InIn accordance with the regulations as stipulated in Circularon Some Relevant Issues in Levying Tariff and ImportTaxes on Printed Matters Conducted in HongKong andMacao(Promulgated by Decree No.9 of Tariff Regulation...InIn accordance with the regulations as stipulated in Circularon Some Relevant Issues in Levying Tariff and ImportTaxes on Printed Matters Conducted in HongKong andMacao(Promulgated by Decree No.9 of Tariff Regulation Com-mission in 1997), the regulations regarding import duties as stipu-lated in Circular on Measures for Strict Control over Printing inHongKong and Macao, submitted by State Economic Commis-sion, State Planning Commission and Ministry of Finance andapproved by the State Council in its Decree No. 141 in 1985, shallcease to be effective as of July 1, 1997.The Customs, as of July 1, shall levy tariff and import taxesin line with the legal tax rate on inland printed matters conductedin HongKong and Macao. All former pertinent provisions shallbe null and void at the same time.展开更多
Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies,...Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies, however, Hollywood typically offers a more hopeful, comforting image of a family, at the beginning somewhat less than perfect, being restored as a result of those same forces. This paper concentrates on The Spiderwick Chronicles （2003-2004） by Tony DiTerlizzi and Holly Black, Susan Cooper＇s novel The Dark is Rising （1973）, and Lewis Padgett＇s story ＂Mimsy were the Borogoves＂ and the recent movies based （more or less loosely） thereon, Mark Waters＇ The Spiderwick Chronicles （2007）, David Cunningham＇s The Seeker （2007）, and Bob Shaye＇s The Last Mimzy （2007）, showing how the differences between the movies and the print-stories they are based on reflect an attempt on the part of the movie-makers to reaffirm and reinforce the family bonds that are to some extent sundered in the original stories展开更多
文摘InIn accordance with the regulations as stipulated in Circularon Some Relevant Issues in Levying Tariff and ImportTaxes on Printed Matters Conducted in HongKong andMacao(Promulgated by Decree No.9 of Tariff Regulation Com-mission in 1997), the regulations regarding import duties as stipu-lated in Circular on Measures for Strict Control over Printing inHongKong and Macao, submitted by State Economic Commis-sion, State Planning Commission and Ministry of Finance andapproved by the State Council in its Decree No. 141 in 1985, shallcease to be effective as of July 1, 1997.The Customs, as of July 1, shall levy tariff and import taxesin line with the legal tax rate on inland printed matters conductedin HongKong and Macao. All former pertinent provisions shallbe null and void at the same time.
文摘Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies, however, Hollywood typically offers a more hopeful, comforting image of a family, at the beginning somewhat less than perfect, being restored as a result of those same forces. This paper concentrates on The Spiderwick Chronicles （2003-2004） by Tony DiTerlizzi and Holly Black, Susan Cooper＇s novel The Dark is Rising （1973）, and Lewis Padgett＇s story ＂Mimsy were the Borogoves＂ and the recent movies based （more or less loosely） thereon, Mark Waters＇ The Spiderwick Chronicles （2007）, David Cunningham＇s The Seeker （2007）, and Bob Shaye＇s The Last Mimzy （2007）, showing how the differences between the movies and the print-stories they are based on reflect an attempt on the part of the movie-makers to reaffirm and reinforce the family bonds that are to some extent sundered in the original stories
