kinoshita造句

• Title : yamada yoji and yamada taichi on kinoshita keisuke
  主讲：山田洋次，山田太一
• " a tribute to kinoshita keisuke " film code ends with x or
  木下惠介回顾展(影片编号以x结尾)
• Kinoshita s debut heralded the arrival of a serious talent
  天下无贼的理想，竟在战火中实现。
• Group b hk 40 for " a tribute to kinoshita keisuke " and
  B类门票木下惠介回顾展及平日日场港币40
• " a tribute to kinoshita keisuke " film code ending with x
  木下惠介回顾展场次门票(影片编号以x结尾)
• The cinematic universe of kinoshita keisuke
  电影诗人孙瑜
• Marks the start of kinoshita s experimentation with film techniques and genres
  木下勇于实验，各类型都喜尝试。
• Mr keith kerr mr shinichi kinoshita
  包立贤先生
• Mr . kinoshita of sony
  索尼株式会社木下先生
• " i have always believed since i was a child that beautiful things were true . " kinoshita keisuke
  要让世人互相了解、和平相处，就靠这样的关系。
• Or " mother stories " , this acknowledged masterwork presents kinoshita at the prime of his craft
  本片不但是木下自己编剧的得意之作，也实在可入选他最佳作品前三名。
• " one of the most nostalgically beautiful of kinoshita s films , " raves japanese cinema expert donald richie
  卿如野菊花，君若胆树。一段少时初恋，兼具古典和自然美。
• " a tribute to kinoshita keisuke " film code ends with x and weekday matinee screenings film code ends with d
  木下惠介回顾展(影片编号以x结尾)及平日日场(影片编号以d结尾)
• But kinoshita ? s legacy is beyond sheer populist crowd - pleasing . he pioneered revolutionary techniques , including 1951 ? s
  木下惠介为日本战后电影黄金时代健将，松竹其下大师。
• Kinoshita struggled to obtain permission for his next projects . but the end of the war provided the break he needed
  经陆军一役，军部学乖了，否决了木下开拍神风敢死队的计划。
• Though known as the first ever japanese film in colour , kinoshita actually simultaneously shot a black white version of the film as well . .
  木下用彩色菲林拍摄卡门还乡时，也拍了一个黑白版本。
• This most stylised work by kinoshita is also his most dramatically theatrical , replete with meticulously designed soundstages and dramatic lighting
  山村食物匮乏，老人七十岁便由家属背上?山等死。
• This was followed by the introduction of sony corporation s new features of the " sugoroku " dvd recorder series by mr . kinoshita
  然后由索尼株式会社的木下先生介绍dvd刻录机" sugoroku "系列的特点。
• The story of carmen s return to her rustic roots also enables kinoshita to lovingly ogle the majestic scenery with his camera
  高峰秀子改变戏路，野性奔放，活脱脱一个摩登傻大姐，但始终不脱善良本色。
• Kobayashi masaki , kinoshita s assistant director , must have been influenced by this adaptation of the famous kabuki play while filming his own seminal
  原是歌舞伎的热门戏码，曾改编成多种小说和电影版本。