法国电影numberone

『壹』 天天向上里的所有歌曲

1《樱》 演唱：优兼 堀江由衣
2《火》 演唱：张惠妹
3《Battle Without Honor or Humanity 》
4《钻石》
5《yahyahyah》----恰克与飞鸟
6《Beautiful Days》——Arashi（岚）（这段就是小屋那段前奏）
7 《music》麦当娜
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

『贰』 南非世界杯会是一届成功的世界杯吗

不会，因为现场的小喇叭很让人崩溃

『叁』 关于法国戛纳电影节的英语介绍

戛纳电影节（法语：FestivaldeCannes）是一个由法国于1939年首度举办于该国南部城市戛纳，于二战战后复兴并于同地扩大举办的国际性电影展暨电影奖。

它是国际上最具影响力的电影节之一，与德国的柏林电影节、意大利的威尼斯电影节、加拿大的多伦多国际电影节，以及捷克的卡罗维发利电影节合称为世界五大电影节；又与柏林电影节、威尼斯电影节，以及俄国的莫斯科电影节并称世界四大艺术电影节。

戛纳电影节每年五月中旬举办，为期12天左右，通常于星期三开幕、隔周星期天闭幕；其间除影片竞赛外，市场展亦同时进行。

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』 关于世界杯的歌曲

世界杯主题曲 :
http://ke..com/view/578613.htm

『伍』 Justin Bieber的PICK ME 中文歌词如题 谢谢了

You’re
the
finest
girl
i’ve
ever
seen
你是我见过最好的女孩
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
你遇到的每一个男孩都会对你有感觉
You
can
any
of
’em
You
can
take
your
pick
你可以选择任意一个
你可以做出自己的选择
But
you
need
to
check
with
me
Girl
I
promise
I’m
the
?
但是你必须要看看我
我保证我就是你要找的那个人
Yes
you’ll
be
goin’
to
the
movies
We’ll
be
there
holding
hands
是的
你会去看电影
我们会在电影院里甜蜜牵手
I’ll
walk
you
home
from
school
I’ll
walk
you
to
your
classes
我会护送你去学校
我会护送你去教室里
Playing
my
360
yeah
you’ll
be
my
best
friend
Playing
my
360（不懂哎）你会成为我最好的朋友
But
most
of
all
baby
doll
you’ll
be
my
love
love
love
但是最重要的，宝贝，你会成为我的爱~爱~爱~
You
should
be
pick
me
So
tell
me
can
you
dig
it
告诉我你可以发觉
你应该选择我
I’m
you
everything
you
need
So
tell
me
can
you
dig
it
告诉我你可以发觉
我是你所需的一切
*这两句调整了语序更通顺一些。。。
I’ll
always
be
your
number
one
number
one
fan
And
i
should
be
your
one
and
only
man
我永远会是最爱你的人
我永远会是你的唯一
You
should
pick
me
Tell
me
can
you
dig
it
告诉我你可以发觉
你应该选择我
Everything
we
could
be
girl
So
tell
me
can
you
dig
it
告诉我你可以发觉
我们之间所有的可能
I’ll
always
be
your
number
one
number
one
fan,
dig
that
我永远都是最爱你的人，去了解吧
I
should
be
your
one
and
only
man
我应该是你的唯一
You
should
pick
me
Yeah
you
should
pick
me
girl
你应该选择我
没错
你应该选择我
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
每个清晨
我都渴望可以看到你的脸
I
just
need
to
see
it
some
more
我渴望着多看看你的脸
Baby
I’m
the
kind
of
guy
who
could
appricate
a
girl
as
Amazing
as
you
宝贝
你如此美好
我就是能够珍惜你的人
So
you
gotta
be
my
baby
yeah
所以你必须成为我的宝贝~
Yeah
we’ll
already
be
chillin
at
the
beach
是的
我们会在沙滩上尽情放松
I’ll
take
you
on
a
cruise
we’ll
sit
while
we
be
eating
我会带你在游轮上享用美食
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
（重复了）
If
that
other
guy
make
you
happy
We
should
fly
somethin
We
can
run
the
sky
swagger
如果别的男孩能够让你开心
我们应该一起飞走
我们可以昂首在蓝天中恣意翱翔
The
one
that
makes
you
laugh
The
one
that
has
your
back
The
one
who
would
rather
die
Than
make
you
sad
（我是）那个让你放声大笑的人
那个在你背后支持你的人
那个宁愿失去生命
也不远见你悲伤的人
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

『陆』 chinaisnumberone是什么意思

China is number one.
意思是： 中国第一。

『柒』 Tobenumberone什么意思

这个不是361的广告语嘛，意思是力争第一

『捌』 急需英文版《法国电影的一些倾向》，谢谢啦！！

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』 世界杯的收视率多少

华奥星空6月14日约翰内斯堡电(记者梁晓晨)据国际足联于今天公布的统计数据，本届世界杯南非和墨西哥队的揭幕战创造了南非体育频道近几年的收视率之最，多个国家的比赛转播收视率也同时刷新历史。

据统计，南非国内SABC1和SuperSports 3这两档当家体育频道的世界杯首战转播收视率达到了10146793人的数据，这一数据超过了去年南非举办联盟杯时两个频道创下的7350000人的收视率近39%，东道主南非队在该赛事决赛中被巴西队击败。

单从SABC1频道统计，世界杯首战比赛转播收视率为8895965人，占据该节目国内收视率总数近76%的比重，而SuperSports 3方面同档节目的收视率为1250828人，占据11%的国内收视群体。本届世界杯第二场比赛乌拉圭对阵法国的比赛中，两个频道的比赛转播的收视率则达到了开幕式收视数据的一半。

世界范围内的多家电视台对世界杯比赛的转播收视率同样创造了各自的新高：

在墨西哥，共有19%的国民在家中通过电视机收看了首战的比赛，而这一数据高于2006年世界杯墨西哥小组赛三场比赛的平均收视率近15%之多。这一数据同时在墨西哥国内足球比赛单场转播收视率的历史上位列第5。

在美国，世界杯揭幕战的电视转播收视率达到了5400000人，这一数据较之2006年世界杯时增长了一倍之多，并且位列美国国内足球比赛单场转播收视率历史前10。

截止到目前为止，本届世界杯单场比赛国内收视率最高的数据来自中国，共有24000000人在电视机前收看了希腊对阵韩国的比赛。

本届世界杯决赛转播的全球收视率有望创历史新高。