雷電將軍被爆 JK動漫網站引發熱議,網友紛紛討論其影響與未...

韓國多地發出瘧疾警報

東湖評論： 年輕人應理性看待“情價比”消費

為過年增添氣氛？越南網友的藝術創作，讓人覺得很難崩了

萬笙齊鳴！黎平肇興侗寨金秋盛會火熱上演

維多利亞時代的英國小鎮萊姆，年輕的紳士查爾斯（杰里米艾恩斯 Jeremy Irons 飾）在海邊的懸崖上邂逅了一個神秘黑衣女子（梅麗爾斯特里普 Meryl Streep 飾）。聽當地人說，黑衣女子名叫

“兩節”吃購游 安全放第一

中超青島海牛平河南俱樂部酒祖杜康

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).

濟南市第一屆運動會駐濟高校大學生組乒乓球比賽圓滿收官