1.
The Native Characteristics of China’s Genre Films: A Case Study of Feng Xiaogang;
中国大陆类型片的本土特征——以冯小刚贺岁片为个案
2.
A Valuable Attempt of Commercial Films of China: A Study of Feng Xiaogang and His Movies Extending New Year Greetings;
中国商业电影的可贵探索——冯小刚与贺岁片
3.
A Cultural Interpretation of the New Year Movie Phenomenon: A Case Study of Feng Xiaogang’s Movies;
对贺岁片现象的文化解读——以冯小刚电影为例
4.
The Summary Exposition of Feng Xiaogang s New Year Movies According to the Film Ontology;
电影本体性下的冯小刚贺岁电影综论
5.
“A World Without Thieves” and “Thieves Crying ‘Stop Thief’”:A Paradox in Feng Xiaogang’s New Year Movies;
“天下无贼”与“贼喊捉贼”——冯小刚贺岁电影的悖论
6.
Successful Example of New Year s Films--Exemplary Meaning of Feng s New Year s Films;
贺岁电影的成功典范——冯氏贺岁片的示范意义
7.
Be on Guard against the Cultural Toxins in the New Year Movies Directed by FENG Xiao-gang--Comments on the Movie "If You Are the One"
警惕冯氏贺岁片中的文化毒素——评影片《非诚勿扰》
8.
The Globalization Wave and the Choice of Feng Xiaogang films in Culture;
全球化浪潮与冯小刚电影的文化抉择
9.
Relevance Theory and Film Subtitles Translation: A Case Study of Feng Xiaogang s Films;
从关联理论看冯小刚电影的字幕翻译
10.
The Tentative Discussion On The Films Directed By Feng Xiaohang;
风景这边独好——试论冯小刚电影现象
11.
Her first leading role was in Laugh, Clown, Laugh, opposite Lon Chaney, when she was just 15.
由她主演的第一部影片是《笑，小丑，笑》，那年她才刚刚15岁，影片中的男角是伦·查内。
12.
Relationship between Feng Xiaogang’s Movies and the Changing of Chinese Film System
时光坐标上的冯小刚电影——冯小刚电影创作与中国电影运行机制变迁的关联
13.
Functionalist Translation Theory and Film Subtitle Translation;
从功能翻译理论看冯小刚电影字幕的翻译
14.
A COMPARATIVE STUDY OF LI YU AND FENG XIAOGANG;
我们都是市民导演——冯小刚与李渔比较论
15.
The little daughter was now over three, the son slightly over one year old.
他的小女儿已经有三岁多了，小儿子刚满一岁。
16.
Minzhi is only a 13-year-old girl who has finished her primary school.
敏芝只是位刚刚念完小学的十三岁的小姑娘。
17.
On the Use and Feature of Advertisement in Movies--Ad. Examples in Feng Xiaogang s Movies;
论广告在电影中的运用及其特点——以冯小刚电影中的广告为例
18.
From WANG Shuo to FENG Xiaogang-The Change of Aesthetics in Modern Social Culture Transition of China;
从王朔到冯小刚——当代社会文化转型中的审美流变