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《上海文化年鉴》2005,(1):336-341
汤晓丹(2004年中国电影终身成就奖) 演员、导演。原名陶秉钧。江苏苏州人。童年随父母迁居北平,1934年毕业于北平京华美术专科学校艺术师范系,后入山东民众教育馆戏剧训练班学习表演。1935年参加中国旅行剧团,赴天津、南京、上海等地演出《雷雨》、《日出》等剧目。1936年入上海天一影片公司,主演《黄浦江边》、《女同学》、《杨柳村》等影片。后参加上海业余剧人协会实验剧团。抗日战争爆发后加入上海抗日救亡演剧四队,辗转武汉、重庆等地演出话剧《民族万岁》、《塞上风云》、《自由魂》等。1942年人中国电影制片厂,先后主演《胜利进行曲》、《青年中国》、《日本间谍》、《还我故乡》等影片。抗日战争胜利后回上海,入昆仑影业公司。 相似文献
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《Cultural and Social History》2013,10(3):457-476
ABSTRACTThis article studies the Nazis' enthusiastic embrace of theatre in the period before and during the Second World War, and places this in a longer tradition of political power and the theatre in Germany. It argues that Hitler, Goering and Goebbels oversaw a ‘restoration’ of German theatre in the later 1930s, aiming to restore the emotional link between audience, Kultur and nation, for their own political purposes. 相似文献
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Alyssa 《中外文化交流(英文版)》2011,(4):42-43
<正>Tourist programs featuring Tang traditions,E-commerce for tourist services,honey-moon journeys to historic sites and tourist journeys featuring cultural tour... 相似文献
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The study explores the hypothesis that persuasion can be carried out in a combination of three basic styles: the factual-inductive, the axiomatic-deductive, and the affective-intuitive. The weight of each of these three basic styles differs from culture to culture. The paper begins with the presentation of some earlier research on this question. The styles adopted by the representatives of the United States, the Soviet Union, and the Arab countries in the course of debates in the Security Council of the United Nations are then analyzed. The analysis confirms the hypothesis of there being in each case a dominant style as described above. The results of the study should be considered as preliminary: there exists a possibility of bias among the judges; the sample, even though sufficiently large for statistical purposes, is limited to the discussion of one dispute; the style of other nationalities is not investigated. It is hoped that additional results will be presented in the near future. 相似文献
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Wu Zhen 《中外文化交流(英文版)》2007,(5):8-10
The charm of the city of Tianjin is manifested not only in its modem high-rise buildings, but
also in its unique culture and traditions. Over the past several hundred years, a distinctive cultural style has developed in this port city in north China.[第一段] 相似文献