红高粱英文？中文名：《红高粱》英文名：Red Sorghum 主要演员：周迅，朱亚文，黄轩，宋佳伦，秦海璐，于荣光 导演：郑晓龙 编剧：赵冬苓、管笑笑、潘耕、巩向东 制片人：曹平 类别：剧情，历史，那么，红高粱英文？一起来了解一下吧。
十面埋伏 / House of Flying Daggers
英雄 / Hero
千里走单骑 / Riding Alone for Thousands of Miles
活着 / To Live
一个都不能少 / Not One Less
大红灯笼高高挂 / Raise The Red Lantern
满城尽带黄金甲 / The City of Golden Armor / Curse of the Golden Flower
红高粱 / Red Sorghum
秋菊打官司 / The Story of Qiu-Ju
有话好好说 / Keep Cool
我的父亲母亲 / The Road Home
菊豆 / Ju Dou
摇啊摇，摇到外婆桥 / Shanghai Triad
幸福时光 / Happy Times
老井 / Old Well
Have you ever heard of Mo Yan? Have you read his novel "Red Sorghum" Mo Yan is the famous writers in 2012 China Nobel prize red sorghum is one of his most famous works of the book describes "my grandfather and grandmother love story" praise the tenacity of life and a valuable with you please report to introduce to classmates Mo Yan and his novel "Red Sorghum"
1.红高粱
2.菊豆
3.大红灯笼高高挂
4.秋菊打官司
5.摇啊摇 摇到外婆桥
6.代号美洲豹
7.活这
8.英雄
9.十面埋伏
10.满城尽带黄金甲
11.幸福时光
12.有话好好说
13。千里走单骑
1. Red Sorghum
2. Ju Dou
3. Raise the Red Lantern
4. Story of Qiu Ju
5. Yaoayao shake the grandmother Bridge
6. Code Puma
7. Live this
8. Heroes
9. House of Flying Daggers
10. Curse of the Golden
11. Happy time
12. Have anything good that
13. Trinidad Riding Alone
你好， 黑客女孩。
这是一篇长文，源于博客一文，文章先从张艺谋的08奥运会开幕式导演成就开始阐述，后面加上他的历年电影成就，从英文介绍而言，相当可贵，希望能帮得上你的忙。
My hero , Mr. Zhang yimou
On the eighth day of the eighth month of 2008, 2 billion TV viewers and thousands in attendance in the now famous Bird's Nest were treated to an unforgettable spectacle at the opening ceremonies of the Beijing Olympic Games.
Behind it all was the creative genius of Chinese film director Zhang Yimou. Drawing from the depths of the cultural heritage and ingenuity of the Chinese people, showcasing ancient Chinese inventions — paper, printing, gunpowder, ceramics and the compass — that have shaped civilization and channeling the sensibility and spirit that unite his fellow 1.3 billion citizens, Zhang told China's story to a watching world. He created arguably the grandest spectacle of the new millennium, and it was viewed by nearly one-third of the world's population. With this work, Zhang obtained a stature shared by very few peers.
In telling China's story, Zhang explored the character he, or peaceful harmony — an ideal critical to Chinese culture. This level of thematic and creative artistry is rare in the controlled realm of filmmaking, let alone in a multidimensional arena with thousands of performers and visual set pieces that seemed to border on the impossible — yet it was all happening live, before the eyes of the world.
There is much mythologizing surrounding Zhang's rise to prominence, given that his first job was as a farmhand and then a laborer in a cotton mill. But the story I enjoy most is that he gave blood over a period of months to earn enough money to purchase his first camera. He was 25. When the Beijing Film Academy reopened in 1978 after the Cultural Revolution, he was 27, already considered too old to become a filmmaker and lacking many of the necessary credits. Undaunted, he offered his portfolio of photographic works and was admitted to the department of cinematography.
Zhang became a filmmaker, and for the past two decades, he has inspired the world's fascination with China through his cinematic vision. Not since the great British director Michael Powell has a director used color so effectively to tell stories. In Red Sorghum (1987), Ju Dou (1990) and his magnum opus, Raise the Red Lantern (1991), the vivid use of red in the manufacturing of wine, the traditional wedding gown, the process of dyeing silk and even the crimson splashes of blood illuminate Zhang's celebration of life, exoticism and death. Ju Dou was the first Chinese film to be nominated for an Academy Award; Raise the Red Lantern was the second.
Zhang also brought the actress Gong Li to prominence, casting her in starring roles in six of his films. Together they are credited with introducing sensuality and eroticism to Chinese cinema. Western audiences are probably familiar with Zhang more from his action movies: Hero (2002), House of Flying Daggers (2004) and his most Shakespearean work, Curse of the Golden Flower (2006), in which he choreographed giant armies in ways not seen since the heyday of the Berkeley musical extravaganza.
Zhang was no stranger to live theatrical events either. In 1998 he staged and directed Puccini's opera Turandot at the Forbidden City in Beijing. He directed a folk musical in 2003 and staged it outdoors on the Li River. In 2006 he mounted Tan Dun's The First Emperor for New York City's Metropolitan Opera.
All this work and its complexity should have prepared me for the depth and breadth of Zhang's vision, apparent even in its early stages when he first contacted me in 2005 regarding the Beijing ceremonies. We met on a sunny afternoon in East Hampton, N.Y., and I knew immediately we were going to become good friends. With computer renderings on his laptop, he showed me what he was thinking. That was when I realized that every movie he had ever made would be a luminous precursor to what was surely going to be a personal journey of destiny. Zhang would be the creator-director of the Olympic ceremonies, with the honor of putting on what would become the greatest show on earth, with China at center stage. I was honored to have been one of the first people stirred and inspired by Zhang's ideas.
At the heart of Zhang's Olympic ceremonies was the idea that the conflict of man foretells the desire for inner peace. This theme is one he's explored and perfected in his films, whether they are about the lives of humble peasants or exalted royalty. This year he captured this prevalent theme of harmony and peace, which is the spirit of the Olympic Games. In one evening of visual and emotional splendor, he educated, enlightened and entertained us all. In doing so, Zhang secured himself a place in world history
Red Sorghum (simplified Chinese: 红高粱; traditional Chinese: 红高粱; pinyin: Hóng Gāoliáng) is a 1987 Chinese film about a young woman's life working on a distillery for sorghum liquor. It is based on a novel by Nobel laureate Mo Yan.
The film marked the directorial debut of internationally acclaimed filmmaker Zhang Yimou, and the acting debut of film star Gong Li. With its lush and lusty portrayal of peasant life, it immediately vaulted Zhang to the forefront of the Fifth Generation directors.
The film takes place in a rural village in China's eastern province of Shandong during the Second Sino-Japanese War.
It is narrated from the point of view of the protagonist’s grandson,
who reminisces about his grandmother, Jiu'er (S: 九儿, T: 九儿, P: Jiǔ'ér).
She was a poor girl who was sent by her parents into a pre-arranged
marriage with an older man. This man, Li Datou, who owned a distillery,
suffered from leprosy.
As her wedding party crosses a field of sorghum, they are attacked by
a bandit with a pistol. The hired sedan carrier fights off the
assailant and a series of subtly flirtatious looks are exchanged. After
she reaches the winery, the man disappears. He returns to the screen
while Jiu'er is returning from her parents' house. We see him wearing
the same mask as the man who attacked them three days before. He kidnaps
Jiu'er and after a short chase, reveals his identity. He then clears
some sorghum and they engage in sexual intercourse.
After the leper was mysteriously murdered, the young widow takes over the distillery,
which has fallen on hard times. She inspires the workers to take new
pride in their wine, and once again meets the man who saved her life and
then deflowered her. He arrives drunk and tries to claim her, telling
the distillery workers how he deflowered her and that he is going to
sleep in her room, but she tosses him out and he makes a fool of himself
in his drunken rudeness. He sleeps in a liquor vat for three days,
while the bandits kidnapped Jiu'er and asked for ransom, which the
distillery workers paid. The bandits did not rape her because she told
them she had slept with her deceased husband, the leper.
Later, the man who had intercourse with her comes back again, when
they make the first batch of liquor. He takes four vats of the liquor
and urinates in them, shocking the employees. He meant it to anger
Jiu'er, but somehow his urine makes the liquor taste better than ever
before. The longtime distiller, Luohan, leaves in disgust, presumably
because of her affair with the hired bearer and the resultant bastard son, the narrator's father.
The style of the film shifts from fable to realism when the War begins and the Imperial Japanese Army
troops invade the area. The Japanese soldiers order forced laborers to
flatten the sorghum fields. The widow Jiu'er and the winery workers are
among the forced laborers. The Japanese then order a butcher to skin the
bandit alive. The butcher resists, but is given a choice of death or
skinning, as a reminder to the laborers not to resist. The butcher is
near to doing it, but in hopeless desperation he choose to kill Shanpao
to avoid skinning him. He is machine gunned by the Japanese soldiers,
and the butcher's assistant is given the task, to skin Luohan, the
distillery worker, lest he himself be skinned. He does the skinning, and
loses his mind. The narrator then identifies many atrocities of the Japanese during the war and notes Luohan as a member of the Communist guerrilla resistance.
They then have a liquor tasting ritual where they celebrate Luohan
and his liquor, where Jiu'er recommends the distillery workers avenge
his death. All of the distillery workers toast with the liquor, as does
Jiu'er's son, the narrator's father, with the same song that Luohan sung
at other rituals. In the early dawn, they set an ambush and take liquor
with them to use as a fire bomb, which is urinated in by Jiu'er's son.
Later, the boy runs back to the distillery and tells his mother the men
are hungry. She arrives in time to be machine-gunned by the Japanese.
The ambush is a noble disaster, with cannons misfiring and killing some
of the ambushers but their homemade liquor grenades
destroy the Japanese trucks and troops, as well as most of the
distillers. In the end, there is nothing but scenes of death, with the
narrator's grandfather and father observing a red eclipse
symbolic of the death and destruction and the red color of the liquor.
The narrator's father is left chanting a prayer for his mother to rise to heaven at the close of the film.
以上就是红高粱英文的全部内容，红高粱 又名:Red SorghumSorgo rojo 标签:剧情战争张艺谋姜文巩俐中国电影大陆中国爱情 地区:中国 年份:1988 导演:张艺谋 编剧:莫言陈剑雨朱伟 主演:姜文巩俐滕汝骏钱明陈志刚计春华 这个？？？。
