●剧情： ? Set in late 1930s Arezzo, Italy, Jewish man and poet, Guido Orefice (Roberto Benigni) uses cunning wit to win over an Italian schoolteacher, Dora (Nicoletta Braschi) who's set to marry another man. Charming her with "Buongiorno Principessa", getting the timing perfect every time and whisking her away on a green horse (don't ask!) ensures they soon live together happily in Guido's uncle, Eliseo Orefice's (Giustino Durano) house. Bringing up their 5 year old boy, Giosué (Giorgio Cantarini), the war continues without them noticing until one fateful day when the Germans arrest Guido and his son in their bookshop, and transfer them to a concentraction camp. Dora demands to be taken too, thus Guido is devastated to see his non-Jewish wife board the train.Protecting his son from the vile truth, Guido tells Giosué that they are just on a big hoilday, and he turns the camp into a big game for Giosué, claiming that they must win 1000 points to win a real tank and leave. His elderly uncle, however, is on a different "team" and is lead towards the showers first. Guido must complete "tasks" for the camp "moderators" (ie. the Nazi SS), while avoiding the impending fate with everything he can offer. His quick thinking saves Giosué from the truth when a German officer requires a translator. Despite not speaking a word of German, Guido steps forward and makes up the "Regole del Campo" from the German's body language, claiming that tanks, scoreboards and games of Hide and Seek litter the camp, while cleverly stating that Giosué cannot cry, ask for his mother or declared he's hungry, resulting in the loss of the "game", in other words, death.Giosué later refuses to take a shower, and unknowingly escapes being gased, so Guido hides him with the help of other Italian prisoners, since there are no other children. Playing messages over the tannoy for Dora, kept prisoner on the other side of the camp, the family build up hope, only to be diminuished by the SS. With the help of Guido's former German friend, Herr Lessing, Guido can hide Giosué amongst the German children, while waiting the German Officer's meals. With the days becoming steadily worse, Guido realises that time is short and that he must make certain sacrifices if his son is ever to see the tanks roll over the hills, and be reunited with his mother. Giosué is pessimistic, and doesn't believe that there are any real tanks or games.Hiding Giosué in a junction box for the last time, telling him that everyone is looking for him, Guido jeapordises his own survival to prevent the Germans discovering Giosué, while he attempts to free Dora, giving his own life away at the same time. The Americans break into the seemingly deserted camp the following morning. Giosué immerges just as a tank pulls around the corner. Hitching a lift out, Giosué soon spots his mother and the film closes. ? 评论：The Best Movie I've seen for a long long time, 6 December 1999 Author: kvonarx from Halifax, Canada I am surprised about the negative comments that some people made on this web-page. I can see how some people might not experience the same kind of uplift or joy that most of us lived through when seeing the movie. But that some viewers felt insulted and betrayed because the movie did not depict "reality" as it really was or is, is not fair.I must concur with my fellow proponents of the movie — it was a great and very satisfying movie. It provided me with something that everyone in one or another shape or form needs — Hope. The movie showed the cruelty of life and yet managed to shed some light and insight into the beauty of love and life in general.I urge anyone who has not seen La Vita è bella to go out there and watch it. If we all take with us just little bit of that hope and love that this movie is trying to convey; this world would be a much better place.Thank you for reading this and I hope you enjoyed or will enjoy the movie as much as I did.
●《美丽人生》英文内容介绍： Plot Summary for Vita è bella, La (1997) In 1930s Italy, a carefree Jewish book keeper named Guido starts a fairy tale life by courting and marrying a lovely woman from a nearby city. Guido and his wife have a son and live happily together until the occupation of Italy by German forces. In an attempt to hold his family together and help his son survive the horrors of a Jewish Concentration Camp, Guido imagines that the Holocaust is a game and that the grand prize for winning is a tank. 《美丽人生》英文影评： This is one of those movies that have a lasting effect on you. After watching it, I found that it has less to do with the Holocaust and more to do with the human feelings and the beautiful relationship of a father and his son. The holocaust provides the ultimate context, that brings and highlights the story and adds yet another deep dimension to the movie. No such piece of art has ever before combined laughter and tears of sadness in me before and that is the miracle of the movie. The realism of the movie is not its strong point, but then again it is not supposed to be; this helps in bringing the audiences to a state of mind away from reality, focusing on the feelings generated by forgetting about all external events and developments of the war. Despite that, the movie does not fail to point out an element of the nazi psychology demonstrated by the doctor who was obsessed with riddles. This portrayed the nazi 'state of mind' (if ever such an expression existed) as a sick mentally disturbed state. Life is really beautiful as you watch Guido's relentless efforts to make a lovely exciting experience of the concentration camp to his son. You get exhausted just watching him going through his painful day and yet you smile as he speaks to his son and makes him laugh. One can go on forever describing the creativity of this movie, but one will not be able to capture all its beauty in writing.
●The first half of the movie is a whimsical, romantic comedy and often slapstick. Guido (Roberto Benigni), a young Italian Jew, arrives in Arezzo where he sets up a bookstore. Guido is both funny and charismatic, especially when he romances Dora (Italian, but not Jewish; portrayed by Benigni's actual wife Nicoletta Braschi), whom he steals – at her engagement – from her rude and loud fiancé. Several years pass, in which Guido and Dora have a son, Joshua (written Giosué in the Italian version; portrayed by Giorgio Cantarini). In the film, Joshua is around five years old. However, both the beginning and ending of the film is narrated by an older Joshua.In the second half, Guido, Guido's uncle Eliseo, and Joshua are taken to a concentration camp on Joshua's birthday. Dora demands to join her family and is permitted to do so. Guido hides Joshua from the Nazi guards and sneaks him food. In an attempt to keep up Joshua's spirits, Guido convinces him that the camp is just a game – a game in which the first person to get 1,000 points wins a tank. He tells Joshua that if you cry, complain that you want your mother, or complain that you are hungry, you lose points, while quiet boys who hide from the camp guards earn points. He convinces Joshua that the camp guards are mean because they want the tank for themselves and that all the other children are hiding in order to win the game. He puts off every attempt of Joshua ending the game and returning home by convincing him that they are in the lead for the tank. Despite being surrounded by rampant death and people and all their sicknesses, Joshua does not question this fiction both because of his father's convincing performance and his own innocence.Guido maintains this story right until the end, when – in the chaos caused by the American advance drawing near – he tells his son to stay in a sweatbox until everybody has left, this being the final test before the tank is his. After trying to find Dora, Guido is caught, taken away, and is shot to death by a Nazi guard, but not before making his son laugh one last time by imitating the Nazi guard as if the two of them are marching around the camp together. Joshua manages to survive, and thinks he has won the game when an American tank arrives to liberate the camp, and he is reunited with his mother.
●I saw A.I. on the first night it ran here and I must say I was disappointed in the size of the audience. How strange to see so few people show up for a Spielberg film. This film did not enjoy the normal hype that most of Spielberg's films enjoy, I think I know why. Lack of product placement. They're may have been some somewhere but I didn't see them. A.I.'s story line and flawless visual effects reflect what I can only describe as the meeting of two great film makers. Kubrick (who started work on the project after he read the Aldiss book in '83),and Steven Spielberg who's long list of intelligent blockbusters made him the perfect person to bring this story to the screen. I could, I believe see the story boards and concepts Kubrick developed and I could also see the sensitivity that Spielberg added to scenes and characters. These two things are not entirely separate in good Science Fiction. All good science fiction has some human sensitivity in it otherwise it would just be a horror film. The script reflects some of the darkness and coldness that sometimes underlies each character human and machine, there is no fear of this in the story. This darkness draws us on in the story. The visual effects are stunning and come darn close to genius. The story line takes us in and the visuals make it almost real. A.I. Is a good union of two great film makers., 1 July 2001 Author: John R. Armstrong ([email protected]) from Chicago I wish I had Mr. Mannings grip of syntax, but all in all at the end of the day it's good science fiction and a good story too. I beleve that Stanley Kubrick's choice of asking Steven Spielberg to make this film was the kind of genius that Kubrick showed in all his work. It is a tribute to both men that they saw a vision of something and worked toward it's creation. I think they came to a great place in film making. Future classic…?, 26 September 2001 Author: Chris Harrison ([email protected]) from Wiltshire, England First of all, once again I think the critics have got it wrong. Like Blade Runner and 2001, this is a film that will be properly judged in 10/20 years or maybe more. Its way ahead of its time, the combination of Kubrick and Spielberg is unique, its unlikely we will ever see anything like this again. Did I like it? The answer would have to be yes, the mix of styles will put many people off, but I found it to be unlike anything I have ever seen, and all the better for it. The story is by no means original but everything else about the film is so different that this can be forgiven. To get one thing straight, Kubrick decided Spielberg would be the better man for directing it, and I think this was a very wise decision, many of the ideas are pure Kubrick, but Spielberg has the neccassary attributes to direct such a film, and great credit has to go to Kubrick for handing it to him. Haley Joel Osment is amazing, the robot/human emotion must be amazingly difficult to pull off effectively, but Osment does it with such relative ease to the point where you do believe he is a robot, not that he is just acting as a robot. Jude Law is excellent, and so to is Frances O'Conner. As for the ending, as brave as an idea it may of been to end on a downbeat note at "the first ending" I think the slightly upbeat ending is much more appropriate. All in all I would say A.I is a wonderfully unique film that should be judged for what it is, a film. Forget everything about the Spielberg/Kubrick "issue" and just sit back and take in a truely amazing film. You may hate it, you may love it, but no matter what, it will effect your emotions in some way and you will discuss the film afterwards. This film will be truely judged in 20 years or so, when it can be assessed purely as a film, as with 'Blade Runner', '2001', and even 'The Thing', it will get better with age. A.I.–A Film With Heart And Brains, 6 July 2001 Author: virek213 from San Gabriel, Ca., USA Steven Spielberg's latest movie A.I.: ARTIFICIAL INTELLIGENCE, which he took up at the encouragement of the late, great Stanley Kubrick, has caused widely divergent comments. And I can't help wondering if the most scathingly negative reviews of this movie aren't just an open desire to see Spielberg crash, as he had with "1941" and HOOK. For my money, Spielberg has done it again with this futuristic science fiction drama, regardless of what the negative reviews say. Its story of a robot boy (Haley Joel Osment) who desires to be a real boy in a far future in which humans (Orgas) and machines (Mechas) exist side-by-side but not always in harmony is very much modeled on the Pinocchio story, though it is actually based on a 1969 short story by Brian Aldiss. It raises some interesting and sometimes unsettling moral dilemmas that few films of late have done. Can a parent love a child, even if that child is not real? What might happen if that child desired to be real? How will Man and Machine be able to co-exist? Like all intelligent science fiction, such as Kubrick's own 2001: A SPACE ODYSSEY and Spielberg's own CLOSE ENCOUNTERS, A.I. forces us to ponder where we've been and where we might be going. It's an incredible combination of Kubrick's icy intellectual and clinical mind and Spielberg's emotional heart; and I think it works exceedingly well. But it forces the viewer to not leave their heart and brains at the door, which I think is why it is being so negatively received in this season of mindless summer movie fare. It may be too intelligent for its own good, and many don't have the 145 minutes of patience needed for the movie. I did, however; and I would call this an absolute masterpiece. Out of ten stars, give this one a 10. A mind-blowing movie that will grow in stature, 6 March 2002 Author: Magnus ([email protected]) Wow! That was all I could say when I walked out of the theatre after my first helping of A.I. I wasn't sure whether I loved the movie or was disappointed by it, I just knew it had had a huge effect on me. Having seen it a further three times at the cinema, I still find fault with it, but I keep returning to it, thinking about it, discussing it, and it has left me with a feeling that, five months later, I've still not shaked. In many regards, this movie reminds me of Fight Club, not in terms of theme or emotional content, but due to it's level of craft, the daring nature of it's execution and the fact that I keep re-evaluating it. All the things that are possible to comment objectively on (if anything ever is) are handled expertly. The performances are top-notch, especially Haley Joel Osment as David, the little robot child that longs to be human. The effects are not only very impressive, but are integrated into the story rather than calling attention to themselves. Januz Kaminski's photography is, as one has come to expect, impressive, and the movie is unusually unpredictable for such a big-budget experience. In my opinion, John Williams' score is among his most impressive. I listened to it on CD for three weeks before seeing the movie, and thought it was fantastic, but once the movie started rolling I completely forgot about the music. That says a lot about both the score and the film itself. I also liked the three-act structure, in which the tone and feel of the movie changes drastically as the story progresses. Part one, as one reviewer noted, feels like a cross between E.T. and The Shining, an odd, but very effective combination. The second part of the movie is awash with Spielbergian imagery, but with the darkness and coldness of a Kubrick movie. And the last part is a head-scratcher that has the intellectual resonance of most Kubrick-films, and the emotional tone of something like Cinema Paradiso. I purposely refrain from saying that it is as emotional as Spielberg-films, because I think the director's complexities, the dark aspects of his style, and the occasional subtleties of his work are often overlooked by critics. It's difficult to discuss the themes of the movie without spoiling it, but while many people criticised the movie from having several false endings, I felt that each continuation added layers of though and complexities that the movie would have lacked had it ended sooner. I have come to the conclusion, over the past months, that I do love the movie and that it is my favourite film of 2001, even ahead of The Fellowship of The Ring and Amelie. In other words, buy it on DVD, it's more than worth it. ============================================================== All of the above from IMDB.
●软木地板的特点就是密度相对较大的，而且静音效果好，但是要特别注意一个就是不能承受太重的物件的，长时间的承重可能会损坏板面的，这个要特别注意；而且软木地板是将软木用胶粘压在一起的，表面相对粗糙，带有沟纹，所以更容易存灰，需要在清洁打理上更精心一些。普通软木地板的防水、防腐性能不强，水分更容易渗入。因此要防止油墨、口红等弄在地板上，否则污物渗入不易清洁。如没有经过防潮、防水处理，在比较潮湿的环境中，软木地板还易发霉，所以，要保证在合理环境湿度下使用。张健康指出，表面刷过漆的软木地板，因为漆将软木的缝隙封闭起来，清洁就更为容易，而没有刷漆的，地面有水就要及时清理，但不要用太湿的抹布去擦，否则水分会顺着缝隙进去，出现“黑缝”的问题。软木与其它木制品一样，会因气候改变而出现热胀冷缩现象。 极端的环境条件指的是暴露在高温、潮湿或干燥的环境里，这可能导致软木收缩，接缝处可以肉眼看到小缝隙。湿度一增加，软木地板就会膨胀。一般来说，软木地板比实木地板性能更稳定。木板膨胀时，它随着木材的纹理膨胀，因此膨胀集中在同一个方向上。软木的膨胀或收缩则是在同时向各个方向进行的（所以它的热胀冷缩是向各个方向均衡的）。如果正确适应了环境条件并进行了正确的安装和维护，软木地板的膨胀和收缩会很不明显。 若使用三、五年后个别处有磨损，可以采用局部弥补的办法，即在磨损处重新添上涂层。方法也很简单，在磨损处轻轻用砂纸打磨，清除面上的垢物，然后再用干软布轻轻擦拭干净，重新涂制表面涂层，或在磨损处覆贴薄膜。
●工程承包商分:工程总承包,施工总承包,施工承包,劳务分包.弱电工程中与此大同小异.（1）工程总承包：承包范围最广：从项目资金管理、勘察、设计、施工（包括各项目、各专业）、请施工监理、办理工程竣工验收手续，提交各项工程资料。最后交钥匙给业主，直接对业主负责。业主可以委托他方做工程总承包，也可自已管理，分项发包。 （2）施工总承包：从业主或工程总承包处接受投资及施工图，负责整个工程所有分项；各个专业的全部施工任务，接受业主及业主委托监理及质量监督部门的监督。办理工程竣工验收手续，提交各项工程资料。最后交钥匙给业主，直接对业主或业主委托的工程总承包负责。施工总承包单位，可以将部分分项、分专业工程再分包给其他施工单位分包，但要管理、监督分包单位的工作质量，对分包单位的施工质量向业主或工程总承包负责。 （3）施工承包：是从业主或施工承包处分包部分单项工程、某专业工程进行施工。接受业主（施工总承包）及业主委托监理及质量监督部门的监督。办理工程竣工验收手续，提交各项工程资料。最后交钥匙给业主或施工总承包，直接对业主或业主委托的施工总承包负责。 （4）劳务分包：从施工承包单位手中分包某个工序的劳务工作。只包工不包料。系统集成商，英文System Integrator，是具备系统资质，能对行业用户实施系统集成的企业。系统集成指一个组织机构内的设备、信息的集成，并通过完整地系统来实现对应用的支持。系统集成包括设备系统集成和应用系统集成，因此系统集成商也分为设备系统集成商（或称硬件系统集成商、弱电集成商）和应用系统集成商（即常说的行业信息化方案解决商）。设备系统集成商进一步细分为智能建筑系统集成商、计算机网络系统集成商、安防系统集成商（安防工程商）。 系统集成商要求具备有信息产业部、建设部、公安部相关资质和重要厂商的技术工程师证书。对于大型项目的系统集成，将通过招标方式选择总包商，由总包商再进行子系统的分包。小型项目的系统集成将通过方案建议书评议、产品选型简单流程进行。
●弱电箱指用于通信、智能控制等用途的箱式设备。里面的电压不超过36V安全电压。 强电箱，呵呵，就是配电箱了。 配电箱里面的电压一般为380/220V，用于电能配送，下面可带照明灯、风机、水泵等各种电气设备。
●弱电一般是指直流电路或音频、线路、网络线路、**线路，直流电压一般在32V以内。家用电器中的**、电脑、电视机的信号输入（有线电视线路）、音响设备（输出端线路）等用电器均为弱电电气设备。 与强电的区别 强电和弱电从概念上讲，一般是容易区别的，主要区别是用途的不同。强电是用作一种动力能源，弱电是用于信息传递。它们大致有如下区别： 交流频率不同 强电的频率一般是50Hz（赫），称“工频”，意即工业用电的频率：弱电的频率往往是高频或特高频，以KHz（千赫）、MHz（兆赫）计。 传输方式不同 强电以输电线路传输，弱电的传输有有线与无线之分。无线电则以电磁波传输。 功率、电压及电流大小不同 强电功率以KW（千瓦）、MW（兆瓦）计、电压以V（伏）、KV（千伏）计，电流以A（安）、kA（千安）计；弱电功率以W（瓦）、mW（毫瓦）计，电压以V（伏）、mV（毫伏）计，电流以mA（毫安）、uA（微安）计，因而其电路可以用印刷电路或集成电路构成。 强电中也有高频（数百KHz）与中频设备，但电压较高，电流也较大。由于现代技术的发展，弱电已渗透到强电领域，如电力电子器件、无线遥控等，但这些只能算作强电中的弱电控制部分，它与被控的强电还是不同的。