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外文翻译(包含原文)(宋体四号加粗)
外文翻译一(宋体四号加粗)
作者(宋体小四号加粗)Kim Mee Hyun Director, Policy Research & Development Team, Korean Film Council(小四号)
出处:(宋体小四号加粗)Korean Cinema from Origins to Renaissance(P358~P340)
韩国电影的发展及前景(标题:宋体四号加粗)
1996~现在
数量上的增长(正文:宋体小四)
在过去的十年间,韩国电影经历了难以置信的增长。上个世纪60年代,韩国电影迅速崛起,然而很快便陷入停滞状态,直到90年代以后,韩国电影又重新进入繁盛时期。在这个时期,韩国电影在数量上并没有大幅的增长,但多部电影的观影人数达到了上千万人次。1996年,韩国本土电影的市场占有量只有23.1%。但是到了1998年,市场占有量增长到35。8%,到2001年更是达到了50%。虽然从1996年开始,韩国电影一直处在不断上升的过程中,但是直到1999年姜帝圭导演的《生死谍变》的成功才诞生了韩国电影的又一个高峰。虽然《生死谍变》创造了韩国电影史上的最高电影票房纪录,但是1999年以后最高票房纪录几乎每年都会被刷新。当人们都在津津乐道所谓的“韩国大片”时,2000年朴赞郁导演的《共同警备区JSA》和2001年郭暻泽导演的《朋友》均成功刷新了韩国电影最高票房纪录.2003年康佑硕导演的《实尾岛》和2004年姜帝圭导演的又一部力作《太极旗飘扬》开创了观影人数上千万人次的时代。姜帝圭康佑硕导演在韩国电影票房史上扮演了十分重要的角。从1993年的《特警冤家》到2003年的《实尾岛》,打印机共享怎么设置康佑硕导演了多部成功的电影。此外,从1996年至2004年,康佑硕管理韩国最大的电影投资发行公司Cinema Service期间,一直保持了业内的领导地位。而姜帝圭导演则通过《生死谍变》和《太极旗
飘扬》充实了“韩国大片"的数量.另外,影院数量经历了爆炸性的增长,从1996年的511家增长到2005年的1648家。 电影院线的多元化,如Cj-CGV, Megabox和 Lotte Cinema等在扩大影院数量方面发挥了决定性的作用。伴随着荧幕数量的增长,这种增大发行量的方法在上世纪初本世纪初被完全认可接受,这使得发行商能够更容易快速吸引到大量观众。在韩国,《实尾岛》和《太极旗飘扬》韩国女主播两部电影同时上映的影院多达三四百家,几乎占了整个韩国的三分之一,这使得这两部电影有可能卖出上千万张影票。因为这些电影需要巨大的投资,也只有这些多元化的院线的建立才能够吸引大财团的资金。
1997年金融危机以后,大财团投入到韩国电影工业中的资金虽然增长放缓,但院线建设还是得到了加强。最终,Cj Entertainment和Showbox两家公司所提供的资金力量不断得到加强。
第三,韩国电影开始在国外市场也有着出的表现。1996年,韩国电影的出口总值在40万美元左右,但到了2005年,出口总值几乎是1996年的190倍,达到了创纪录的7千6百万美元。在2004年,原本以韩国电视剧为主导的“韩流”也开始出现了韩国电影的身影,同时,这一年韩国电影的出口总值比前一年增长了88%。对国外市场的开发,给扩大韩国电影工业提
六一朋友圈文案供了机遇,同时也能够克服本国市场狭小的弊端.韩国电影正在寻能够使得“韩流”更胜从前的新方法、新途径。
质量上的提升
在过去的十年中,韩国电影巨大的成功当然也包括影片质量上的提高.首先,韩国电影质量上有所提升的显著标志是韩国电影在几个国际性的电影节上有着出的表现。2000年,林权泽导演的《春香传》受到戛纳电影节官方邀请参加竞赛,这在韩国电影史上还是第一次。2002年,林权泽导演凭借醉画仙》获得戛纳电影节最佳导演奖。同年的威尼斯国际电影节,李昌东和文素丽凭借电影《绿洲》分别获得了特殊导演奖和最佳新人演员奖。2004年,朴赞郁导演又凭借影片《老男孩》获得了戛纳电影节的大陪审团奖。也是在同年,金基德导演凭借《撒玛利亚城的女孩》获得了柏林电影节最佳导演奖。
第二,创办了很多国际性的电影节,如釜山国际电影节和全州国际电影节的创办都取得了巨大的成功。尤其是釜山国际电影节,自1996年创办以来,已经成长为亚洲具有代表性的电影节,它的成功使得韩国电影能够在世界范围内被人们所认识。
第三,许多新晋值得关注的年轻导演开始走向人们的视线。郑勇进金基德导演被认为是出的导演,1996年分别凭借《猪堕井的那天》和《鳄鱼藏尸日记》同时出道。朴赞郁导演凭借共同警备区JSA》和《老男孩》成为兼具商业票房保证和艺术魅力的导演。其他新的导演包括,导演《八月蜡像馆》的许秦豪,导演《薄荷糖》的李昌东,导演《蔷花与红莲》的金知云,导演《杀人回忆》的奉俊昊,导演《丑闻》的李在容等人。
第四,大制作电影时代的到来。随着《生死谍变》的成功,很多宣称要一鸣惊人并投入超高预算的大制作电影被制作出来。但是,这些电影一部部在票房上失利。另外一方面,像《杀人回忆》、薄荷糖》、《蔷花与红莲》、《老男孩》等电影虽然并非史诗巨作,但也都在票房上取得成功。大制作电影开始特定的指向这些电影,投资商及制片人尽可能的在保证合理预算的同时提升影片质量。
第五,韩国电影振兴委员会在1999年5月8日成立。韩国电影振兴委员会成功取代了有政府支持的电影促进会,转变喂非官方的组织。电影振兴委员会实施多种扶持计划,系统地理性地帮助艺术电影、独立电影、小制作电影的制作。随着低成本的小电影增长,许多导演的艺术特通过这些电影被人们所认识。
母亲节的时间
附外文原文(宋体小四号加粗)
The Growth and Outlook of the Korean Cinema
1996~Present(外文标题:四号加粗)
Growth in Quantity
自贸区有什么好处Over the past decade, Korean cinema has shown incredible growth。 Its renaissance has come after a long period of stagnation after the heyday of the 1960s。 With regard to quantity, the number of films produced did not increase greatly but audiences for Korean films surged to ten million people for some films。 The market share for Korean cinema was 23.1 per cent in 1996. In 1998 it increased to 35.8 per cent, and in 2001 it passed 50per cent。 Although Korean cinema was on a consistent upward curve form 1996,the success of Swiri (Kang Je-kyu 1999) triggered a boom,。 Even since Swiri became the biggest box—office hit in Korean film history, new records for Korean films have been set every year。 Amid talk of “Korean blockbusters,” joint Security Area /JSA (Park Che
在农村开什么店好n—wook,2000) and Friend (Kwak kyung—taek,2001) topped the box-office。 Silmido (Kang woosuk) in 2003 and Tae—guk—gi (Kang Je—kyu) in 2004,inaugurated the ten millen-audience era。 Kang Woo-suk and Kang Je-kyu have played an important role in the box— office history of Korean films. Kang woo—suk has directed many successful films from Two Cops in 1993 to Silmido in 2003。 Furthermore, he has  maintained his position as the leading figure in the Chungmuro scene form 1996 to 2004 while managing Cinema Service, a film production and distribution company。 Kang Je—kyu extended the Korean blockbuster film with Swiri and Tae-gun-gi。 Second, the number of screens has boomed form 511 in 1996 to 1,648 in 2005。 Multiplex theater chains such an Cj-CGV, Megabox, and Lotte Cinema have played a decisive role in this。 Along with the increase in the number of screens, the “wide release” method was fully adopted at the turn of the century, making it easier to attract a large audience rapidly。 Silmido and Tae-guk-gi were released simultaneously on about three or four hundred screens around the country—-—a third of the national total—-—making it possible to sell more than ten million tickets. Because they require heavy investment, multiplex theaters are founded upon large conglomerate (or chaebol) capital。     
After the IMF crisis of 1997, the chaebols’hesitant advance into the Korean film industry accelerated with the building of the multiplex theaters. As a result, the power of chaebol capital represented by Cj Entertainment (belonging to Cheil jedang Grounp) and Showbox (Orion Group) is strengthening。
Third, Korean films have begun to perform well in foreign markets. In 1996, the total export value of Korean films was around US$400,000。 However, in 2005, it was 190 that amount, setting a new record of US$76 million。 In 2004,it was judged that the Korean television drama “hallyu (Korean wave,韩流)” was emerging in the cinema too, and the total experts of Korean films showed an increase of 88 per cent over the previous year。 Considering that expansion into foreign markets provides the opportunity to expand the scale of the Korean film industry and overcome the limits of the domestic market, the Korean film industry is looking for ways to make the most of the hallyu fever。
Growth in Quality
Great success has also been achieved in quality over the last decade。 First, Korean cinema has achieved remarkable success at major international film fesivals。 In 2000, Chunhyang (Im Kwon-taek) was officially invited to compete at Cannes-——a first in the Korean film history。 In 2002, Im Kwon—taek received the Best Director Award at the Cannes Film festival for Chihwaseon. In the same year, Lee Changdong and Moon So-ri won the Special Director’s Award and the Marcello Mastroianni Award at the Venice International Film Festival for Oasis。 In 2004, Park Chan-wook won the Grand Jury Prize at Cannes for Old Boy。 In the same year, Kim ki—duk was awarded the Best Director Award for Samarian Girl at Berlin and for 3—-—Iron at Venice。
Second, many international film festivals, including Pusan International film Festival(PIFF), Jeonju International Fantastic Film Festival (PiFan), were launched and have been quite successful。 In particular, since its 1996 launch PIFF has grown into a film festival representing Asia, and its success has made Korean films known and well received worldwide。