雨果电影中的英语单词

1. 电影雨果观后感英语100字

哈利波特影评
Harry Potter is a series of seven fantasy novels written by British author J.K.Rowling.The books chronicle the adventures of the eponymous adolescent wizard Harry Potter,together with Ron Weasley and Hermione Granger,his best friends.The central story arc concerns Harry's struggle against the evil wizard Lord Voldemort,who killed Harry's parents in his quest to conquer the wizarding world,after which he seeks to subjugate the Muggle (non-magical) world to his rule.
后天影评
Today,we watched a movie,the name of this movie was called:The day after tomorrow.What this movie speaks BE:A world happened to become cold affairs in the world,What to broadcast it is an etc.the region temperature nasty play in New York to descend in the movie,is almost each to descend more than ten degree.The sky still descends terrible hail,also having more afraid of of
Tornado,city in New York became to break city for an instant after being cut through by tornado,making the whole city become more without results one.
This really lets the person touch eyes shocking,make the person's heart can't fall calm once in a very long while,although exaggerate very in the movie,but we now not just so:world become warm...So ask the classmates to rise from the do-it-yourself,environmental protection,make our environments more beautiful!
阿凡达影评
Avatar is directed by James Cameron.The two main characters are Jake Sully,played by Sam Worthington,and Neytiri,played by Zoe Saldana.
Clones named Avatars are sent to Pandora Planet to persuade people there to leave the planet so that human beings can exploit a rare mineral.Jake is sent there to control his Avatar.However,he comes across Neytiri and they fall in love with each other.Jake begins to see that nature and the planet should be protected.At last he and the people there work together to defeat human beings and send them back to the earth.
3D technology and the beautiful natural scenery are the two highlights of the film.The message of the film is simple — human beings should protect nature and live in harmony with it.
阿甘正传影评
Forrest Gump is so unique because of the character Forrest Gump himself,who has a low IQ of only 75.I love that Forrest doesn't lose his innocence and purity throughout the movie,or maybe he just can't but either way,this shows you don't need to be evil or really intelligent to be recognised or successful.It is just a movie,so maybe it doesn't work like that in reality.What that simply means is that the acting and story of this film was incredibly touching on a real level.And in my definition that's what a good movie should be able to do.
译文：
哈利波特影评
哈利·波特是一系列的书面由英国作家JK罗琳7奇幻小说.这些书纪事同名青少年精灵哈利波特的冒险,与罗恩·韦斯莱和赫敏·格兰杰,他最好的朋友在一起.中央故事弧关心哈利的对抗邪恶的巫师伏地魔,谁杀死了哈利的父母在他的追求征服魔法世界,之后他试图征服麻瓜（非魔法）世界他的统治的斗争.
后天影评
今天,我们看了一部电影,这部电影的名字叫：这部电影讲明天就要后的一天：一个世界发生的事情变得冷漠事务,在世界上,什么广播它是一个等地区气温讨厌玩在纽约电影下降,几乎是每一个下降十余degree.The天空仍然下降可怕的冰雹,也有更怕的
龙卷风,城市纽约成为打破城市瞬间通过龙卷风被切断后,使得整个城市变得更加无果之一.
这确实让人摸眼睛震撼,使人的心脏不能在很长一段时间下降冷静一次,虽然很夸张的电影,但我们现在不只是如此：世界变得温暖...所以要求同学从做自己动手,保护环境上升,使我们的环境更加美丽!
阿凡达影评
阿凡达是由詹姆斯·卡梅隆执导.两位主角都是男主角,由萨姆·沃辛顿扮演,和奈提莉,由佐伊·索尔达娜扮演.
命名的化身克隆被发送到潘多拉星球说服那里的人离开地球,使人类可以利用一个稀有矿产.杰克被送到那里控制他的阿凡达.然而,他遇到奈提莉,他们爱上了对方.杰克开始看到大自然和地球应该受到保护.最后,他和那里的人民一起打败人类,并将其发送回地球.
3D技术和美丽的自然风光是两大亮点的电影.影片的信息很简单 - 人类应该保护自然,和睦相处吧.
阿甘正传影评
阿甘是字符阿甘自己,谁也只有75一个低智商的,因为如此独特.我喜欢阿甘并没有失去他的天真和纯洁进了电影,也许他只是不能,但无论哪种方式,这说明你并不需要是邪恶的还是真的聪明到被承认或成功.这只是一部电影,所以也许它不喜欢的工作在现实中.什么是简单的意思是,这部电影的演技和故事是令人难以置信的感人的真实水平.而在我的定义,这就是一部好电影应该是能够做到的.

2. 作家雨果全名是什么，用英语怎么读，或者是

维克多·雨果（Victor Hugo，1802年2月26日—1885年5月22日），法国作家，19世纪前期积极浪漫主义文学的代表作家，人道主义的代表人物，法国文学史上卓越的资产阶级民主作家，被人们称为“法兰西的莎士比亚”。一生写过多部诗歌、小说、剧本、各种散文和文艺评论及政论文章，在法国及世界有着广泛的影响力。

3. 求电影《雨果》（《hugo》）长篇台词

Monsieur Labisse gave me a book the other night. 拉比西先生那天晚上给了我一本书。 He's always doing that,sending books to a good home.That's what he calls it. 他总是这样，用他的话说就是给书找个好归宿。 He's got real......purpose. 这是他的......使命。 What do you mean? 什么意思？ Everything has a purpose,even machinse. 一切事物都有使命，就连机器也一样。 Clocks tell the time and trains take you places. 钟要报时，火车要带你去往目的地。 They do what they're meant to do.Like Monsieur Labisse. 它们都在做着本职工作。就像拉比西先生。 Maybe that's why broken machines make me so sad. 也许这就是为什么机器坏掉我会这么难过。 They can't do what they're meant to do. 这样它们就不能尽到自己的职责了。 Maybe it's the same with people. 也许人也是一样。 If you lose your purpose, it's like you're broken. 如果你生活毫无目的，那就好像你坏了。 Like Papa Georges. 就像乔治爸爸。 Maybe we can fix him. 说不定我们可以修好他。 Is that your purpose, fixing things? 修理东西是不是你的使命？ I don't know. It's what my father did. 不知道。我爸爸干这个。 I wonder what my purpose is. 我在想我的使命是什么。 I don't know. Maybe if had known my parents...I would know 我不知道。也许如果我知道我父母是谁...我就会知道了。 Come with me. 跟我来。 Right after my father died, I would come up here a lot. 我父亲死后，我经常到这儿来。 I'd imagine the whole world was one big machine. 我会想象世界就是一个机器。 Machines never come with any extra parts, you know. 机器不会有多余零件。 They always come with the exact amount they need. 它们永远都是需要多少就有多少。 So I figured if the entire world was one big machine...I couldn't be an extra part. 所以我觉得如果世界是个大机器...那我就不可能是多余的 I had to be here for some reason. And that means you have to be here for some reason,too. 我一定有存在的理由。这也就是说，你一定也有存在的理由。

4. 电影《雨果》到底讲了什么

雨果他爹的死和那个电影制作人一点关系都没有，他爹只是死于博物馆的大火，只是个意外。

拓展资料：

1. 小男孩雨果他爹以前是博物馆的馆长，然后在博物馆的一角发现了废弃的机器人，于是拿回家和雨果一起修复这个机器人，再然后，雨果他爹就领盒饭了。
   

2. 雨果就由他的大伯收养，他大伯是火车站的钟楼维修人员，负责那坨钟的准确对时。大伯又是个酒鬼，时不时的消失，然后钟的维修就由雨果负责，最后他大伯喝个烂醉淹死在河里。

3. 那个火车站的杂货屋的老板，也就是那个电影制作人，也就是那个机器人的建造者，也就是乔治•梅里埃。由于科技越来越发达，导致他的电影慢慢走向没落。最后他把自己的心血（电影胶片之类的）几乎全部给毁掉了。那个机器人捐给了博物馆，有幸被雨果他爹发现，然后雨果开始探秘世界。

4. 电影最后揭示的是对电影重要奠基者乔治•梅里埃的致敬。

来源：豆瓣电影有情怀不等于好电影

5. 电影雨果主人公的英文名

ID
你自己看着办吧

6. 从电影雨果里找出二十句经典英文句子

everything has a purpose, even machines. clock tell the time and trains take you places. they do what they're meant to do, like monsieur labisse. maybe that's why broken machines make me so sad. they can't do what they're meant to do. maybe it's the same with people. if you lose your purpose, it's like you're broken.
一切事物都有使命，就连机器也是一样。钟要报时，火车要带你去往目的地。他们都在做着本职的工作。也许这就是为什么机器坏掉我会这么难过。这样他们就不能尽到自己的职责了。也许人也是一样的。如果你的生活毫无目的，就好像你坏掉了一样。
right after my father died, i would come up here a lot. i'd imagine the whole world was one big machine. machines never come with any extra parts, you know. they always come with the exact amount they need. so i figure if the entire world was one big machine, i couldn't be an extra part. i had to be here for some reason. and that means you have to be here for some reason, too. 我父亲死后，我经常到这儿来。我会把整个世界想象成一个巨大的机器，机器永远不会有多出来的零件，你知道的。他们总是精确地有着自己需要的份量，所以我想，如果这个世界是一个巨大的机器，我就不会是多余的零件，我在这里，总是有原因的，这也说明，你能在这里，也是有原因的。

7. 雨果的英文怎么拼

Hugo（雨果）
Hugo
[hju:^gou]
n.
雨果
1.姓氏, 男子名,
2.Victor Hugo,维克多·雨果 1802-1885, 法国小说家, 剧作家

Hugo特指男子姓氏 ,是古Norman语Hugh 的异体变化

8. 雨果的全名

雨果·维文(Hugo Weaving，1960年4月4日－），澳大利亚著名电影及舞台剧演员、配音演员。代表角色包括：《黑客帝国》的史密斯探员（Agent Smith）、《指环王电影三部曲》的精灵王埃尔隆德、《V字仇杀队》的主角V。配音方面，他曾为动画电影《快乐的大脚》的诺亚与真人电影《变形金刚》的威震天配音。

9. 雨果的英文简介——急求！！

Hugo, Victor

born Feb. 26, 1802, Besançon, Fr.
died May 22, 1885, Paris

poet, novelist, and dramatist who was the most important of the French Romantic writers. Though regarded in France as one of that country's greatest poets, he is better known abroad for such novels as Notre-Dame de Paris (1831) and Les Misérables (1862).

Early years (1802–30).

Victor was the third son of Joseph-Léopold-Sigisbert Hugo, a major and, later, general in Napoleon's army. His childhood was coloured by his father's constant traveling with the imperial army and by the disagreements that soon alienated his parents from one another. His mother's royalism and his father's loyalty to successive governments—the Convention, the Empire, the Restoration—reflected their deeper incompatibility. It was a chaotic time for Victor, continually uprooted from Paris to set out for Elba or Naples or Madrid, yet always returning to Paris with his mother, whose royalist opinions he initially adopted. The fall of the empire gave him, from 1815 to 1818, a time of uninterrupted study at the Pension Cordier and the Lycée Louis-le-Grand, after which he matriculated at the law faculty at Paris, where his studies seem to have been purposeless and irregular. Memories of his life as a poor student later inspired the figure of Marius in his novel Les Misérables.

From 1816, at least, Hugo had conceived ambitions other than the law. He was already filling notebooks with verses, translations—particularly from Virgil—two tragedies, a play, and elegies. Encouraged by his mother, Hugo founded a review, the Conservateur Littéraire (1819–21), in which his own articles on the poets Alphonse de Lamartine and André de Chénier stand out. His mother died in 1821, and a year later Victor married a childhood friend, Adèle Foucher, with whom he had five children. In that same year he published his first book of poems, Odes et poésies diverses, whose royalist sentiments earned him a pension from Louis XVIII. Behind Hugo's concern for classical form and his political inspiration, it is possible to recognize in these poems a personal voice and his own particular vein of fantasy.

In 1823 he published his first novel, Han d'Islande, which in 1825 appeared in an English translation as Hans of Iceland. The journalist Charles Nodier was enthusiastic about it and drew Hugo into the group of friends, all devotees of Romanticism, who met regularly at the Bibliothèque de L'Arsenal. While frequenting this literary circle, which was called the Cénacle, Hugo shared in launching a new review of moderate tendencies, the Muse Française (1823–24). In 1824 he published a new verse collection, Nouvelles Odes, and followed it two years later with an exotic romance, Bug-Jargal (Eng. trans. The Slave King). In 1826 he also published Odes et ballades, an enlarged edition of his previously printed verse, the latest of these poems being brilliant variations on the fashionable Romantic modes of mirth and terror. The youthful vigour of these poems was also characteristic of another collection, Les Orientales (1829), which appealed to the Romantic taste for Oriental local colour. In these poems it can be remarked that the poet, while skillfully employing a great variety of metres in his verse and using ardent and brilliant imagery, was also graally shedding the legitimist royalism of his youth. It may be noted, too, that “Le Feu ciel,” a visionary poem, forecast those he was to write 25 years later. The fusion of the contemporary with the apocalyptic was always a particular mark of Hugo's genius.

Hugo emerged as a true Romantic, however, with the publication in 1827 of his verse drama Cromwell and a once-famous preface. The subject of this play, with its near-contemporary overtones, is that of a national leader risen from the people who seeks to be crowned king; but the play's reputation rested largely on the long, elaborate preface, in which Hugo proposed a doctrine of Romanticism that for all its intellectual moderation was extremely provocative. He demanded a verse drama in which the contradictions of human existence—good and evil, beauty and ugliness, tears and laughter—would be resolved by the inclusion of both tragic and comic elements in a single play. Such a type of drama would abandon the formal rules of classical tragedy for the freedom and truth to be found in the plays of William Shakespeare. Cromwell itself, though immensely long and almost impossible to stage, was written in verse of great force and originality.

Success (1830–51).

The defense of freedom and the cult of an idealized Napoleon in such poems as the ode “À la Colonne” and “Lui” brought Hugo into touch with the liberal group of writers on the newspaper Le Globe, and his move toward liberalism was strengthened by the French king Charles X's restrictions on the liberty of the press as well as by the censor's prohibiting the stage performance of his play Marion de Lorme (1829), in which the character of Louis XIII was portrayed unfavourably. Hugo immediately retorted with Hernani, the first performance of which, on Feb. 25, 1830, gained victory for the young Romantics over the traditional Classicists in a now-famous literary battle. In this play he extolled the Romantic hero in the form of a noble outlaw at war with society, dedicated to a passionate love and driven on by inexorable fate. The actual impact of the play owed less to the plot than to the sound and beat of the verse, which was softened only in the elegiac passages spoken by Hernani and Doña Sol.

Hugo had derived his early renown from his plays; he gained wider fame in 1831 with his historical novel Notre-Dame de Paris (Eng. trans. The Hunchback of Notre-Dame), an evocation of life in medieval Paris ring the reign of Louis XI. The novel condemns a society that, in the persons of Frollo the archdeacon and Phoebus the soldier, heaps misery on the hunchback Quasimodo and the gypsy girl Esmeralda. The theme touched the public consciousness more deeply than had that of his previous novel, Le Dernier Jour d'un condamné (1829; The Last Days of a Condemned), the story of a condemned man's last day, in which Hugo launched a humanitarian protest against the death penalty. While Notre-Dame was being written, Louis-Philippe, a constitutional king, had been brought to power by the July Revolution. Hugo composed a poem in honour of this event, Dicté aprés juillet 1830; it was a forerunner of much of his political verse.

Four books of poems came from Hugo in the period of the July Monarchy: Les Feuilles d'automne (1831; “Autumn Leaves”), intimate and personal in inspiration; Les Chants crépuscule (1835; Songs of Twilight), overtly political; Les Voix intérieures (1837; “Inner Voices”), both personal and philosophical; and Les Rayons et les ombres (1840; “Sunlight and Shadows”), in which the poet, renewing these different themes, inlges his gift for colour and picturesque detail. But Hugo was not content merely to express personal emotions; he wanted to be the “sonorous echo” of his time. In his verse political and philosophical problems were integrated with the religious and social disquiet of the period; one poem evoked the misery of the workers, another praised the efficacy of prayer. He addressed many poems to the glory of Napoleon, though he shared with his contemporaries the reversion to republican ideals. Hugo restated the problems of his century and the great and eternal human questions, and he spoke with a warmhearted eloquence and reasonableness that moved people's souls.

So intense was Hugo's creative activity ring these years that he also continued to pour out plays. There were two motives for this: first, he needed a platform for his political and social ideas, and, second, he wished to write parts for a young and beautiful actress, Juliette Drouet, with whom he had begun a liaison in 1833. Juliette had little talent and soon renounced the stage in order to devote herself exclusively to him, becoming the discreet and faithful companion she was to remain until her death in 1883. The first of these plays was another verse drama, Le Roi s'amuse (1832; Eng. trans. The King's Fool), set in Renaissance France and depicting the frivolous love affairs of Francis I while antithetically revealing the noble character of his court jester. This play was at first banned but was later used by Giuseppe Verdi as the libretto of his opera Rigoletto. Three prose plays followed: Lucrèce Borgia and Marie Tudor in 1833 and Angelo, tyran de Padoue (“Angelo, Tyrant of Paa”) in 1835. Ruy Blas, a play in verse, appeared in 1838 and was followed by Les Burgraves in 1843.

Hugo's literary achievement was recognized in 1841 by his election, after three unsuccessful attempts, to the French Academy and by his nomination in 1845 to the Chamber of Peers. From this time he almost ceased to publish, partly because of the demands of society and political life but also as a result of personal loss: his daughter Léopoldine, recently married, was accidentally drowned with her husband in September 1843. Hugo's intense grief found some mitigation in poems that later appeared in Les Contemplations, a volume that he divided into “Autrefois” and “Aujourd'hui,” the moment of his daughter's death being the mark between yesterday and today. He found relief above all in working on a new novel, which became Les Misérables, published in 1862 after work on it had been set aside for a time and then resumed.

With the Revolution of 1848, Hugo was elected a deputy for Paris in the Constituent Assembly and later in the Legislative Assembly. He supported the successful candidacy of Prince Louis-Napoléon for the presidency that year. The more the president evolved toward an authoritarianism of the right, however, the more Hugo moved toward the assembly's left. When in December 1851 a coup d'état took place, which eventually resulted in the Second Empire under Napoleon III, Hugo made one attempt at resistance and then fled to Brussels.

Exile (1851–70).

Hugo's exile was to last until the return of liberty and the reconstitution of the republic in 1870. Enforced at the beginning, exile later became a voluntary gesture and, after the amnesty of 1859, an act of pride. He remained in Brussels for a year until, foreseeing expulsion, he took refuge on British territory. He first established himself on the island of Jersey, in the English Channel, where he remained from 1852 to 1855. When he was expelled from there, he moved to the neighbouring island of Guernsey. During this exile of nearly 20 years he proced the most extensive part of all his writings and the most original.

Immersed in politics as he was, Hugo devoted the first writings of his exile to satire and recent history: Napoléon le Petit (1852), an indictment of Napoleon III, and Histoire d'un crime, a day-by-day account of Louis Bonaparte's coup. Hugo's return to poetry was an explosion of wrath: Les Châtiments (1853; “The Punishments”). This collection of poems unleashed his anger against the new emperor and, on a technical level, freed him from his remaining classical prejudices and enabled him to achieve the full mastery of his poetic powers. Les Châtiments ranks among the most powerful satirical poems in the French language. All Hugo's future verse profited from this release of his imagination: the tone of this collection of poems is sometimes lyrical, sometimes epic, sometimes moving, but most often virulent, containing an undertone of national and personal frustration.

Despite the satisfaction he derived from his political poetry, Hugo wearied of its limitations and, turning back to the unpublished poems of 1840–50, set to work on the volume of poetry entitled Les Contemplations (1856). This work contains the purest of his poetry—the most moving because the memory of his dead daughter is at the centre of the book, the most disquieting, also, because it transmits the haunted world of a thinker. In poems such as “Pleurs dans la nuit” and “La Bouche d'ombre,” he reveals a tormented mind that struggles between doubt and faith in its lonely search for meaning and significance.

Hugo's apocalyptic approach to reality was the source of two epic or metaphysical poems, La Fin de Satan (“The End of Satan”) and Dieu (“God”), both of them confrontations of the problem of evil. Written between 1854 and 1860, they were not published until after his death because his publisher preferred the little epics based on history and legend contained in the first installment (1859) of the gigantic epic poem La Légende des siècles (The Legend of the Centuries), whose second and third installments appeared in 1877 and 1883, respectively. The many poems that make up this epic display all his spiritual power without sacrificing his exuberant capacity to tell a story. Hugo's personal mythology of the human struggle between good and evil lies behind each of the legends: Eve's motherhood is exalted in “Le Sacre de la femme”; mankind liberating itself from all religions in order to attain divine truth is the theme of “Le Satyre”; and “Plein Ciel” proclaims, through utopian prediction of men's conquest of the air, the poet's conviction of indefinite progress toward the final unity of science with moral awareness.

After the publication of three long books of poetry, Hugo returned to prose and took up his abandoned novel, Les Misérables. Its extraordinary success with readers of every type when it was published in 1862 brought him instant popularity in his own country, and its speedy translation into many languages won him fame abroad. The novel's name means “the wretched,” or “the outcasts,” but English translations generally carry the French title. The story centres on the convict Jean Valjean, a victim of society who has been imprisoned for 19 years for stealing a loaf of bread. A hardened and astute criminal upon his release, he eventually softens and reforms, becoming a successful instrialist and mayor of a northern town. Yet he is stalked obsessively by the detective Javert for an impulsive, regretted former crime, and Jean Valjean eventually sacrifices himself for the sake of his adopted daughter, Cosette, and her husband, Marius. Les Misérables is a vast panorama of Parisian society and its underworld, and it contains many famous episodes and passages, among them a chapter on the Battle of Waterloo and the description of Jean Valjean's rescue of Marius by means of a flight through the sewers of Paris. Les Misérables's plot is basically that of a detective story, but by virtue of its characters, who are sometimes a little larger than life yet always vital and engaging, and by its re-creation of the swarming Parisian underworld, the main theme of man's ceaseless combat with evil clearly emerges while the whole gives a faithful picture of the ebb and flow of life.

The remaining works Hugo completed in exile include the essay William Shakespeare (1864) and two novels: Les Travailleurs de la mer (1866; The Toilers of the Sea), dedicated to the island of Guernsey and its sailors; and L'Homme qui rit (1869; The Man Who Laughs), a curious baroque novel about the English people's fight against feudalism in the 17th century, which takes its title from the perpetual grin of its disfigured hero. Hugo's last novel, Quatrevingt-treize (1874; Ninety-three), centred on the tumultuous year 1793 in France and portrayed human justice and charity against the background of the French Revolution.

Last years (1870–85).

The defeat of France in the Franco-German War and the proclamation of the French Third Republic in 1871 brought Hugo back to Paris. He became a deputy in the National Assembly (1871) but resigned the following month. Though he still fought for his old ideals, he no longer possessed the same energies. The trials of recent years had aged him, and there were more to come: in 1868 he had lost his wife, Adèle, a profound sadness to him; in 1871 one son died, as did another in 1873. Though increasingly detached from life around him, the poet of L'Année terrible (1872), in which he recounted the siege of Paris ring the “terrible year” of 1870, had become a national hero and a living symbol of republicanism in France. In 1878 Hugo was stricken by cerebral congestion, but he lived on for some years in the Avenue d'Eylau, renamed Avenue Victor-Hugo on his 80th birthday. In 1885, two years after the death of his faithful companion Juliette, Hugo died and was given a national funeral; his body lay in state under the Arc de Triomphe and was buried in the Panthéon.

Reputation.

Victor Hugo's enormous output is unique in French literature; it is said that he used to write each morning 100 lines of verse or 20 pages of prose. “The most powerful mind of the Romantic movement,” as he was described in 1830, laureate and peer of France in 1845, he went on to assume the role of an outlawed sage who, with the easy consciousness of authority, put down his insights and prophetic visions in prose and verse, becoming at last the genial grandfather of popular literary portraiture and the national poet who gave his name to a street in every town in France.

This instinctive recognition of Hugo as a great poet at the time of his death was followed by a period of critical neglect. A few of his poems were remembered, and Les Misérables continued to be widely read. The generosity of his ideas and the warmth of their expression still moved the public mind, for Hugo was a poet of the common man and knew how to write with simplicity and power of common joys and sorrows. But there was another side to him—what Paul Claudel called his “panic contemplation” of the universe, the numinous fear that penetrates his sombre poems La Fin de Satan and Dieu. Hugo's knowledge of the resources of French verse and his technical virtuosity in metre and rhyme, moreover, rescued French poetry from the sterility of the 18th century. André Gide, when asked whom he considered the greatest French poet, replied “Victor Hugo, alas,” explaining that if it was a regrettable fact at least it was fact.

Jean-Bertrand Barrère
Additional Reading
Biographies include Andre Maurois, Olympio: The Life of Victor Hugo (1956, reissued 1985); Joanna Richardson, Victor Hugo (1976); and Elliott M. Grant, The Career of Victor Hugo (1945, reprinted 1969). John Porter Houston, Victor Hugo, rev. ed. (1988), is an introction, focusing especially on his poetry and its technical aspects. An analysis of Hugo's romantic drama is found in Charles Affron, A Stage for Poets: Studies in the Theatre of Hugo & Musset (1971). Victor Brombert, Victor Hugo and the Visionary Novel (1984), explores the symbolic and mythological character of Hugo's works and is illustrated with Hugo's drawings.

10. 用英文介绍一下雨果这部电影

Hugo is an orphan boy living in the walls of a train station in 1930s Paris. He learned to fix clocks and other gadgets from his father and uncle which he puts to use keeping the train station clocks running. The only thing that he has left that connects him to his dead father is an automaton (mechanical man) that doesn't work without a special key. Hugo needs to find the key to unlock the secret he believes it contains. On his adventures, he meets George Melies, a shopkeeper, who works in the train station, and his adventure-seeking god-daughter. Hugo finds that they have a surprising connection to his father and the automaton, and he discovers it unlocks some memories the old man has buried inside regarding his past.

来源: IMDB