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大象一品二品的區別:深度解析與應用-冰雪手游網中字無刪減The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown. Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath. The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. L?nborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments. In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merl?se Church. On 4 July, Dreyer went in advance to Ringk?bing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast. Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive. The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.

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該動畫片為紙偶動畫片。從前，一個老漢和孫子牽著一頭驢去趕集，一路上就騎驢與否、怎樣騎等問題產生了諸多困惑，也鬧了不少笑話。 起先，驢如何也不往前走，祖孫倆為此大傷了一番腦筋；遇到騎驢趕路之士，兩人被他嘲笑有驢不騎是傻瓜，老漢認為此話有理遂讓孫子騎驢上路；書呆子見小孩子悠閑騎在驢上，老人卻氣喘吁吁趕路時，講要尊老，老漢也覺有道理，和孫子調換了位置；孫子半路不小心絆倒大哭，恰被信佛老太瞧見，老太數落老漢，老漢又覺她的話有道理，再讓孫子騎驢；書呆子趕上來，和老太就誰該騎驢發生爭執，老漢決定和孫子一起騎驢，哪知挑柴的農夫看到后，又責怪他不愛惜牲畜。不知如何是好的老漢左思右想，決定和孫子抬驢上路，可是這樣一來，新問題又有了。

（總臺央視記者 大象一品二品的區別:深度解析與應用-冰雪手游網）?