中国驻日本大使馆再次提醒来日游客及在日同胞注意安全
《依依向北风》收官在即 演员张雅茹饰演“刘天瑶” 一角展现多面可塑性
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).
中国联通精彩亮相2025世界VR产业大会 全景展示AI+VR融合创新成果
《沉默的荣耀》热度持续升温 荧屏之外掀起跨越海峡的情感共鸣
重庆丰益肛肠医院：为什么会长肠息肉呢？
韩国航空敲定巨额订单：订购 20 架波音777-9和20架787-10
载人登月用上了“六代机”同款技术，怪不得会这么快
Kiwa为“腾越电子”颁发MID认证证书，叩响欧盟市场新篇章
虽然追逐的光芒，但唱歌走在时代前列的歌曲《异生网》总是被债务追赶的三人乐队“银河”，因失误找回了通过二手交易卖出去的吉他。