㈠ 英语作文，到底是看小说好还是看电影好
翻译如下：
Which is better, reading novels or watching movies?
From my point of view, it's better to see a movie.
The reason is as follows: first, the movie can bring joy and laughter. Did you read the book and laugh? Second, the movie does not need to use their brainsand reading is too tired. Life is short, we need to relax. Third, watching movies can stimulate the economy. The movie has a lot of consumptionand it can bring many job opportunities.
㈡ 求一篇英语作文要介绍看过的书籍或电影，最好80字左右
电影《加勒比海盗》的英语作文。采纳好吗亲╭(╯3╰)╮
Pirates of the Caribbean is a sweeping action-adventure story set in an era when villainous pirates scavenged the Caribbean seas. This roller coaster tale teams a young man, Will Turner, with an unlikely ally in rogue pirate Jack Sparrow. Together, they must battle a band of the world's most treacherous pirates, led by the cursed Captain Barbossa, in order to save Elizabeth, the love of Will's life, as well as recover the lost treasure that Jack seeks. Against improbable odds, they race towards a climactic confrontation on the mysterious Isla de Muerta. Clashing their swords in fierce mortal combat, Will and Jack attempt to recapture The Black Pearl ship, save the British navy, and relinquish a fortune in forbidden treasure thereby lifting the curse of the Pirates of the Caribbean.
㈢ 我要写8000字的英语论文 是找一部文学作品写好呢还是找一部电影写好 能不能给我推荐一下文学作品或电影名
1.苏东坡的文学背景和他的赋
SU TUNG-PO’S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu
(Primarily written as a foreword to “Su Tung-Po’s Prose-poems” translated into English With Notes and Commentaries by C. D. Le Gros Clark, this is published here by kind permission of Mr. Le Gros Clark. Those who are interested in textual criticism may consult Mr. Wu Shih-ch’ang’s review in Chinese which appeared in The Crescent Monthly, Vol. IV, No. 3. –Ed.)
Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not critical. The Chinese people dropped something of their usual wise passiveness ring the Sung dynasty, and “pondered, searched, probed, vexed, and criticized”. This intellectual activity, however, is not to be compared with that of the Pre-Chin period, the heyday of Chinese philosophy. The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of mystery. Hence, there is no sweep, no daring, no roominess or margin in their intellectualism. A prosaic and stuffy thing theirs is, on the whole. This critical spirit revealed itself in many directions, particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道学）, that mélange altere of metaphysics, psychology, ethics and casuistry.
Literary criticism in China is an unly belated art. Apart from a handful of obiter dicta scattered here and there, Liu Hsieh’s Literary Mind （刘勰文心雕龙） and Lo Chi’s A Prose-poem on Literature （陆机文赋） are the critical writings that count up to the Sung dynasty. There is Chung Yung’s Classification of Poets (钟嵘诗品) of course. But Chung Yung is a literary genealogist rather than a critic, and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought e, is the reverse of critical, let alone his fanciful attempts to trace literary parentages(1). Ssu-Kung Tu’s Characterisations of Poetry (司空图诗品) is a different matter(2). Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: “pure, ornate, grotesque,” etc. His is perhaps the earliest piece of “impressionistic” or “creative criticism” ever written if any language, so quietly ecstatic and so autonomous and self-sufficient, as it were, in its being but it fails on that very account to become sober and proper criticism. It is not until the Sung dynasty that criticism begins to be practiced in earnest. Numerous “causeries on poetry” （诗话）are written and principles of literature are canvassed by way of commentaries on indivial poets. Henceforth, causeries on poetry become established as the vehicle for Chinese criticism. One must note in passing that there do not appear professional critics with the rise of criticism. In those good old days of China, criticism is always the prerogative of artists themselves. The division of labour between critics and artists in the West is something that the old Chinese literati would scoff at. The criticism of Sung dynasty, like all Chinese criticismsbefore the “New Literature Movement” with the possible exception of Hsieh’s Literary Mind, is apt to fasten upon particulars and be given too much to the study of best words in best places. But it is symptomatic of the critical spirit, and there is an end of it.
The Chinese common reader often regards the men of the Sung dynasty as prigs. Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese temperament. There is something paralyzing and devitalizing in their wire-drawn casuistry which inces hostile critics to attribute the collapse of the Sung dynasty to its philosophers. There is also a disingenuousness in their attempts at what may be called for want of a better name, philosophical masquerade: to dress up Taoism of Buddhism as orthodox Confucianism. One need but look into Sketches in a Villa（阅微草堂笔记）and Causeries on Poetry in a Garden（随园诗话） to see what a good laugh these two coxcombs of letters, Chi Yuen （纪昀） and Yuan Mei （袁枚） have had at the expense of the Sung philosophers and critics respectively. Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental chemistry. Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese thought. For what strikes one most in the tao-hsüeh is the emphasis on self-knowledge. This constant preying upon itself of the mind is quite in the spirit of the age. The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of consciousness. To them, their mind verily “ a kingdom is”. They analyse and pulverize human nature. But for that moral bias which Nietzsche thinks to be also the bane of German philosophy, their vivisection of human soul would have contributed a good deal to what Santayna calls literary psychology.
The poetry of the sung dynasty is also a case in point. It is a critical commonplace that the Sung poetry furnishes a striking contract to the T’ang poetry. Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded thing. It is more weighted with the burden of thought. Of course, it still looks light and slight enough by the side of Western poetry. But the lightness of the Sung poetry is that of an aeroplane describing graceful curves, and no longer that of a moth fluttering in the mellow twilight. In the Sung poetry one finds very little of that suggestiveness, that charm of a beautiful thing imperfectly beheld, which foreigners think characteristic of Chinese poetry in general. Instead, one meets with a great deal of naked thinking and outright speaking. It may be called “sentimental” in contradistinction to the T’ang poetry which is on the whole “naïve”, to adopt Schiller’s useful antithesis. The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and observation. In their descriptive poetry, they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陆游) and Yang Wan-li （杨万里）. They have also a better perception of the nuances of emotion than the T’ang poets, as can be seen particularly in their Ts’u （词）, a species of song for which the Sung dynasty is justly famous(3). Small wonder that they are deliberate artists, considering the fact that they all have been critics in the off hours of their inspiration. The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the Chinese. （3000字）
还有一篇在玩偶之家的身份抗争（6000字）和一篇马丁路德金的《我有一个梦》文体分析（10000字）
如果需要就麻烦您告诉我您的邮箱，再给您发过去。
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㈣ 比较看书看电影或者电视哪个比较好的英语作文
是实话，看书帮助最大了。因为书比电影和电视剧更适合，英语作文所要求的书面语。如果是想提高口语的话，可以看些电影或者电视剧。
㈤ 电影与文学哪个更重要议论文
电影来源于文学，文学造就电影。文学与电影有密切的联系，文学表达的是文字的、静态的美；而电影是感官结合的体验，动态的美。
作为综合艺术的电影在汲取诸种艺术养料丰富自身综合特质方面，获得与文学的密切融合关系。文学各种样式对电影的渗透，电影对文学的叙事手法、抒情手法和塑造人物性格的丰富艺术手段的借鉴，使电影艺术在增强自身的表现能力，形成新的综合艺术特质方面，发挥作用。
电影文学作为电影的文学基础构成，是以电影的独特视听思维方式来构思和写作的文学形式，兼有电影和文学的双重属性。电影文学，集中表现为电影的剧作基础，即电影剧本。电影剧本包括文学剧本、分镜头本和台本（工作台本、完成台本）三个部分。电影文学又指电影作品的文学性含义，包括电影剧作的文学价值、电影创作借鉴与融合的文学形式因素、电影剧作的文学个性等等。
㈥ 关于“小说和电影”的比较,写一篇对比类的英文作文
ThewholemovieisalittleSimba'sgrowthhistory,thinkofwatchingthemoviemyself,reallylike,,,hairtemper,Ireallydonotshould,LionKingmovieFeedback.hohelpedme,sincerelysay---thankyou,,alotofworry.Iliketheinsideofthecharacters,likethisfunstoryfullofjoy,.,,althoughnotinthemovie,butitisnoteasy.,
㈦ 以书籍和电影你更喜欢哪个为话题，写一篇英语作文如题 谢谢了
Many students, compared with reading original books, prefer to watch movies, because they think the film is more interesting , but it saves time and is easy to understand . But I prefer reading books, because there are more original details , the statement is very beautiful , to give people the joy of beauty .
㈧ 求 电影和书那样更好的英语作文
不明白你想要什么。 是不是应该先把中文学好呢。作为一个中国人，最最基本的事情是要把自己的母语学好。正确使用中文是一切学习的根本。