歐美zozozo

李強將出席第十六屆夏季達沃斯論壇

【“四個100”文化導師下鄉計劃】非遺技藝進校園，文港毛筆傳文脈——張公鎮社科普及周讓毛筆“圈粉”青少年

風箏的“破界”與“賦新”

想讓假期狀態滿分？從一夜安睡開始！“先安神再助眠”是關鍵

與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風格的黑白影片甚至間接影響到了后來法國導演格里耶在捷克拍攝的兩部影片《說謊的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).

在某轄區發生了一起搶劫案。由于嫌疑人具有一定的反偵查能力，使刑警們掌握的線索一次次中斷。但刑警們毫不氣餒，不忘初心，夜以繼日地奔走四方深入調查，繼而尋找到新的線索，刑警順藤摸瓜先后將兩名搶劫案犯抓獲歸案，審訊中二人對搶劫供認不諱。但刑警并沒有就此結案，因在偵破此案過程中發現主犯牽涉一件賭博案，其交代是因欠下巨額賭資才鋌而走險實施搶劫，賭場設在旅游船上。刑警喬裝打扮上船參賭，里應外合將賭窩搗毀。

國產航空裝備驚艷亮相！這個訓練器讓飛行體驗觸手可及

數字宋莊：藝術與科技的雙相賦能 共鳴時代前沿想象

烏稱使用無人機襲擊俄韃靼斯坦共和國無人機存儲倉庫