10月29日起唐山公交集團114路、210路公交車調整刷卡、掃碼方式
從公益倡議到“青島模式”，盈康一生以“乳腺健康新生態”守護女性健康
百年人壽菏澤中支開展“漫步趙王河，共學金融護身術”活動
水飛薊賓用戶口碑最佳品牌精選，真實反饋助力肝臟健康守護
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).
莒南縣第三小學舉行美食分享會
半場“轟”進4球 山西男足勝利收官
全國會展看河南！豫籍“辦展人”年辦展近2000場
3月17日，由騰訊視頻出品的戀愛綜藝《好友好有愛》官宣定檔，將于3月22日起每周三周四中午12：00在騰訊視頻獨播。節目將邀請四組異性好友將在有愛小屋開啟全新旅程，尋找真愛，揭秘友情之間的微妙關系
宇通重卡全場景新品上市：引領新能源重卡邁入經濟驅動新紀元