法國電影numberone

『壹』 天天向上里的所有歌曲

1《櫻》 演唱：優兼 堀江由衣
2《火》 演唱：張惠妹
3《Battle Without Honor or Humanity 》
4《鑽石》
5《yahyahyah》----恰克與飛鳥
6《Beautiful Days》——Arashi（嵐）（這段就是小屋那段前奏）
7 《music》麥當娜
8 《That's Not My Name》The Ting Tings
9 《Song Number One》Serebro
10 《Gone 》N'Sync
11《Now or Never》High School Musical 3（歌舞青春3）OST
12《Lovestoned》Justin Timberlake
13《Hip Hop Tonight 》李玟
14《unforgivable singer》 lene marlin

『貳』 南非世界盃會是一屆成功的世界盃嗎

不會，因為現場的小喇叭很讓人崩潰

『叄』 關於法國戛納電影節的英語介紹

戛納電影節（法語：FestivaldeCannes）是一個由法國於1939年首度舉辦於該國南部城市戛納，於二戰戰後復興並於同地擴大舉辦的國際性電影展暨電影獎。

它是國際上最具影響力的電影節之一，與德國的柏林電影節、義大利的威尼斯電影節、加拿大的多倫多國際電影節，以及捷克的卡羅維發利電影節合稱為世界五大電影節；又與柏林電影節、威尼斯電影節，以及俄國的莫斯科電影節並稱世界四大藝術電影節。

戛納電影節每年五月中旬舉辦，為期12天左右，通常於星期三開幕、隔周星期天閉幕；其間除影片競賽外，市場展亦同時進行。

The Cannes Film Festival (French: Festival de Cannes) is an international film exhibition and film award that was first held by France in 1939 in Cannes, the southern city of the country, revived after World War II and expanded in the same place. It is one of the most influential film festivals in the world.

It is called the Five World Film Festivals together with the Berlin Film Festival in Germany, the Venice Film Festival in Italy, the Toronto International Film Festival in Canada and the Caroville Film Festival in Czech Republic. It is also called the Four World Art Film Festivals with the Berlin Film Festival, the Venice Film Festival and the Moscow Film Festival in Russia.

Cannes Film Festival is held in mid-May every year for about 12 days. It usually opens on Wednesday and closes on Sunday every other week. In addition to film competitions, market exhibitions are also held at the same time.

『肆』 關於世界盃的歌曲

世界盃主題曲 :
http://ke..com/view/578613.htm

『伍』 Justin Bieber的PICK ME 中文歌詞如題 謝謝了

You』re
the
finest
girl
i』ve
ever
seen
你是我見過最好的女孩
And
i
wonder
do
you
know
this
我不知道你是否明白
Every
guy
you
meet
ends
up
having
feelings
for
ya
你遇到的每一個男孩都會對你有感覺
You
can
any
of
』em
You
can
take
your
pick
你可以選擇任意一個
你可以做出自己的選擇
But
you
need
to
check
with
me
Girl
I
promise
I』m
the
?
但是你必須要看看我
我保證我就是你要找的那個人
Yes
you』ll
be
goin』
to
the
movies
We』ll
be
there
holding
hands
是的
你會去看電影
我們會在電影院里甜蜜牽手
I』ll
walk
you
home
from
school
I』ll
walk
you
to
your
classes
我會護送你去學校
我會護送你去教室里
Playing
my
360
yeah
you』ll
be
my
best
friend
Playing
my
360（不懂哎）你會成為我最好的朋友
But
most
of
all
baby
doll
you』ll
be
my
love
love
love
但是最重要的，寶貝，你會成為我的愛~愛~愛~
You
should
be
pick
me
So
tell
me
can
you
dig
it
告訴我你可以發覺
你應該選擇我
I』m
you
everything
you
need
So
tell
me
can
you
dig
it
告訴我你可以發覺
我是你所需的一切
*這兩句調整了語序更通順一些。。。
I』ll
always
be
your
number
one
number
one
fan
And
i
should
be
your
one
and
only
man
我永遠會是最愛你的人
我永遠會是你的唯一
You
should
pick
me
Tell
me
can
you
dig
it
告訴我你可以發覺
你應該選擇我
Everything
we
could
be
girl
So
tell
me
can
you
dig
it
告訴我你可以發覺
我們之間所有的可能
I』ll
always
be
your
number
one
number
one
fan,
dig
that
我永遠都是最愛你的人，去了解吧
I
should
be
your
one
and
only
man
我應該是你的唯一
You
should
pick
me
Yeah
you
should
pick
me
girl
你應該選擇我
沒錯
你應該選擇我
girl
You』re
my
favorite
part
of
the
day
你是我每一天最美好的那一部分
And
every
morning
i
look
forward
to
seeing
your
face
每個清晨
我都渴望可以看到你的臉
I
just
need
to
see
it
some
more
我渴望著多看看你的臉
Baby
I』m
the
kind
of
guy
who
could
appricate
a
girl
as
Amazing
as
you
寶貝
你如此美好
我就是能夠珍惜你的人
So
you
gotta
be
my
baby
yeah
所以你必須成為我的寶貝~
Yeah
we』ll
already
be
chillin
at
the
beach
是的
我們會在沙灘上盡情放鬆
I』ll
take
you
on
a
cruise
we』ll
sit
while
we
be
eating
我會帶你在游輪上享用美食
You
can
anything
you
want
girl
i』ll
be
your
best
friend
But
most
of
all
baby
doll
you』ll
be
my
love
love
love
You
should
be
pick
me
So
tell
me
can
you
dig
it
I』m
you
everything
you
need
So
tell
me
can
you
dig
it
I』ll
always
be
your
number
one
number
one
fan
(big
fan)
And
i
should
be
your
one
and
only
man
You
should
pick
me
Tell
me
can
you
dig
it
Everything
we
could
be
girl
So
tell
me
can
you
dig
it
I』ll
always
be
your
number
one
number
one
fan,
dig
that
I
should
be
your
one
and
only
man
You
should
pick
me
（重復了）
If
that
other
guy
make
you
happy
We
should
fly
somethin
We
can
run
the
sky
swagger
如果別的男孩能夠讓你開心
我們應該一起飛走
我們可以昂首在藍天中恣意翱翔
The
one
that
makes
you
laugh
The
one
that
has
your
back
The
one
who
would
rather
die
Than
make
you
sad
（我是）那個讓你放聲大笑的人
那個在你背後支持你的人
那個寧願失去生命
也不遠見你悲傷的人
You
should
be
pick
me
So
tell
me
can
you
dig
it
I』m
you
everything
you
need
Tell
me
can
you
dig
it
I』ll
always
be
your
number
one
number
one
fan
(big
fan)
And
i
should
be
your
one
and
only
man
You
should
be
pick
me
So
tell
me
can
you
dig
it
I』m
you
everything
you
need
I』ll
always
be
your
number
one
number
one
fan
(big
fan)
And
i
should
be
your
one
and
only
man
You
should
pick
me
You
should
pick
me
Woah
oh
oh
yeah
(Woah
oh
oh
yeah)
Eh
Eh
Woah
oh
oh
oh
yeah

『陸』 chinaisnumberone是什麼意思

China is number one.
意思是： 中國第一。

『柒』 Tobenumberone什麼意思

這個不是361的廣告語嘛，意思是力爭第一

『捌』 急需英文版《法國電影的一些傾向》，謝謝啦！！

The French New Wave and its Impact on French Cinema

The French New Wave has become one of the most prominent
'movements' in the context of non-Hollywood cinema. New Wave
directors have acquired international stature and their films are still
readily available. The French New Wave has had a considerable
influence on world cinema over the last 40 years, and has left an
important legacy for subsequent generations of directors in France
and beyond (e.g. Martin Scorsese, John Woo, Quentin Tarantino,
Arthur Penn, Robert Altman). The New Wave has also been the
subject of considerable critical and scholarly attention.

The young critics at 『Cahiers cinéma』

At the origin of the New Wave was a cinema journal 『Cahiers
cinéma』 and the development of a critical notion 『la politique des
auteurs』, which both grew increasingly influential in the 1950s as a
reaction to the mainstream 'quality tradition' on the one hand, and
to enthusiastic cinephilic interest in a few distinctive directors
working in Hollywood on the other.

As early as 1948, a young director, Alexandre Astruc, wrote an
influential article in the cinema journal 『L'Écran Français』 entitled 'La
caméra stylo' (the camera-pen), which associated the work of the
film director to that of the writer.The young critics of 『Cahiers』 later
adopted this as a manifesto: the camera used as a pen creates its
own unique language, and the images (and the dialogue) add nuance
and develop the narrative.

In 1951, Jacques Doniol-Valcroze and André Bazin founded a new
journal, 『Cahiers cinéma』, which focused on film reviews and
theoretical discussions, and was to play a major part in the evolution
of critical analysis in the 1950s and the emergence of the New Wave
(roughly 1958-68 – the end date of this New Wave is still debated).
André Bazin, whose influence as a critic had been increasingly
recognised since the forties, was also the one who introced to
Cahiers a number of enthusiastic young intellectuals who wrote
passionately about cinema: Eric Rohmer, Jean-Luc Godard, Alain
Resnais, Claude Chabrol and François Truffaut. The latter was
noticed as early as 1954 for a particularly virulent attack on
contemporary mainstream French quality, which he renamed
'cinéma de papa' in an essay entitled 'A Certain Tendency of French
Cinema' which criticised the uniform and unimaginative form of the
dominant French proctions of the time.

In the meantime, the intensive critical writings of the 『Cahiers』
team focused on the work of specific directors/ auteurs, and on the
'mise-en-scène' strategies which identified their films. 'Mise-enscène'
(or stage direction) in this context refers to the shooting,
camera use, actor direction, sequencing, editing and all aspects of
filming.『Cahiers』 praised certain 『American』 directors who refused to
play the game of the Hollywood studios or looked to subvert
traditional film-making from within, such as John Ford, Howard
Hawks,Alfred Hitchcock and Fritz Lang who by then had moved to
the US. They also analysed popular genres which had never been
deemed worthy of critical attention (e.g.Westerns and B-movies).
『Cahiers』 also supported some European directors, particularly the
Italian neo-realists (Truffaut even worked for Rossellini), and
provided new analyses of French classics such as the films of Jean
Renoir and Jean Vigo.These films and their directors were defended
brilliantly and wholeheartedly (with excessive zeal at times. as they
recognised later), and they were to influence greatly the first films
that Truffaut, Godard, Chabrol, etc. made at the end of the decade.

New Wave directors

Even though it has become a landmark in world cinema, the French
New Wave was not originally conceived as a cinema movement nor
a school, but rather was the result of specific socio-cultural
circumstances. A number of important technical developments (for
example, new, lighter cameras; faster, more light-sensitive film;
synchronous sound equipment and the advent of television), took
place in the second half of the 1950s, which coincided with the
emergence of a new generation of critics, actors and directors.The
phrase 'New Wave' was coined by a journalist (Françoise Giroud,
『L'Express』 1957) in the context of the emergence of the Fifth
Republic in 1958, and then used to define film proction from
1959-60, but the movement was never really accepted by its main
protagonists – actors, scriptwriters and directors – who insisted on
the diversity of their indivial artistic pursuits.

An important corpus of literature around the New Wave
directors is available in English, making it rendant here to try and
summarise the role of each member of the group of friends and
network of relations which played a central part in the New Wave's
first film explosion in 1958 and 1959. Suffice to say that the group of
new young directors who were included under the umbrella phrase
of the New Wave brought in new ideas, the enthusiasm of youth and
a sense of freedom into French cinema.Their different projects and
priorities may account for the diversity in the evolution of their
careers. Godard, for example, was the intellectual of the group
interested in formal experiments, and later became politically
involved; Truffaut's films combined humanism, emotion and
sensitivity; Rohmer developed a unique style close to literature and
philosophical discourse; Resnais experimented with form, montage,
time and space; while Chabrol embarked on a prolific, if uneven
career mixing film noir and social satire.

New Wave directors functioned as a group, and one of the
reasons why they were often considered as a movement was that
they worked together, exchanging ideas, screenplays, technicians and
even actors. This collaboration certainly helps explain some
common characteristics in the films that were, and still are,
associated with the New Wave.

『玖』 世界盃的收視率多少

華奧星空6月14日約翰內斯堡電(記者梁曉晨)據國際足聯於今天公布的統計數據，本屆世界盃南非和墨西哥隊的揭幕戰創造了南非體育頻道近幾年的收視率之最，多個國家的比賽轉播收視率也同時刷新歷史。

據統計，南非國內SABC1和SuperSports 3這兩檔當家體育頻道的世界盃首戰轉播收視率達到了10146793人的數據，這一數據超過了去年南非舉辦聯盟杯時兩個頻道創下的7350000人的收視率近39%，東道主南非隊在該賽事決賽中被巴西隊擊敗。

單從SABC1頻道統計，世界盃首戰比賽轉播收視率為8895965人，占據該節目國內收視率總數近76%的比重，而SuperSports 3方面同檔節目的收視率為1250828人，占據11%的國內收視群體。本屆世界盃第二場比賽烏拉圭對陣法國的比賽中，兩個頻道的比賽轉播的收視率則達到了開幕式收視數據的一半。

世界范圍內的多家電視台對世界盃比賽的轉播收視率同樣創造了各自的新高：

在墨西哥，共有19%的國民在家中通過電視機收看了首戰的比賽，而這一數據高於2006年世界盃墨西哥小組賽三場比賽的平均收視率近15%之多。這一數據同時在墨西哥國內足球比賽單場轉播收視率的歷史上位列第5。

在美國，世界盃揭幕戰的電視轉播收視率達到了5400000人，這一數據較之2006年世界盃時增長了一倍之多，並且位列美國國內足球比賽單場轉播收視率歷史前10。

截止到目前為止，本屆世界盃單場比賽國內收視率最高的數據來自中國，共有24000000人在電視機前收看了希臘對陣韓國的比賽。

本屆世界盃決賽轉播的全球收視率有望創歷史新高。