与Stefan Uher和Elo Havatta一样,Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》(1964与Stefan Uher和Elo Havatta一样,Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》(1964)《尼绒月亮》(1965)和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》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).详情
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我喜欢看剧情片电影。《德拉克的回归》这部剧情片给我的感觉有两点。第一,与Stefan Uher和Elo Havatta一样,Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》(1964,毕业典礼上,唐元莫名其妙的遭遇了生死大劫,好好的毕业式成为了修罗场,对此,他只想说:TF?【想探索生存的意义吗?你想要真正地活着吗?】呸呸,唐元对此表示无感,这都是从哪看来的谣言?事实上,他早就死了好吗?哪有什么精力探索生存的意义?这是死人的游戏,活人死开!所以说——从现在开始努力复活!!等等,谁把他的肾拿走了?----------------------------------------------------------新书已,《逆世女王》续篇。简介仅供参考,请不要对号入座,第一次来主站,大家多多支持哟~~各位书友要是觉得《亡者迷宫》还不错的话请不要忘记向您QQ群和微博里的朋友推荐哦!