有灵感
发表于 2025-3-21 18:15:48
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走路左晃右晃
发表于 2025-3-21 23:57:30
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危机
发表于 2025-3-22 02:09:39
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liaison
发表于 2025-3-22 04:52:23
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音乐戏剧
发表于 2025-3-22 09:05:04
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Grievance
发表于 2025-3-22 16:15:37
,The Partisan (1943–74), configuring an idiosyncratic cinematic genre, Partizanski Films, about their real and imaginary deeds. Films dealing with resistance in the USSR provided a platform from which notions of heroism were challenged, offering outlets for unfinished mourning, as in Andrei Tarkovsky’s . (1962). Larisa Shepitko’s . (1977) and Elem Klimov’s . (1985).
colostrum
发表于 2025-3-22 18:07:17
,The Collaborator (1969–74),s . (1974) and Joseph Losey’s . (., 1976). These films make use of Hannah Arendt’s ‘banality of evil’ and Brechtian distance to cast these liminal historical actors in order to challenge moral binaries and the mythology of heroic, national resistance.
Sad570
发表于 2025-3-22 22:25:55
,Holocaust Testimony: Survivors, Ghosts and Revenants (1947–2002),f Holocaust films were produced in the Eastern Bloc, and include Wanda Jakubowska’s . (1947), and Ján Kadár and Elmer Klos’ . (1965). The trend had faded away by the time that the paradigmatic survivor film, Roman Polanski’s . (2002), was released.
Abrupt
发表于 2025-3-23 01:48:38
,The Jewish Resister (1987–2015), their historical vindication. This transformation was consolidated by the time that Jon Avnet directed a television production about the last months of the Warsaw Ghetto, . (2001), and culminates in Edward Zwick’s adaptation of the struggle of the Bielski’s partisans in Soviet Belarus, . (2008).
Melanoma
发表于 2025-3-23 06:08:38
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