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59
Confucius Institute
VOLUME 15 | NO.4 JUL. 2011
Ė
ߌ๘⚷⡘
2
ė
在中国
仃᭍前โ
Lj
䄒❴艺术ᕨ⯾命ጡ
䊘在᜽䘪ͫ㵹的⩢ᒞაэ会上
᠒៞了一个⾬Ɑ⚷⡘㷲的⩤子
Lj
展⹧ຯ҂ݣ҉当ౝ䲏᲎
ă
命ጡ䊘ጟ经为ᷓጒࢯߕ⩨ڙथ᩵
15
ă
这᭜Ѓすι⁎前ᒭ᜽䘪
ă
Ѓ仃
⁎的中国㵹᭜在
2008
11
ᰵहᄩ⑁⣺໛
·
㏠ᅁ䔷ВࣷڣЃ一ψ䛺要ݣ҉ϧঅ一
䊤进㵹的
ă
那⁎中国㵹᭜为了և䄰ⵁ
Lj
В
Ӭ将㣤ᓄ的ⵁ⾣᜽᳉䕇䓴᪝ႄ᝸⃢Ꮑ⩕ݝ
Ė
ߌ๘⚷⡘
ė
的㐚䯳中
ă
命ጡ䊘在ᣒ受䛴䃬ᬣ䄡
ǖĐ
㘪ఋݝ这
个䔤ϧ的ౝ方并ᄦ它䄡䅏䅏
Lj
᜾感ݝ䲋፥
高ڡ
ăđ
Ѓ䄂Ɑᑂᄩ记者⮨上䱿೻山
ă
䱿
೻山᭜䖀᪆文化的发⎽ౝ
Lj
并为
Ė
ߌ๘⚷
2
ė
中䱿㔍丅⍧的山ᮜ᣽ӈ了▢感
ă
䱿೻山的中文ऺႄ在这部ߕ⩨⩢ᒞ中
ܧ⣝了͑⁎
ă
在ᒞ❴的最ऻ
Lj
它被䩹ݨ在
ᇖ石上
ă
ᒞ❴中的ᮜ㞟᭜ᵦᢛ当ౝใᮜݣ
҉的
ă
᜽䘪㻯ф㗜Ⴧ㘪䃑ܧ这ψౝ方
ă
(据美国《好莱坞报道》网站 2011 年 5
月 25 日报道)
O
n the eve of its premiere
i n Ch i n a ,
Kun g Fu
Panda 2
production
designer Raymond Zibach
hugged a panda-suited man in
Chengdu, a southwest China city,
and demonstrated making bowls of
local noodles on a Paramount promo-
tion tour.
Zibach, a California native and
15-year DreamWorks Animation veteran, was
back in Chengdu, the capital of Sichuan
province, for the second time. His first trip to
China in Nov. 2008 with director Jennifer Yuh
Nelson and other key crew was to do the research
they carefully and digitally plowed into the DWA
sequel to the film.
“I’m just so proud to be back to be able to say thank
you to this magical place,” Zibach, said in an interview,
tired after leading reporters up Mount Qing Cheng, the
birthplace of Taoism (a Chinese philosophy) and the inspiration
for much of
KFP2
’s lush green landscape.
e Chinese characters for the famous mountain appear twice
in the animated film, carved into rocks in the digital scenery in-
spired by locations sure to be recognized by local filmgoers.
(
TheHollywoodReporter
, May 25, 2011)
ǒҪཻܻ࿷ Ǔڀ҂˗国Ꮵ家
KUNGFUPANDA2
RETURNSTO
ITS CHINESEHOME