德拉.克的回归

剧情简介

　　与S,
`\tefa/n Uher和Elo#: Hav%;a_)t)% t;*a一样，Eduar^d =$Gre :!cner也_/是60年代斯洛伐克新浪潮电影/+-:的缔造者之一。他,的三部影片《一周七天》（[*;1964）《尼绒月亮》（1965
-）和这部《徳拉克的回=+归》都是斯,-)洛伐克新浪潮;:电/影的(+代表+!) 作。这部叙事方法独特带有明显 .意=
识流风格的黑白影片,\甚至间=接影响到了后+-?)来法国导`演格里耶在捷克_-拍摄的两部影片《-((说谎的人》和《- Eden and After》。　
　A sp#ecia$*l place in the development o _f feature film_ s .i;s reserved for Eduard Gr]-`=ecner, the crea)tor of just o ,ne good fi+:l=\ %m, Dragon Retur;.ns (Drak sa vracia,/% 1967), )[[-tit= led a;/fter th(e nickname of _the lead characte*r. Aft!?er his +=ini$:,tial work with Uher,.- G[recner. made his ma#r ;`k $^!as%)? a prop onent of( t`%-he so-called "int.ell-ectua_l&qu\^ot#, f$ilm, the antithesis of` th]e * soci`#o?logically, or rather/, ^^=socially critical fi;lm. ,+\Grecner&=/#3#9s grea`t role model
 was+ Alan : Resn,ai.s /
, a: =young French filmm-(aker ^]_who sought t;o introduc @(e Sl=:o!.`vakia to the idea of film as a @labyrin#`*th in which me $;)!anings are cr]eated: not by sto@;[ ries, but by compl, !ex configuration(),s of dialogue, shots, and vario/us laye, rs of time:.]\, thus di,fferentia];ting film \.$fro:
-m bot+h literatur^[e and theater. In Drago`n Returns―the story of a sol# itary h_ero .^who is needed by villagers livin*(g =?;*far in# the mo%untains,:_/ but$+_ who is rejec]ted by @ +them at$ t-?he sam(\e
, time \be`%@cause_? $of his detac?hment―Gre^c%]ner@^ brought], th.,e traditi)`[o#n of lyr)iciz,/ed prose to life through-_ a /+whole seri:_es)^@ of for-ma.\l aesth? etic techniques. Alain Robbe-Grill. et@- immediate?`($ly `developed -@this idea .: in the f/$
il@m sho `[t in?`@ Bra\tislava Th!^(=e Man )\,Who L!?ies (Slovak: Mu
]:z, ktory luz!e:^ French: title: L/*=9h
?omme qui ment 19)(.68),)!@ and perf_ected
! it in: Eden and \!:Af? @/ter #(,E=^den =a=@+ p#`\otom, 1#97 *[0).