以尖锐的批评为写作目的。
Having made a general study of his movies over the years, from his first work THE RED CHINESE SORGHUM in 1983 to the latest movie HERO in 2002, which are grouped into “ideography”and “documentation”, the thesis dissects the anesthetic ideas contained in those movies and further excavates the roots of the “two-pole”aesthetic phenomenon and the “extreme”director’s t.
这是一篇关于张艺谋电影“两极”美学现象和“极致”导演思维的研究,是从张艺谋个人独特的“极致”导演思维出发,把他的电影作品——从1983年的处女作《红高梁》一直到2002 年的《英雄》——分为表意和纪实两极,作了一次宏观全面的梳理,分析其中包含的美学内蕴,并探究这种“两极”美学现象和“极致”导演思维产生的根源。
Since the 1990 s,documentary writing has tended to concern itself in individuals and their daily life and has thus enhanced its aesthetic value.
20世纪90年代以来,在文学的整体化转型和多元化嬗变中,纪实文学也出现了个人化、日常化、世俗化的叙事倾向,从某种程度上对主流话语和宏大叙事长期忽略、回避甚至遮蔽的社会历史与现实生活真貌,给予个人独到的观照和认识,提升了纪实文学的审美价值。
The movie characteristic on-the-spot record is the creative works, which presents the characteristics of life, heart, true and false.
影视纪实性特征是指影视艺术家在对真实的各种形态充分把握的基础上,创作的作品呈现出审美的“幻真化”、“生活化”、“心灵化”特
The aspiration and pursuing for on-the-spot record is unchangeablefor ever while communication medium is developing all the time.
电视纪实性特征的被突出和被强调，某种程度上正是人类这种最本能心理需求的反映和表现。