黎清妍繪畫風格強烈,其人像作品,模糊的表情,不合比例的巨大身驅以表現心理狀態。
我真低能,將這句讀成:
其人,像作品,模糊的表情,不合比例的巨大身驅......
黎清妍繪畫風格強烈,其人像作品,模糊的表情,不合比例的巨大身驅以表現心理狀態。
其人,像作品,模糊的表情,不合比例的巨大身驅......
Tom's answer: My guess is that the term came about because of the Hays Code, which set certain moral standards for films to follow from the 30s through the 50s. One of which was that a man and woman couldn t be shown in bed together. Thus, you saw married couples side by side in twin beds. And when a man would sit on a bed with a woman on it, you ll notice that one foot would always remain on the ground.
(附錄臉友留言) 當年的荷李活好比今天的大陸,保守冬烘多多事實,據說電影要談婚外戀,涉事夫妻必須先離婚才能搞,最後和好如初重新結婚! 白人和有色人種不可銀幕談情,黃柳霜便如此這般被埋沒,就連"大地"中明明是中國農婦的角色也不能演,皆因演中國農夫者是白人。
In September 1990, Marilyn vos Savant devoted one of her columns to a reader’s question, which presented a variation of the Monty Hall Problem:
“Suppose you’re on a game show, and you’re given the choice of three doors. Behind one door is a car, behind the others, goats. You pick a door, say #1, and the host, who knows what’s behind the doors, opens another door, say #3, which has a goat. He says to you, "Do you want to pick door #2?" Is it to your advantage to switch your choice of doors?”
“Yes; you should switch,” she replied. “The first door has a 1/3 chance of winning, but the second door has a 2/3 chance.”
Though her answer was correct, a vast swath of academics responded with outrage. In the proceeding months, vos Savant received more than 10,000 letters ... all of which contended that she was entirely incompetent.