德拉克%)的回归 — HD中字

与Stefan Uh- er和)%]El$o ! Hav^;at,)ta一样，_[,Edua#rd Grecner /也是60年代斯洛伐克新浪潮电影的缔造者]@ 之一。他的三$!部影片《一周[(+七天》%* （ *1*=964）《尼*\绒月亮》（1  965）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 f
;eatu?re fil@)/ms is res@[er,ved for Ed[-@$uard Gr!
ecner, the cre:ator of /just one!@ g^ood #$film, Dragon  Returns (Drak sa vracia, 1_967), t\.itl)_ ed after the nickname of the le,($ad chara cter. Af ter hi#s initial work wi
\$th, !Uher, Grecner made(; his m`#ark as a pr /^oponen, [t*/ of the so-called intellect@\]ual fil(./m, the antithesis of th]?*e sociologically, or rat@he/ r, socia!\\lly critical) film. Gr+e?`-`(cner's great role mo)del was Ala )n_, R( \esnais, a% young-[ F ]r(\+ench filmmaker who^+% sought to introduce S+%lovakia to$ : the ide;a of film as a labyrinth` i:[n+_ wh:(^ich: meanin [gs are crea+=ted n ot by @[`%stories, (but\/ by %*complex/  ^con:figu\ratio`_ns of dialog ue, shots;, and various;% lay,.-^ers_` of time, ]thus differentiating fi%lm from%) b`%oth  \litera-%ture and theater. `I/n Drag$/on R:+etur%(n;=s―the story of a  @sol;ita! *ry hero wh
(o is needed b!=y villager =s livin$!g f #\ar in th % e mountains _, b,ut w`-ho =*!is rejected by them at the %sam# e time bec_^au(=se of_.* his detachment―Gre c*ner brough(
t the %)t#!r$#adition of ly=ricized prose to  life through%?+ a whole @s_$)eri.:/es of for:@mal(/ ae
sthetic techni/ques. Alain Robbe-Grillet imme@%diat$^/ely d+#^eveloped this ide-a i??.\n the f@i: lm shot in Bratis#lav [a The Man W ho Lies (Slovak Muz[], ktory luz#@e; French title/  L' *ho ]$mme qu *=)@i. me+nt; 19$6
#8), and perfec
te=@d it in E,den#! and After  (Eden a po\t%\_)om, 1970).