ozu

ozu

美 　英

• 網絡小津；小津安郎的電影美學；小津安二郎的電影美學

例句

When Richie's Ozu was published, two years later, critics came to realize that this quiet filmmaker was one of cinema's finest artists.

兩年后當Richie的《小津》出版時，評論家們意識到這個“平靜”的電影人其實是個杰出的電影藝術家。

In Ozu's Good Morning, a family dispute is occasioned by the children's demand that their parents acquire a television.

在小津的《早安》中，家庭糾紛起于孩子們要求父母購買電視一事；

Boy is also discreetly fixed in the context of Japan's recent history, in a way which again may be read as a response to Ozu.

《少年》也被謹慎地限定在日本近代歷史的情境之中，這一做法又一次可被解讀為是對小津的回應。

Yet Oshima's film can also be interpreted as a reinterpretation of and a riposte to Ozu.

然而大島渚的影片也可以被解讀為是對小津的重新詮釋和回擊。

it carries to a limit Ozu's faith that everyday life, rendered tellingly, provides more than enough drama to engage us deeply.

但它承載著一個小津電影的基本因素：將日常生活緩緩地鋪敘呈現，進而帶給我們更多劇情不能催生的體驗。

Ozu himself hinted at a reservation: "This is one of my most melodramatic pictures. "

小津自己給出了一個保留性的暗示：“這個是我最具有情節性的電影之一。”

In Ozu's Late Spring she wanted to remain a daughter, did not want to become a wife.

在小津的《晚春》中，原節子想繼續作女兒，而不愿成為妻子。

Without the pessimism of Ozu and Keisuke , Yamada's "Tora-san" comes from a contented and happy family.

相對于小津的無常無奈、木下的感傷與焦慮，山田的「寅次郎」一家是幸福、快樂的。

Thousand Years was very much influenced by a Japanese director called [Yasujiro] Ozu.

《千年善禱》很受日本導演小津安二郎的影響。

In dialogue scenes Ozu refuses to cut away from a speaking character;

對話場景中小津拒絕在人物說話時進行剪輯；