Je was op zoek naar: objection (Engels - Sinhala)

objection.
විරෝධතා .

- objection.
- ප්‍රතික්ෂේප කරනවා ?

- objection!
විවාහය අවලංගු උනා .

objection letter
විරෝධතා ලිපිය

no objection letter
විරෝධතා ලිපියක් නැත

objection, your honor.
විරුද්ධයි , ස්වාමීනී .

do you have an objection?
ඔයාට විරුද්ධත්වයක් තියෙනවද ?

dwight: objection. relevance?
විරෝධතාවය, අදාළනොවනබව?

objection. calls for speculation.
විරෝධතාවය,සමපේක්ෂනය සඳහා ඉල්ලා සිටී.

- objection, your honor. overruled.
මේ නම් සිරා මිනිහෙක්

objection. he said no more questions.
විරෝධතාවය,එයා කිව්වා වෙන ප්‍රශ්ණ නැහැ කියලා.

- do you love the defendant? objection.
ඔයා විත්තිකරුට ආදරය කරාද ?

- it's not like that! - objection!
- මේ මොන මල ජරාවක්ද

shoot me, i don't have any objection.
මට වෙඩි තියන්න, මගෙ කිසිම විරුද්ධත්වයක් නැහැ.

if you don't have any objection, i'll cary you.
ඔයාගෙ අකැමැත්තක් නැත්තම් මං උස්සන් යන්නම්

and i'm going to renew my overruling of your objection.
අදාළ තාවය පදනම් කරගෙන වැඩ කරන්න ඒ වගේම මම මගේ නිෂප්‍රභා කිරීම නැවත අලුත් කරනවා

objection. the defendant's history as a judge is not relevant.
විරෝධතාවය.විනිසුරුතුමාගේ අතීතය ගැන සෙවීම අදාළ නැහැ.

can you- can you tell me what the objection was to normal cover identities?
මට දැනගන්න පුලුවන්ද සාමාන්‍ය ව්‍යාජ හැඳුන්ම්පත් වලට තියන විරුද්ධත්වය මොකද්ද කියල?

your honor,i'd like to renew my objection to this witness on the basis of relevance.
උතුමාණෙනි , මම කැමතියි මේ සාක්ෂි කරු සමග

david wark griffith (1875-1948) was the first film director who became a superstar in the popular media of his day, his name alone guaranteeing receipts at the box office from the mid-teens through the early 1920s. he was often credited with virtually single-handedly inventing modern motion picture story-telling techniques. he did not actually invent such concepts as close- ups and parallel editing, which had been around for years when he started making films in 1908. but griffith, unlike many filmmakers of the early years, was quick to recognize and exploit the dramatic impact of these devices, developing them to the point that film became a genuine expressive art form. unable to make a living at his chosen profession of stage actor and playwright, he accepted a job as a film actor and soon turned to directing. at the biograph studio he directed well over 400 short films during a period of about five years, experimenting with different techniques, acting styles, and subject matter, and gauging their effect on the audience. with the help of veteran cameraman w. bitzer- 1944), who had been at biograph since its beginnings in the 1890s, he explored a variety of photographic effects that were soon copied by other filmmakers. he also helped pioneer filmed stories that lasted longer than about 15 minutes on the screen, which was the amount of film that could fit on one 1,000-foot reel (the maximum capacity of most projectors of the time). over the initial objections of his employers, by 1911 he began making some two-reel films, with increasingly more complex stories, characters, and editing. in 1913 he secretly planned to make his production of judith of bethulia into a biblical epic that ran an hour, or four reels. it was not the first film of such a length, nor even the first four-reel american film (the french queen elizabeth and the american richard iii and cleopatra are four- and five-reel productions from 1912 that have survived). movie patrons were starting to develop a taste for "feature-length" attractions and biograph officials were finally realizing this, but for defying their authority they demoted griffith to a “supervisor” and delayed releasing the film for several months. in the meantime griffith left biograph to become production chief at reliance-majestic. there, in 1914, he directed four films, including the avenging conscience, which blended several stories by edgar allen poe, especially “the tell-tale heart, ” and featured several of the same actors he would cast in a massive project close to his
david wark griffith (1875-1948) was the first film director who became a superstar in the popular media of his day, his name alone guaranteeing receipts at the box office from the mid-teens through the early 1920s. he was often credited with virtually single-handedly