《刮痧》以家庭、傳統(tǒng)、親情、文化為主題，同時以特別視角關注普通中國人情感狀態(tài)與生存狀態(tài)和文化傳承，完全呈現、熱情贊頌了中華民族特有的'家庭親情與價值觀念。下面是語文迷為大家整理的電影英文
篇一：刮痧英語觀后感
Chinese immigrants struggle to hold onto their American dream after the husband's father (Xu Zhu) comes for a visit from mainland China and gives a si-mp-le Chinese Medicine therapy called Gua Sha to his grandson.
Da Tong (Tony Leung Ka Fai) is the father who is trying to integrate his Chinese cultural beliefs into his daily American reality, especially when dealing with his bo(Hollis Huston) and best friend, who is too quick to believe the worst about Da Tong's treatment of his son, Dennis. Da Tong's failures show his confusion about the differences between his original Chinese culture and his new American home. Even within his family there is conflict because Grandfather can't speak English and is excluded from many conversations because Mother (Wenli Jiang) wants only English spoken in her home for the benefit of her American born son. Da Tong and his wife are very well educated and understand that their child's best chances for succein America, and for him not to experience the same troubles they've had during the past 8 years, are to speak without an accent. They even go so far as to insist the boy use a fork and knife instead of chopsticks, even when it's obvious they are still eating Chinese style food, served in the normal way: communal dishes for the food and smaller, individual rice bowls for each person. Mother seems a bit inflexible in her insistence on being as American as possible, while Da Tong's cultural leanings are just as strongly Chinese, although not by conscious choice.
Da Tong's love for his son is tested severely when Da Tong tries to balance it against respect for his boss. When Da Tong's son hits his boss' son, Da Tong insists on an apology that seems unnecessary and makes Da Tong look stubborn and uncaring. Da Tong gives his boy a light rap on the head when he refuses to apologize and the boy cries to his mother that the reason he hit his playmate was that the other boy called Da Tong stupid, one of many examples of doing the wrong thing to protect your family.
The conflict arising from doing the wrong thing out of love or respect for one's family or closest friends continues throughout the movie, and every way Da Tong turns, he finds failure and encounters both obvious and subtle forms of anti-Chinese racism. Even Chinese folklore about the Monkey King, Sun Wu Kong, that Da Tong incorporates into a video game he designed is used to provoke his pride when he's vulnerable and fearing for the loof his son. Da Tong is misunderstood by everyone, family, friend, and foe, even though he has only the best intentions, and he carries the responsibility quite heavily, ma-ki-ng one wrong turn after another.
Gua Sha (The Treatment) shows how a person's cultural beliefs are so deeply set within oneself that it is usually impossible to examine why you do most anything, from how you dreand talk to whom you love and respect and how you show it. The invisible nature of one's cultural beliefs also makes it difficult to impossible to explain yourself to others when questioned. Da Tong experiences an excruciatingly painful and difficult struggle while trying to protect his son, an ordeal that forces him to examine the validity of some of the most vital things he thought he knew about his identity, his Chinese culture, and the new American world he'd chosen as his home.
The movie showed me how normal it is for people to look for ways that their culture is superior to others' and how the misunderstandings arising from different cultural perspectives can seem very large, but can be nullified with si-mp-le, 2-sided explanations when people are willing to listen.
It appears this film is not readily available in the USA, but it's the best I've seen at highlighting the differences between American and Chinese culture. Parts of the movie's dialog are only in Chinese and I've yet to find a DVD with English subtitles, although it's easy to get the gist of what's going on during those short passages. The credits are a combination of Chinese and English, holding true to the integration of both worlds. I've noticed some important roles are not credited here on IMDb, such as Judge Horowitz, who was played by Alexander Barton。
篇二：刮痧英語觀后感
Last week, I’ve watch the film named GUA SHA. Actually, GUA SHA has another professional form as skin scraping. But I think it was not correctly enough. GUA SHA is a traditional medical treatment. The main function is to accelerate blood circulation. It has a good effect on hypertension, heatstroke and so on. Once upon a time, our ancestors had told us generation by generation. We all believed its influence.
The story of this film happened in America. The hero, Datong Xu, an Chinese people made a great succeand realized his American dream. He said, he loved America and America is an place filled with opportunities in a victory meeting. But an unfortunate thing came to him. One day, his five-year-old child called Denis got a fever. The grandpa can’t understand the English introductions on the drugs. So he did GUA SHA for Denis. Unexpectedly it became the evidence for child abuse. Datong Xu was accused of child abuse. On the court, one after another witnetestified his bad behavior to his child. He can’t explain clearly about GUA SHA. In the face of so many distorted allegations, he became crazy. Meantime, he was deprived of Denis’s custody. He was forbidden to meet Denis. His father decided to return to China. Everything changed. He lost his harmonious family, his trust friends, his perfect job. He lost everything. He was forced to live in the slum. In the slum, the couple hugged and cried together.
At Christmas, he missed his son very much. Then he pretended as Santa Claus to see his son secretly. The guide didn’t let him in. He climbed the water tube. At that time, police came. He can see Denis. He succeeded at last.
The film reflects the cultural shock in foreign country. Finally the hero overcame the obstacles through his endeavor. It deeply impressed me that the difficulty we must face in the foreign country, because of the distinguished culture. Only more communication we make, leproblems it may appears. It is a long way for us to go. We should put it in mind.
Toy Story is not only the best Disney film because it has the best story and the best animation, but also because of the excellent actors chosen to provide the voices of the animals. The casting was perfect from top to bottom, and the movie provides an excellent adventure story about friendship and loyalty that keeps you engrossed until the nail-biting climax.Tom Hanks and Tim Allen provided excellent voices for Woody and Buzz Lightyear -their performances alone are one of the biggest things that made this such a spectacular movie.
Besides that, though, you have the excellent story that is not only noteworthy because it has never really been told from this perspective before, but also because it was just told so well.
All of the characters in the film are very well developed and all have appropriate and effective actors chosen to provide their voices. And of course, who could forget the revolutionary animation! The computer animation used for this movie not only made it startlingly realistic but also opened up tons of possibilities, and thankfully the filmmakers chose to explore these possibilities. There are dozens of things that are hidden in the woodwork throughout the film, as well as in the songs – note, for example, the subtle playing of the Indiana Jones theme song in the scene where Woody knocks Buzz out the window with the desk lamp.Toy Story is by far the best Disney film ever made, its pretty much perfect.
Its adventurous, its exciting, its entertaining, its good for the whole family, its got great characters, story, and plot, and above all, its fun.
《美麗中國》，感慨萬千，不得不為攝影師的獨特視角和中國博大的人文情懷所折服。下面是《美麗的中國》的
篇一：Wild China觀后感
Wild China
The last hidden world ----China.
After watching the video for the second time, I was still fascinated by the well-bedded terraces, endless steppes, beautiful mountains and etc. There is no doubt that this video is a completely outstanding documentary which reflects Chinese Human Geography. To be honest, as a Chinese, I feel ashamed that I have not seen the most sceneries in this video. Our country is so attractive that I can not wait to learn more about it.
In addition, when I was attracted by the beautiful scenery, I still thought about the development of our country. China has the largest population and the most ancient culture in the world, developing is the most important problem now. Land desertification, water resources crisis, more and more Industrial wastes, we need to face all those problems.
Although China has vast territory and abundant resources, we should take care of it. There are so many species have disappeared forever, what we can do is to do our best to protect them. I hope our country will be wild not only in the past but also in the future.
篇二：This is water觀后感
The Review Writing of《This is Water》
The author, David Foster Wallace, was considered by many to be one of the finest writers of his generation. He only gave one speech in public in all his life, in which he talked about his view of life. The speech happened in a commencement of Kenyon College in 2005. Now, the widely distributed video has been into a thin book, which name is “this is water”.
According to Wallace's view, the water was on behalf of the most obviously, the most important reality, but it was difficult to see or talk about; and “the same experience for different people may mean something completely different”, because everyone had a different “default settings” and a different way from the experience in the construction of meaning. Therefore, the ideal of liberal education was to make people out of this self center, learning to “how to think” and “thinking” control. Wallace then cut to the usual humor and plain philosophy from the contemporary urban life, pointing out the importance of maintaining vigilance and consciousness. At the same time, we should be free to choose the way of looking at things.
At the beginning of the speech, Wallace talked a story about the fish, and it is pointed out that “the most obvious, ubiquitous, important realities are often the hardest to see and talk about”. In our daily life, we tend to think that we are the absolute center of the natural, just like our default-setting. But most, we tend to automatically determine the thing, in fact, is completely wrong, even be fooled. Therefore in front of fact, we should learn to choose and think deeply. Then Wallace cited an example of the story of shopping in the supermarket. Just as our natural default-setting, we may think that traffic jams and crowded aisles and long checkout lines are pissed and miserable experience. When we think like this, we are operating on the automatic, unconscious belief that we are the center of the world, so that we feel the most boring and the most frustrating part in the adult world. However, if we changed our method of thinking, we may feel the difference of the things and make other choices. But doing like this is hard, needs will and mental effort. If we want to feel a meaningful and sacred experience instead of a crowed, loud, slow situation, the only thing we should do is to decide what to worship. We have the right to decided what to worship, but there are different kinds of freedom. The real freedom includes attention, and awareness, and displaying. In order to achieve this freedom, we should keep reminding ourselves “This is water” constantly. But it is hard to maintain awareness and activity in the adult world; we should keep study from now on.
As a famous saying said, life is not a lack of beauty, but the lack of eyes to find beauty. We should be good at discovering hidden in the things below the surfaceof things, it will open another world.
篇三：紀錄片《美麗中國》觀后感
《美麗中國》是表現中國野生動植物和自然人文景觀的大型電視紀錄片，看過之后給了我深深的觸動。紀錄片作為“以真實生活為創(chuàng)作素材，以真人真事為表現對象的電 影電視藝術形式” ，其手段在于對真實素材進行藝術加工與展現，其目的在于以展現真實為 本質，并用真實引發(fā)人們思考。但是，自然類紀錄片因為較少有人的參與，缺少人與人之間 一目了然的矛盾沖突和引人入勝的故事情節(jié)， 與社會類的紀錄片相比， 它更多地表現為單純 的獵奇與對真實鏡頭的捕捉，在思維品格上難以勝出。在紀錄片創(chuàng)作中，創(chuàng)作觀念是非常重 要的，創(chuàng)作者在拍攝紀錄片之前，先要對所表現的事物進行思考。任何一部紀錄片都或多或 少地體現作者對藝術和生命的態(tài)度， 紀實的品格上升為思維的品格， 才能使創(chuàng)作進入審美的 層次。 國際自然類電視節(jié)目主席帕薩`薩拉斯曾說： “自然類影片絕不只是動物、樹和昆蟲等非 常近的鏡頭和放大鏡頭，還有被稱為自然精神的東西。也就是說拍攝自然類紀錄片，首先需 要攝制者對自然的熱愛和了解，要懂得珍愛生命、尊重生命。它需要一種人文精神，而絕不 只是為了追求感官刺激。 ”他同時還說： “現今社會強調的人文精神，并不是單純的指對人的 價值、人的個性、人的尊嚴、人的地位、人的發(fā)展與人的自由的關懷、看護和尊重，還有我 們所在的這個大自然，包括自然中的一切生命。人文精神就是一種關懷，真誠的對自然世界 的一種關懷。 ”
《美麗中國》是一部反映中國自然生態(tài)的紀錄片。由 BBC 環(huán)球公司與中國中視傳媒股 份有限公司聯合拍攝，英文名稱為”WILD CHINA” ，也有譯為《野性中國》《錦繡中華》， 歷時三年拍攝，共六集。與其說這是一部紀錄片，不如說它是一場視覺的盛宴。詩一般的畫 面、 伴之純粹大自然的聲音、 獨具中國氣質的磅礴之聲相結合的美麗畫面都給我們帶來 了一種久違的震撼，強大的視覺沖擊力帶給我們的是全新的視聽完美享受。 然而，不僅如此，紀錄片《美麗中國》中更有一種陷于畫面和音樂背后的、厚實的濃濃 的情懷，一種博大警世的人文關懷流淌其中，它不僅給我一種視覺的震撼，更讓我有了對自 然的震撼與敬畏。
《美麗中國》中的人文精神。在整部紀錄片中，沒有清晰的人物對白，解說詞只是展示 性的， 可以說主要是在用視覺語言和影像的力量展示著自然， 更展示著不朽的人文主義精神， 這些精神深深地打動著我。 張家界深山溪水中的娃娃魚，貴州山間的葉猴，茫茫雪山中被呼為“山中野老”的滇金 絲猴，遷徙途中在鄱陽湖歇腳的浩蕩鳥群，上海郊區(qū)寺廟中 400 余歲高齡的斑點龜，貴州巖 洞中的蝙蝠。 傍晚時分， 古老爹倚在窗前， 仰頭遠眺， 看著遮天蔽日從北方飛來的成群雨燕， 計算著它們南來的日子，并以此盤算著插秧的日期。金腰燕飛來的第二天，各家各戶就一同 忙著把秧苗移到山間的梯田之中，而頭上的雨燕也在忙著建筑新巢。 如此清晰逼真的視覺語言讓我在體味生命力量的掙扎的同時， 更讓我深深地感受到在這 部 6 個小時的紀錄片中，所展示的動物、植物是與我們人類一樣平等而珍貴的生命。在優(yōu)美 的攝像的引導下， 漸漸走進了大自然的世界， 逐漸用一顆平等的心態(tài)感受著自然中生命的起 起伏伏。這部紀錄片帶給我們的不單單是美的享受，更融入了一種生命的整合：當我們知道 在拍攝后的幾周后 400 余歲高齡的斑點龜死了時會遺憾； 在蛇島上， 當我們看到鳥兒逃脫蛇 的攻擊時會高興??影片中， 往南遷徙的鳥兒在枝頭歇息， 透過畫面觀眾看到偽裝的腹蛇就 附著在同一棵樹的樹枝上，且仿佛那腹蛇一張口就要吞下鳥兒了，內心就會焦急萬分，擔憂 鳥兒能否躲過蛇的攻擊。當看到有的鳥兒未能逃脫，只能成為腹蛇的食物時，令人感到無助 和無奈，并感受到了生物鏈的冷酷與無情。這一切令觀眾的心隨著自然生命而跳動。 《美麗中國》中展現給觀眾的自然世界與每一個人所面對的并無不同：孤獨、疲憊、不 能支撐和致命傷害。
《美麗中國》用它的鏡頭告訴人們：自然生物是我們的朋友，只不過與 我們生活的方式、地點不一樣。也許是社會生活太過復雜和疲憊，我們早就忘了其實所有的 生物都是地球的主人，我們應該發(fā)現，這個地球不僅僅屬于我們，還屬于動物，屬于更多的 生靈。紀錄片引導人們關注或者說重拾的，可能正是已被忽視掉的人類與動物之間的感情、 生物之間奇妙的感應和聯系。 如果每一個觀眾都在觀后像珍惜自己一樣善待動物， 那么這就 足以體現這部紀錄片在現實中的價值和意義。 理解愛護珍稀動物， 保護我們的自然環(huán)境的意 義，正是影片所要表達的強烈的人文關懷精神。
《美麗中國》中的生態(tài)平衡觀。文明是一把雙刃劍，在帶給人類物質享受和現代生活的 同時，也帶來了人類與自然的隔閡和異化，人類的心靈越來越粗糙，感覺越來越遲鈍，心腸 越來越堅硬??于是生命的意識淡薄，悲憫情懷喪失，人文精神缺乏，人類成為唯一只愛自 己的冷漠動物。但是《美麗中國》 ，它帶給觀眾的不僅是美輪美奐的中國自然視覺奇觀，還 有前所未有的心靈震撼， 人們震撼于大自然的美與脆弱， 讓冷漠已久的心靈變得濕潤、 柔軟。 這部長達 6 小時的大型紀錄片的特點是以自然為對象， 以平等的視點關注人與自然界中的生 物。以紀實的手法和寫意的風格，來抒寫和展示自然的奇觀和生命的奇跡，讓觀眾有機會近 距離地觀賞中國大自然中生存的各種生命，在觀賞中感受自然的'壯觀、神奇與美妙，感受生 命的莊嚴、神圣與美麗，同時也對自然法則產生了新的認識和新的思考。
《美麗中國》把思考的領域從自然界擴展到人類、擴展到人與自然的關系。實際上它是 在借大自然中生物的生存狀態(tài)觀察人類的行為，反思人類未來的命運。或者說，它不是從人 類的角度看自然，而是從自然的角度解讀人類，即將動物的世界作為這個世界的主角，從自 然的角度來觀察人類的行為， 巧妙地將動物的世界與人的世界進行藝術化的對比， 用暗示和 警示的方法來審視人類的價值觀念及許多悖論性行為方式。 無污染無破壞的自然環(huán)境本來是 自然界最美好、最壯觀的景象，而人類無止境的開發(fā)與建設卻把這些美好近乎破壞殆盡，多 種物種瀕臨滅絕，美麗的自然美景不復存在，最終也影響了人類的生存。當我們從大自然的 角度來觀察這個世界時， 才能看清這個世界的面貌與形態(tài)， 才能發(fā)現這個世界的自身結構和 內在關聯，才能看清自己面貌的丑陋和行為的愚蠢。 《美麗中國》中人文精神指導和欣賞下的視覺語言。視覺語言是紀錄片創(chuàng)作者用以構成 視覺形象、表達制作思想的各種手段技法的總和。因此視覺藝術、畫面思維是紀錄片制作人 員應有的基本思維方式，也是電視紀錄片表達創(chuàng)意、展示故事的主要創(chuàng)作思維方式。對于紀 錄片來說，視覺是第一性的。紀錄片是供人們欣賞的藝術品， “好看”是紀錄片的“核” ，因 此，視覺語言是紀錄片思維品格表達的一種最重要手段。 正是基于對自然生命的尊重與深厚的感情， 紀錄片 《美麗中國》 用獨具中國氣質的磅礴、 渾厚、 包容的聲音結合美麗的中國自然畫面， 把原屬于自然科學范疇的主題拍成了洋溢深厚 人文主義精神的優(yōu)秀作品，其視覺語言充溢、表現著濃厚的思維品格。如大量的長鏡頭，跟 隨對象的運動，用特效表現的風云變幻、萬物生長，大量的航拍鏡頭展現出壯闊的美感、梯 田區(qū)的整體視覺沖擊效果；運用自然光線、光度的強弱，光位的順光、逆光、側光，光比的明與暗等，追求寫實性；運用蒙太奇的手法，切換自然中的不同場景，無不集中反映著人與 自然和諧這一偉大主題。同時，拍攝者在攝像時總是盡可能地親近拍攝對象，獲取最真實的 視覺畫面、獲取自然的最美好的瞬間。對于攝制者來說，它們已經不是單純的物或景，而是 懷有情感的相互依存的“伙伴” 。
《美麗中國》 “創(chuàng)造和利用現實” ，以自己的人文精神與思想來指導紀錄片中視覺語言的運 用，而絕不是為紀實而紀實，做呆板、機械的原生態(tài)記錄。如此生動的記錄給所看到的人巨 大的啟發(fā)。我們都應站起呼吁： “保護自然，保護野生動植物和那些歷史悠久的自然人文景觀！ ”
