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导演:
主演:
赵泽文,张一山,小叮咚,胡天阳,丁柳元,谢孟伟,涩谷天马,韩英群,张政勇,祝新运,石小满,岳红,果靖霖,山崎敬一
上映:
2013
备注
HD
类型:
电影
剧情:
  《小小飞虎队》曾获得了大众电视金鹰奖最佳儿童剧奖,飞天奖三等奖等众多奖项。  几个主要儿童演员此前几乎都没有表演经验,为了挑选到合适的小演员,剧组在京、鲁、豫近40多所学校选择了三万多名孩子。  故事讲述了抗战时期的鲁南,交通员老吴(果静林 饰)在给山里八路军送情报的路上突遭日军的追杀,在万不得已的情形下他将情报编成两句暗语告诉了正在芦苇荡玩的小主人公:大壮(赵泽文 饰),自此,胆小、笨拙而又“一根筋”的大壮拉上同村的虎子(小叮咚 饰)和小银(胡天阳 饰)踏上了前途未卜的 送情报之旅………

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2010 其他
O somma luce
GiorgioPasserone
  转自:http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub  “The end of paradise on earth.”—Jean-Marie Straub  The 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.  “O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.  In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.  So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.  During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.  The mise en scène of what words exactly?  The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.  Is “Straubie” Greece?  This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich…
HD

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