⑴ 電影《我11》的片尾曲是什麼
馬克佩羅_Ladybird
⑵ 急！寫出所有動物的英語單詞
1、大象：elephant
讀音：英['elɪf(ə)nt]美[ˈɛləfənt]
n. 象；大號圖畫紙
[ 復數 elephants或elephant ]
短語：elephant bird象鳥 ; 大象鳥 ; 隆鳥
例句：Thehunterdestroyedtheelephant.
獵手射殺了那頭大象。
2、猴子：monkey
讀音：英['mʌŋkɪ]美['mʌŋki]
n. 猴子；頑童
vi. 胡鬧；搗蛋
vt. 嘲弄
[ 復數 monkeys 過去式 monkeyed 過去分詞 monkeyed 現在分詞 monkeying ]
短語：tarsius monkey眼鏡猴 ; 迷你眼鏡猴 ; 眼睛猴
例句：Themonkeyengulfedthefoodwhole.
這只猴子囫圇吞下食物。
3、獅子：lion
讀音：英['laɪən]美['laɪən]
n. 獅子；名人；勇猛的人；社交場合的名流
n. (Lion)人名；(西、葡)利昂；(德、法、意、捷、瑞典)利翁；(英)萊昂
[ 復數 lions或lion ]
短語：Asiatic Lion亞洲獅
例句：Thewoundedlionbellowedout.
受傷的獅子發出了怒吼。
4、羊：sheep
讀音：英[ʃiːp]美[ʃip]
n. 羊，綿羊；膽小鬼
短語：Fellow Sheep快樂牧羊犬 ; 牧羊犬
例句：Afterasummerherethe .
經過一個夏天，連最差的牛羊在這里也長得又肥又壯了。
5、青蛙：frog
讀音：英[frɒg]美[frɔɡ]
n. 青蛙；[鐵路] 轍叉；飾扣
vi. 捕蛙
n. (Frog)人名；(俄)弗羅格
[ 過去式 frogged 過去分詞 frogged 現在分詞 frogging ]
短語：The Frog青蛙 ; 青蛙王妃 ; 那青蛙
例句：Thetadpolehasbecome afrog.
這個蝌蚪已長成青蛙。
⑶ 《漢娜姐妹》這部電影真的好嗎
都說《漢娜姐妹》是艾倫處在巔峰期的傑作，又有說這是一部關系錯綜復雜的「現代都市家族史」。細究起來，來頭還真是大得神奇，就像中國百姓熱愛趙本山的念叨一樣，紐約人想來也對艾倫喜愛得緊。
在《漢娜姐妹》中，每個人都充滿了神經質的一面，患得患失，歇斯底里，荒誕得像一把把心靈的鐐銬。觀影過程中，使我一度想起的，是海岸邊那些漂浮的木樁，一如漂浮於冠冕堂皇之上的精神的硬殼；而生活的真相，則猶然埋藏於深深的水底，不為人知。看《漢娜姐妹》的過程，使我第一次覺得艾倫的電影竟而如此有魅力。那些神經脆弱而敏感的中產階級知識分子，兀自以一種謹小慎微的方式存活於世，就像艾倫心頭的一面鏡子，以正面示人，卻自我承受著背面的黑暗。艾倫採用默片的方式對《漢娜姐妹》進行了分幕。穿插於影片中的歌劇段落，則極好地渲染出了一種黑色幽默背後的嚴肅主體，確是一種極好的反襯。故如現實中，人的生活註定不會像歌劇那般高雅持重。
影片中倆夫妻因為不能生孩子，便妄圖藉由朋友的精子來受孕，這一橋段的構想與很多影像達成頗具妙趣的重合。我兀自看到了歐容《彌留的時光》和王小帥《左右》的影子，還有丁度·巴拉斯的一部叫做《Ladybird》的小短片。
統觀《漢娜姐妹》的結構，如是：開場是一群人在一起聚會，而後一個個打散、分叉、遠離，直至最後又重新被平衡地系扎到一起，形成了一個「合——分——合」的圓形結構。而這種結構又絕然不同於好萊塢的「大團圓」結局，而是獨具伍迪·艾倫氣質的神經質手術台，用鏡頭細究一簇簇散開的神經，有時候太崩潰，有時候又太靦腆，但終究要牽繫到一起。
細想來，《漢娜姐妹》的這番結構真跟阿薩亞斯的《夏日時光》有些許類似，同樣是頭尾呼應的聚會，故事的主題亦都是氣色同質的變奏曲。
⑷ 家庭電影《伯德小姐》落葉歸根，是能滿足小少女心思的電影嗎
走你走過的路，看你看過的風景，最後，以你的想法思考問題。也許，一切就不一樣了。人生如果是一面塗鴉牆，在我們想重新開始的時候只要重新刷成白色該多好？今天給大家分享的這部電影，讓你對自己家庭情況做一個對比！
4.女主渴望著母親的認同。這種渴望在影片後半段愈發明顯，直至她試探地問母親：萬一我最好的樣子就是現在這樣，怎麼辦？其實她從未懷疑自己對母親的愛和母親對自己的愛。正如修女教師所言，愛與關注有什麼區別呢？只有關心一個人，才會事無巨細地關注她的一舉一動，才會因為擔心和異見而劍拔弩張。女主與母親在小事上的不斷摩擦，她對朋友不斷地抱怨母親，其實正反映了彼此無微不至的關注與在意。她真正無法釋懷的是母親對自己的處處挑剔，因為她害怕母親不能接受真實的自己。這種擔心是關於愛最真實的難題——我愛你，也知道你愛我，但我能否喜歡你，你能否也喜歡我？
5.人只有失去了才懂得珍惜，只有在紐約逼仄的樓宇間才想起Sacramento的陽光，只有聽見陌生教堂的唱詩班歌聲才懷念教會學校生活，只有離開了家才知道愛著爸媽。矯情不一定是無病呻吟，有時只是無能為力。雖然算新導演，但格蕾塔拍這種自傳比重很大的少女成長、母女關系的主題已經算老手了，很多元素在弗蘭里就有過的。故事算是波瀾不驚，說的也都是美國高中生在上大學前一年前發生的尋常事（她的電影里好像女孩最後都要去紐約上大學），但處處都很細膩又不過分的溫情都很好地描繪了“苦中有樂”的生活
⑸ 馬克佩羅，電影《我十一》片尾曲
好像是 ladybird 這首曲子吧，很難的找啊，也有很多版本。還有很多不同的意思，你點的話上面解釋是『瓢蟲』或音樂，你就點音樂，可能是吧，你試試看！ 也許會出錯哦，謝謝！ 僅參考！
⑹ 羅密歐與朱麗葉現代版的電影英文台詞
Play Script - Text
Romeo and Juliet
Romeo and Juliet
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Script of Act I Romeo and Juliet
The play by William Shakespeare
Introction
This section contains the script of Act I of Romeo and Juliet the play by William Shakespeare. The enring works of William Shakespeare feature many famous and well loved characters. Make a note of any unusual words that you encounter whilst reading the script of Romeo and Juliet and check their definition in the Shakespeare Dictionary The script of Romeo and Juliet is extremely long. To rece the time to load the script of the play, and for ease in accessing specific sections of the script, we have separated the text of Romeo and Juliet into Acts. Please click Romeo and Juliet Script to access further Acts.
Script / Text of Act I Romeo and Juliet
PROLOGUE
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
SCENE I. Verona. A public place.
Enter SAMPSON and GREGORY, of the house of Capulet, armed with swords and bucklers
SAMPSON
Gregory, o' my word, we'll not carry coals.
GREGORY
No, for then we should be colliers.
SAMPSON
I mean, an we be in choler, we'll draw.
GREGORY
Ay, while you live, draw your neck out o' the collar.
SAMPSON
I strike quickly, being moved.
GREGORY
But thou art not quickly moved to strike.
SAMPSON
A dog of the house of Montague moves me.
GREGORY
To move is to stir; and to be valiant is to stand:
therefore, if thou art moved, thou runn'st away.
SAMPSON
A dog of that house shall move me to stand: I will
take the wall of any man or maid of Montague's.
GREGORY
That shows thee a weak slave; for the weakest goes
to the wall.
SAMPSON
True; and therefore women, being the weaker vessels,
are ever thrust to the wall: therefore I will push
Montague's men from the wall, and thrust his maids
to the wall.
GREGORY
The quarrel is between our masters and us their men.
SAMPSON
'Tis all one, I will show myself a tyrant: when I
have fought with the men, I will be cruel with the
maids, and cut off their heads.
GREGORY
The heads of the maids?
SAMPSON
Ay, the heads of the maids, or their maidenheads;
take it in what sense thou wilt.
GREGORY
They must take it in sense that feel it.
SAMPSON
Me they shall feel while I am able to stand: and
'tis known I am a pretty piece of flesh.
GREGORY
'Tis well thou art not fish; if thou hadst, thou
hadst been poor John. Draw thy tool! here comes
two of the house of the Montagues.
SAMPSON
My naked weapon is out: quarrel, I will back thee.
GREGORY
How! turn thy back and run?
SAMPSON
Fear me not.
GREGORY
No, marry; I fear thee!
SAMPSON
Let us take the law of our sides; let them begin.
GREGORY
I will frown as I pass by, and let them take it as
they list.
SAMPSON
Nay, as they dare. I will bite my thumb at them;
which is a disgrace to them, if they bear it.
Enter ABRAHAM and BALTHASAR
ABRAHAM
Do you bite your thumb at us, sir?
SAMPSON
I do bite my thumb, sir.
ABRAHAM
Do you bite your thumb at us, sir?
SAMPSON
[Aside to GREGORY] Is the law of our side, if I say
ay?
GREGORY
No.
SAMPSON
No, sir, I do not bite my thumb at you, sir, but I
bite my thumb, sir.
GREGORY
Do you quarrel, sir?
ABRAHAM
Quarrel sir! no, sir.
SAMPSON
If you do, sir, I am for you: I serve as good a man as you.
ABRAHAM
No better.
SAMPSON
Well, sir.
GREGORY
Say 'better:' here comes one of my master's kinsmen.
SAMPSON
Yes, better, sir.
ABRAHAM
You lie.
SAMPSON
Draw, if you be men. Gregory, remember thy swashing blow.
They fight
Enter BENVOLIO
BENVOLIO
Part, fools!
Put up your swords; you know not what you do.
Beats down their swords
Enter TYBALT
TYBALT
What, art thou drawn among these heartless hinds?
Turn thee, Benvolio, look upon thy death.
BENVOLIO
I do but keep the peace: put up thy sword,
Or manage it to part these men with me.
TYBALT
What, drawn, and talk of peace! I hate the word,
As I hate hell, all Montagues, and thee:
Have at thee, coward!
They fight
Enter, several of both houses, who join the fray; then enter Citizens, with clubs
First Citizen
Clubs, bills, and partisans! strike! beat them down!
Down with the Capulets! down with the Montagues!
Enter CAPULET in his gown, and LADY CAPULET
CAPULET
What noise is this? Give me my long sword, ho!
LADY CAPULET
A crutch, a crutch! why call you for a sword?
CAPULET
My sword, I say! Old Montague is come,
And flourishes his blade in spite of me.
Enter MONTAGUE and LADY MONTAGUE
MONTAGUE
Thou villain Capulet,--Hold me not, let me go.
LADY MONTAGUE
Thou shalt not stir a foot to seek a foe.
Enter PRINCE, with Attendants
PRINCE
Rebellious subjects, enemies to peace,
Profaners of this neighbour-stained steel,--
Will they not hear? What, ho! you men, you beasts,
That quench the fire of your pernicious rage
With purple fountains issuing from your veins,
On pain of torture, from those bloody hands
Throw your mistemper'd weapons to the ground,
And hear the sentence of your moved prince.
Three civil brawls, bred of an airy word,
By thee, old Capulet, and Montague,
Have thrice disturb'd the quiet of our streets,
And made Verona's ancient citizens
Cast by their grave beseeming ornaments,
To wield old partisans, in hands as old,
Canker'd with peace, to part your canker'd hate:
If ever you disturb our streets again,
Your lives shall pay the forfeit of the peace.
For this time, all the rest depart away:
You Capulet; shall go along with me:
And, Montague, come you this afternoon,
To know our further pleasure in this case,
To old Free-town, our common judgment-place.
Once more, on pain of death, all men depart.
Exeunt all but MONTAGUE, LADY MONTAGUE, and BENVOLIO
MONTAGUE
Who set this ancient quarrel new abroach?
Speak, nephew, were you by when it began?
BENVOLIO
Here were the servants of your adversary,
And yours, close fighting ere I did approach:
I drew to part them: in the instant came
The fiery Tybalt, with his sword prepared,
Which, as he breathed defiance to my ears,
He swung about his head and cut the winds,
Who nothing hurt withal hiss'd him in scorn:
While we were interchanging thrusts and blows,
Came more and more and fought on part and part,
Till the prince came, who parted either part.
LADY MONTAGUE
O, where is Romeo? saw you him to-day?
Right glad I am he was not at this fray.
BENVOLIO
Madam, an hour before the worshipp'd sun
Peer'd forth the golden window of the east,
A troubled mind drave me to walk abroad;
Where, underneath the grove of sycamore
That westward rooteth from the city's side,
So early walking did I see your son:
Towards him I made, but he was ware of me
And stole into the covert of the wood:
I, measuring his affections by my own,
That most are busied when they're most alone,
Pursued my humour not pursuing his,
And gladly shunn'd who gladly fled from me.
MONTAGUE
Many a morning hath he there been seen,
With tears augmenting the fresh morning dew.
Adding to clouds more clouds with his deep sighs;
But all so soon as the all-cheering sun
Should in the furthest east begin to draw
The shady curtains from Aurora's bed,
Away from the light steals home my heavy son,
And private in his chamber pens himself,
Shuts up his windows, locks far daylight out
And makes himself an artificial night:
Black and portentous must this humour prove,
Unless good counsel may the cause remove.
BENVOLIO
My noble uncle, do you know the cause?
MONTAGUE
I neither know it nor can learn of him.
BENVOLIO
Have you importuned him by any means?
MONTAGUE
Both by myself and many other friends:
But he, his own affections' counsellor,
Is to himself--I will not say how true--
But to himself so secret and so close,
So far from sounding and discovery,
As is the bud bit with an envious worm,
Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the sun.
Could we but learn from whence his sorrows grow.
We would as willingly give cure as know.
Enter ROMEO
BENVOLIO
See, where he comes: so please you, step aside;
I'll know his grievance, or be much denied.
MONTAGUE
I would thou wert so happy by thy stay,
To hear true shrift. Come, madam, let's away.
Exeunt MONTAGUE and LADY MONTAGUE
BENVOLIO
Good-morrow, cousin.
ROMEO
Is the day so young?
BENVOLIO
But new struck nine.
ROMEO
Ay me! sad hours seem long.
Was that my father that went hence so fast?
BENVOLIO
It was. What sadness lengthens Romeo's hours?
ROMEO
Not having that, which, having, makes them short.
BENVOLIO
In love?
ROMEO
Out--
BENVOLIO
Of love?
ROMEO
Out of her favour, where I am in love.
BENVOLIO
Alas, that love, so gentle in his view,
Should be so tyrannous and rough in proof!
ROMEO
Alas, that love, whose view is muffled still,
Should, without eyes, see pathways to his will!
Where shall we dine? O me! What fray was here?
Yet tell me not, for I have heard it all.
Here's much to do with hate, but more with love.
Why, then, O brawling love! O loving hate!
O any thing, of nothing first create!
O heavy lightness! serious vanity!
Mis-shapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire,
sick health!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
Dost thou not laugh?
BENVOLIO
No, coz, I rather weep.
ROMEO
Good heart, at what?
BENVOLIO
At thy good heart's oppression.
ROMEO
Why, such is love's transgression.
Griefs of mine own lie heavy in my breast,
Which thou wilt propagate, to have it prest
With more of thine: this love that thou hast shown
Doth add more grief to too much of mine own.
Love is a smoke raised with the fume of sighs;
Being purged, a fire sparkling in lovers' eyes;
Being vex'd a sea nourish'd with lovers' tears:
What is it else? a madness most discreet,
A choking gall and a preserving sweet.
Farewell, my coz.
BENVOLIO
Soft! I will go along;
An if you leave me so, you do me wrong.
ROMEO
Tut, I have lost myself; I am not here;
This is not Romeo, he's some other where.
BENVOLIO
Tell me in sadness, who is that you love.
ROMEO
What, shall I groan and tell thee?
BENVOLIO
Groan! why, no.
But sadly tell me who.
ROMEO
Bid a sick man in sadness make his will:
Ah, word ill urged to one that is so ill!
In sadness, cousin, I do love a woman.
BENVOLIO
I aim'd so near, when I supposed you loved.
ROMEO
A right good mark-man! And she's fair I love.
BENVOLIO
A right fair mark, fair coz, is soonest hit.
ROMEO
Well, in that hit you miss: she'll not be hit
With Cupid's arrow; she hath Dian's wit;
And, in strong proof of chastity well arm'd,
From love's weak childish bow she lives unharm'd.
She will not stay the siege of loving terms,
Nor bide the encounter of assailing eyes,
Nor ope her lap to saint-secing gold:
O, she is rich in beauty, only poor,
That when she dies with beauty dies her store.
BENVOLIO
Then she hath sworn that she will still live chaste?
ROMEO
She hath, and in that sparing makes huge waste,
For beauty starved with her severity
Cuts beauty off from all posterity.
She is too fair, too wise, wisely too fair,
To merit bliss by making me despair:
She hath forsworn to love, and in that vow
Do I live dead that live to tell it now.
BENVOLIO
Be ruled by me, forget to think of her.
ROMEO
O, teach me how I should forget to think.
BENVOLIO
By giving liberty unto thine eyes;
Examine other beauties.
ROMEO
'Tis the way
To call hers exquisite, in question more:
These happy masks that kiss fair ladies' brows
Being black put us in mind they hide the fair;
He that is strucken blind cannot forget
The precious treasure of his eyesight lost:
Show me a mistress that is passing fair,
What doth her beauty serve, but as a note
Where I may read who pass'd that passing fair?
Farewell: thou canst not teach me to forget.
BENVOLIO
I'll pay that doctrine, or else die in debt.
Exeunt
SCENE II. A street.
Enter CAPULET, PARIS, and Servant
CAPULET
But Montague is bound as well as I,
In penalty alike; and 'tis not hard, I think,
For men so old as we to keep the peace.
PARIS
Of honourable reckoning are you both;
And pity 'tis you lived at odds so long.
But now, my lord, what say you to my suit?
CAPULET
But saying o'er what I have said before:
My child is yet a stranger in the world;
She hath not seen the change of fourteen years,
Let two more summers wither in their pride,
Ere we may think her ripe to be a bride.
PARIS
Younger than she are happy mothers made.
CAPULET
And too soon marr'd are those so early made.
The earth hath swallow'd all my hopes but she,
She is the hopeful lady of my earth:
But woo her, gentle Paris, get her heart,
My will to her consent is but a part;
An she agree, within her scope of choice
Lies my consent and fair according voice.
This night I hold an old accustom'd feast,
Whereto I have invited many a guest,
Such as I love; and you, among the store,
One more, most welcome, makes my number more.
At my poor house look to behold this night
Earth-treading stars that make dark heaven light:
Such comfort as do lusty young men feel
When well-apparell'd April on the heel
Of limping winter treads, even such delight
Among fresh female buds shall you this night
Inherit at my house; hear all, all see,
And like her most whose merit most shall be:
Which on more view, of many mine being one
May stand in number, though in reckoning none,
Come, go with me.
To Servant, giving a paper
Go, sirrah, trudge about
Through fair Verona; find those persons out
Whose names are written there, and to them say,
My house and welcome on their pleasure stay.
Exeunt CAPULET and PARIS
Servant
Find them out whose names are written here! It is
written, that the shoemaker should meddle with his
yard, and the tailor with his last, the fisher with
his pencil, and the painter with his nets; but I am
sent to find those persons whose names are here
writ, and can never find what names the writing
person hath here writ. I must to the learned.--In good time.
Enter BENVOLIO and ROMEO
BENVOLIO
Tut, man, one fire burns out another's burning,
One pain is lessen'd by another's anguish;
Turn giddy, and be holp by backward turning;
One desperate grief cures with another's languish:
Take thou some new infection to thy eye,
And the rank poison of the old will die.
ROMEO
Your plaintain-leaf is excellent for that.
BENVOLIO
For what, I pray thee?
ROMEO
For your broken shin.
BENVOLIO
Why, Romeo, art thou mad?
ROMEO
Not mad, but bound more than a mad-man is;
Shut up in prison, kept without my food,
Whipp'd and tormented and--God-den, good fellow.
Servant
God gi' god-den. I pray, sir, can you read?
ROMEO
Ay, mine own fortune in my misery.
Servant
Perhaps you have learned it without book: but, I
pray, can you read any thing you see?
ROMEO
Ay, if I know the letters and the language.
Servant
Ye say honestly: rest you merry!
ROMEO
Stay, fellow; I can read.
Reads
'Signior Martino and his wife and daughters;
County Anselme and his beauteous sisters; the lady
widow of Vitravio; Signior Placentio and his lovely
nieces; Mercutio and his brother Valentine; mine
uncle Capulet, his wife and daughters; my fair niece
Rosaline; Livia; Signior Valentio and his cousin
Tybalt, Lucio and the lively Helena.' A fair
assembly: whither should they come?
Servant
Up.
ROMEO
Whither?
Servant
To supper; to our house.
ROMEO
Whose house?
Servant
My master's.
ROMEO
Indeed, I should have ask'd you that before.
Servant
Now I'll tell you without asking: my master is the
great rich Capulet; and if you be not of the house
of Montagues, I pray, come and crush a cup of wine.
Rest you merry!
Exit
BENVOLIO
At this same ancient feast of Capulet's
Sups the fair Rosaline whom thou so lovest,
With all the admired beauties of Verona:
Go thither; and, with unattainted eye,
Compare her face with some that I shall show,
And I will make thee think thy swan a crow.
ROMEO
When the devout religion of mine eye
Maintains such falsehood, then turn tears to fires;
And these, who often drown'd could never die,
Transparent heretics, be burnt for liars!
One fairer than my love! the all-seeing sun
Ne'er saw her match since first the world begun.
BENVOLIO
Tut, you saw her fair, none else being by,
Herself poised with herself in either eye:
But in that crystal scales let there be weigh'd
Your lady's love against some other maid
That I will show you shining at this feast,
And she shall scant show well that now shows best.
ROMEO
I'll go along, no such sight to be shown,
But to rejoice in splendor of mine own.
Exeunt
SCENE III. A room in Capulet's house.
Enter LADY CAPULET and Nurse
LADY CAPULET
Nurse, where's my daughter? call her forth to me.
Nurse
Now, by my maidenhead, at twelve year old,
I bade her come. What, lamb! what, ladybird!
God forbid! Where's this girl? What, Juliet!
Enter JULIET
JULIET
How now! who calls?
Nurse
Your mother.
JULIET
Madam, I am here.
What is your will?
LADY CAPULET
This is the matter:--Nurse, give leave awhile,
We must talk in secret:--nurse, come back again;
I have remember'd me, thou's hear our counsel.
Thou know'st my daughter's of a pretty age.
Nurse
Faith, I can tell her age unto an hour.
LADY CAPULET
She's not fourteen.
Nurse
I'll lay fourteen of my teeth,--
And yet, to my teeth be it spoken, I have but four--
She is not fourteen. How long is it now
To Lammas-tide?
LADY CAPULET
A fortnight and odd days.
Nurse
Even or odd, of all days in the year,
Come Lammas-eve at night shall she be fourteen.
Susan and she--God rest all Christian souls!--
Were of an age: well, Susan is with God;
She was too good for me: but, as I said,
On Lammas-eve at night shall she be fourteen;
That shall she, marry; I remember it well.
'Tis since the earthquake now eleven years;
And she was wean'd,--I never shall forget it,--
Of all the days of the year, upon that day:
For I had then laid wormwood to my g,
Sitting in the sun under the dove-house wall;
My lord and you were then at Mantua:--
Nay, I do bear a brain:--but, as I said,
When it did taste the wormwood on the nipple
Of my g and felt it bitter, pretty fool,
To see it tetchy and fall out with the g!
Shake quoth the dove-house: 'twas no need, I trow,
To bid me trudge:
And since that time it is eleven years;
For then she could stand alone; nay, by the rood,
She could have run and waddled all about;
For even the day before, she broke her brow:
And then my husband--God be with his soul!
A' was a merry man--took up the child:
'Yea,' quoth he, 'dost thou fall upon thy face?
Thou wilt fall backward when thou hast more wit;
Wilt thou not, Jule?' and, by my holidame,
The pretty wretch left crying and said 'Ay.'
To see, now, how a jest shall come about!
I war
⑺ 求阿德萊德·克萊蒙絲演的吸血鬼電影
http://www.4321yy.com/video/?44436-0-0.html
2011年在 Kevin Zegers 和 Keisha Castle-Hughes 主演的《吸血鬼》中飾演一位自殺的單親母親Ladybird。此電影是著名的日本導演岩井俊二首次執導的英語電影。
⑻ 風吹麥浪的導演簡介
風吹麥浪，簾卷濃霧。年輕時候的肯·洛奇曾經在牛津大學學習法律，政治上受左派影響，思想十分激進，這一點也反映在他以後的所有影片中。 自1969年他的處女作《KES》在英國一鳴驚人以來，他已經拍攝了16部電影。這些影片都表現出對政治和社會問題的高度關注，有時甚至會表現 出一種強烈狂熱至誇張的政治激情，但也反映出他對工人階級、對社會底層人民的真誠關懷。
洛奇的影片通常描寫普通人為贏得公正的社會待遇和政治權利所作出的艱難斗爭。30年來他始終保持著對現實的敏銳洞察力和深刻反思， 通過不斷進行尖銳的針砭時弊和社會批判，倡導著一種無論貧富和地位高低，維護人們的基本尊嚴的人文思想。他那些大膽而鋒利的電影在英 國社會引起了極大反響，並對促進英國的社會政治改革起到了積極作用。
在他的影片中，我們可以看到別具一格的視覺風格，自覺求新求變的電影製作理念，還有力圖還原生活原貌的寫實主義追求。實際上，早 在拉斯·馮提爾掀起DOGMA95運動很久之前，肯·洛奇就已經通過他的影片實踐著自然主義的美學原則了。通過使用手提攝影和盡量簡潔的鏡頭 語言，以及避免採用那些非自然化的、在他看來有欺騙性質的電影手法，他的影片呈現出簡單朴實卻富有力度的風格。這不僅使演員的表演看 起來更加真實，弱化了虛構效果和人工痕跡，也使觀眾為影片中展現的生命本身和人物關系所吸引。
肯·洛奇也是世界各大電影節的常客，他的電影生涯被一連串燦爛奪目的獎杯所點綴。包括：戛納電影節6次金棕櫚大獎提名(不包括本屆 戛納電影節)、4次評委會大獎和3次費比西國際影評人獎；多次英國學院獎提名；1996年《土地與自由》(Land AndFreedom)贏得愷撒獎最佳外 語片。1994年，他還獲頒了威尼斯電影節終身成就獎。
圖片注釋：2006年5月28日，法國戛納。59屆戛納電影節，英國導演肯·洛奇(Ken Loach)憑借《風吹麥浪》摘得「金棕櫚」獎，頒獎嘉賓是艾曼紐·貝阿(Emmanuelle Beart)。
導演的其他作品:
苦命母牛 Poor Cow (1967)
再見祖國 Fatherland (1986)
底層生活 Riff-Raff (1990) 群氓
折翼母親 Ladybird Ladybird (1994)
以祖國之名 Land and Freedom (1995) 土地與自由
麵包與玫瑰 Bread and Roses (2000)
鐵路之歌 The Navigators (2001)
甜蜜十六歲 Sweet Sixteen (2002)
九一一事件簿 11'09''01 - September 11 (2002)合輯
愛之吻 Fond Kiss..., Ae (2004)
航向幸福的旅程 Tickets (2005) 合輯
⑼ 大師肯·洛奇的電影有哪些
鏈接:https://pan..com/s/1aF3WLsWo_GcljBdICXpJTg
《對比：肯·洛奇的生活和影片》可以了解了解有關大師肯·洛奇的紀錄片介紹。講述導演肯·洛奇的紀錄片——英國獨立電影與電視導演編劇。他的電影作品屢次獲得國際電影節多個獎項，包括戛納電影節金棕櫚獎及威尼斯電影節的終身成就獎，畢業於牛津大學聖彼得學院。