- 电影
欧洲的某个地方
HD中字
1948剧情片
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, sc
riptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are li nked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the me tamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an ex pression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form. - 电影
匈牙利狂想曲|Hungarian Rhapsody
正片
1979剧情片
Hungarian Rhapsody (Magyar Rapszodia) is the first chapter of director Miklos Jancso's two-part dramatized history of Hungary, from the turn of the century, to World War II. The story is told from the vantage point of Gyorgy Cserhalmi, the son of a wealthy landowner. During World War I, Cserhalmi is instrumental in quelling an army mutiny. Upon realizing that he has been responsible for the deaths of several peasant consc
ripts, Cserhalmi vows to be a "man of the people" when hostilities cease. He joins a communist cell, but finds he is woefully out of place. Throughout the 1920s and 1930s, Cserhalmi's political viewpoint is governed almost exclusively by his vacillating emotions. The film is enhanced with a "Russian Roulette" leitmotif, not unlike the fatalistic throughline of Michael Cimino's The Deer Hunter. Director Jancso followed Hungarian Rhapsody with Allegro Barbaro; both films were originally released in tandem, then redistributed as separate features. ~ Hal Erickson, All Movie Guide - 电影
时代精神3:迈步向前
英语
2011纪录片
理论一:中性社会政治或者叫做现代社会政治是研究自我与他人之间的利益共同点与相异点,从而形成的利他或利己的主观观点,进而由此观点划分利益团体,自反组成阶级社会。 理论二:良性社会政治或者叫未来社会政治的终极意义是研究人与人,人与世界之间的共性和独立性,基于此状况而产生的利 于个体独立的,所有人的良性社会【(物质前提:自动化与循环资源经济的建立)良性社会是有一群不固定的志愿者组成的推动人类科学发展的公益社会,并不强迫他人加入社会劳动而是鼓励将个人劳动的成果与社会分享。其他不固定的不参与者也可以从中得到发展成果。】 理论三:科学影响人类这个生物群体,而社会政治影响生命个体。【长期来看,是说自然科学对于我们的整个社会科学产生了缓慢而巨大的影响。正如马克思所说:生产关系生产关系决定分配原则,生产关系上的变动总是因为起到最终作用自然科学的发展速所引起的。而现代社会政治只不过是在研究如何分配利益,保护利益而已,无论是物质上还是精神上,进而形成了主观的束缚他人思想的一系列的理论。这些理论总是包含着人们对于自然现象的表现的主观臆想,(例:社会进化论就是典型代表,就是通过从自然世界的某些现象中提炼的关于人类社会的理论。)】 理论四:纵观人类文明,人们总是在不断超脱自然法则。(这股超脱力量的源泉总是来源于自然科学,重来不是基于毫无物质基础的社会理论。) 理论五(重点):现代社会政治逐渐成为了对信息社会产生莫大影响的“新宗教”.【大量人力物力投用到了维护“新宗教”的斗争当中,浪费了大量人力、资源。(例:军人等) 违背了良性社会政治的意义,必然会像王权一样被人们遗弃。】 理论六:现代社会政治牢牢控制着个体思维模式,都不约而同的影响或抑制自然科学的发展。(“新宗教”的斗争与现代社会政治已经到了濒临崩溃的地步,因为其本身就是人类个体所臆想出来的产物。人们越是接近真理就越发觉得这个幻境濒临破灭。) 结论:科学的进步必然会使现代社会政治所淘汰。
- 电影
太空大战无敌舰队出击
英语
2021科幻片
yle=color: rgb(48, 48, 48); f> 2420年,在外星人和强大的太空巫师奴役了人类村庄之后,一群反叛者驾驶着宇宙飞船,组织反击他们的外星人领主
- 电影
- 电影
玻璃虎3
高清
◎译 名 玻璃虎3 ◎片 名 GlassTiger 3 ◎年 代 2010 ◎国 家 匈牙利 ◎类 别 喜剧 ◎语 言 匈牙利语 ◎字 幕 中英双字 ◎IMDB评分 7.3/10 (467 votes) ◎文件格式 XviD + AC3 ◎视频尺寸 640 x 272 ◎文件大小 2CD ◎片 长 112 Min ◎导 演 Péter Rudolf ◎主 演 Péter Rudolf ....Lali Gábor Reviczky ....Gaben Imre Csuja ....Csoki Sándor Gáspár ....Róka József Szarvas ....Cingár Lajos Ottó Horváth ....Sanyi Iván Kamarás ....Dr. Ferenc Csopkai Gerda Pikali ....Fanni Laura Ruttkay ....Nóra Erika Szabó ....Niki éva Bandor Zoltán Barabás Kis 朱利·芭丝蒂 Juli Básti ....Joli árpád Besenczi ....Rezs? Gábor Cs?re Zoltán Hangodi István Hirtling ....Husband Péter Kálloy Molnár ....Mogyoró Ferenc Lengyel Gy?z? Szabó Tibor Szilágyi ....Oszi Teri Tordai Auguszta Tóth ....Wife ◎简 介 碰到6个疯狂的朋友:Lali 美国的狂热粉丝 拿着三明治站在路边 被称为纸老虎;Gaben偷车;Fox是个仪表堂堂的骗子;Sanyi是个傻了吧唧又无家可归的人;Coco讲起话来没完没了,Slimmy总在吹萨克斯管挑战大家的神经现在出现了新角色:3个美少妇和1个律师事情开始发展的越来越快 你和你的朋友准备踏上生命之旅吧。
- 电视剧
请讲普通话第三季|英语课/请讲普通话 第三季
HD中字
发生在英国伦敦一个课堂里的故事。这个课程是教外国人学英语。想象一下一个课堂里有一个意大利人,一个希腊人,一个西班牙人,一个日本人,一个中国女孩,一个印度女孩,一个巴基斯坦人,一个印度锡克人,哦,还有一位法国女郎,他们的英语都不太好...