正在加载视频...

视频加载失败

加载此视频时出现问题。这可能是由于临时网络问题，或视频可能不可用。

Closely Watched Trains (1966, dir. Jiří Menzel).

Alan Smithee

4,126 subscribers

103,368 次观看 • 6 个月前 •via X (Twitter)

艺术教育科学技术

Anya Rossi• Live Now

Private livecam show

0 条评论

暂无评论

原始帖子的评论将显示在这里

相关视频

From: Archangel Gabriel and Mistress Goose (1964), dir. Jiří Trnka, Krátký Film Praha

From: Archangel Gabriel and Mistress Goose (1964), dir. Jiří Trnka, Krátký Film Praha

Animation Obsessive

314,367 次观看 • 5 个月前

From: My Green Crocodile (1966), dir. Vadim Kurchevsky, Soyuzmultfilm

From: My Green Crocodile (1966), dir. Vadim Kurchevsky, Soyuzmultfilm

Animation Obsessive

534,528 次观看 • 2 年前

From: My Green Crocodile (1966), dir. Vadim Kurchevsky, Soyuzmultfilm

From: My Green Crocodile (1966), dir. Vadim Kurchevsky, Soyuzmultfilm

Animation Obsessive

143,692 次观看 • 7 个月前

From: Hurvinek's Circus (1955), dir. Jiří Trnka, Loutkový Film Praha

From: Hurvinek's Circus (1955), dir. Jiří Trnka, Loutkový Film Praha

Animation Obsessive

39,570 次观看 • 1 年前

Jiří Procházka explains why he trains the way that he does

Jiří Procházka explains why he trains the way that he does

The Dan Le Batard Show

61,917 次观看 • 6 个月前

From: Old Czech Legends (1953), dir. Jiří Trnka, Loutkový Film Praha

From: Old Czech Legends (1953), dir. Jiří Trnka, Loutkový Film Praha

Animation Obsessive

328,178 次观看 • 3 年前

Tokyo Drifter (1966) Dir. Seijun Suzuki

Tokyo Drifter (1966) Dir. Seijun Suzuki

Gangster Cinema Central

36,243 次观看 • 4 个月前

persona (1966) dir. ingmar bergman / eko eko eko (2023) dir. ilkay nisanci

persona (1966) dir. ingmar bergman / eko eko eko (2023) dir. ilkay nisanci

mery

100,291 次观看 • 3 年前

From: A Midsummer Night's Dream (1959), dir. Jiří Trnka, Loutkový Film Praha

From: A Midsummer Night's Dream (1959), dir. Jiří Trnka, Loutkový Film Praha

Animation Obsessive

115,316 次观看 • 2 个月前

Five Minutes Thrill (1966) - dir. Jozsef Nepp; Pannónia Filmstúdió

Five Minutes Thrill (1966) - dir. Jozsef Nepp; Pannónia Filmstúdió

Eastern European Cartoon General

420,808 次观看 • 3 年前

Persona (1966 dir. Ingmar Bergman) (Cinematography by Sven Nykvist)

Persona (1966 dir. Ingmar Bergman) (Cinematography by Sven Nykvist)

Ebru Yıldırım

36,978 次观看 • 2 年前

Paradise in a Tent (1966) - dir. Ivan Aksenchuk; Soyuzmultfilm

Paradise in a Tent (1966) - dir. Ivan Aksenchuk; Soyuzmultfilm

Eastern European Cartoon General

200,129 次观看 • 3 年前

A quiet moment from The Czech Year (1947), dir. Jiří Trnka, Kreslený a loutkový film Praha

A quiet moment from The Czech Year (1947), dir. Jiří Trnka, Kreslený a loutkový film Praha

Animation Obsessive

83,909 次观看 • 1 年前

Terry (#JayNorth) & Raji (#SajidKhan) MAYA (1966). Dir. #BOTD #JohnBerry

Terry (#JayNorth) & Raji (#SajidKhan) MAYA (1966). Dir. #BOTD #JohnBerry

Daniel Marley

100,790 次观看 • 29 天前

The battle winds to an end in Old Czech Legends (1953), dir. Jiří Trnka, Loutkový Film Praha

The battle winds to an end in Old Czech Legends (1953), dir. Jiří Trnka, Loutkový Film Praha

Animation Obsessive

180,955 次观看 • 2 年前

Blow Up (1966 dir. Michelangelo Antonioni) (Cinematography by Carlo Di Palma)

Blow Up (1966 dir. Michelangelo Antonioni) (Cinematography by Carlo Di Palma)

Ebru Yıldırım

41,094 次观看 • 3 年前

Remembering the great Czech Filmmaker, Jiří Menzel, on his 88th birthday! Jiří Menzel on Censorship & why Creation always needs limitations: "Interviewer: You’ve said in an interview that there is always some form of censorship that cinema has to face. Still, it seems that in Czechoslovakia in the 1960s, the apparatus gave artists a different sort of “impulse” than the state or system do today… Menzel: There were great films made under censorship, even in the United States, for instance when they were not allowed to show kissing. Freedom has this unlucky side effect that by making everything possible, you lack purpose and a direction. Creation always needs limits. If you’re writing a book, you’re composing a song, or directing a film, you have to make it. Creation comes out of conflict. If you don’t have borders, you babble nonsense. Of course, there are different sorts of constraints: even money is one. Every director working with any budget needs to adjust his vision to his budget. Or you have a vision that can’t be visualised the way you imagined. It’s all about conflict. Finally, there’s ideology, which goes through history like a red thread. There were taboos, rules passed on by church. Now that people are free, this freedom is problematic. It’s like when a young boy who wasn’t allowed to smoke and play cards leaves home: he will think that freedom lies in smoking and playing cards. That’s wrong. Until you grow up, your parents shouldn’t allow you to smoke or play cards. Interviewer: You can artificially set rules and constraints, like the dogma movement. Menzel: Yes, but that’s formal. It’s a limit that provokes and inspires, because you have to find ways to overcome it, but it’s about the language, not the content. The main thing is to think about what effect you are going to have on the viewer. Many dogmatic films are quite depressing." (Jiří Menzel's interview with Konstanty Kuzma, Eastern European Film Bulletin, 2013) Clip from: Closely Watched Trains (1966) Director: Jiří Menzel

Remembering the great Czech Filmmaker, Jiří Menzel, on his 88th birthday! Jiří Menzel on Censorship & why Creation always needs limitations: "Interviewer: You’ve said in an interview that there is always some form of censorship that cinema has to face. Still, it seems that in Czechoslovakia in the 1960s, the apparatus gave artists a different sort of “impulse” than the state or system do today… Menzel: There were great films made under censorship, even in the United States, for instance when they were not allowed to show kissing. Freedom has this unlucky side effect that by making everything possible, you lack purpose and a direction. Creation always needs limits. If you’re writing a book, you’re composing a song, or directing a film, you have to make it. Creation comes out of conflict. If you don’t have borders, you babble nonsense. Of course, there are different sorts of constraints: even money is one. Every director working with any budget needs to adjust his vision to his budget. Or you have a vision that can’t be visualised the way you imagined. It’s all about conflict. Finally, there’s ideology, which goes through history like a red thread. There were taboos, rules passed on by church. Now that people are free, this freedom is problematic. It’s like when a young boy who wasn’t allowed to smoke and play cards leaves home: he will think that freedom lies in smoking and playing cards. That’s wrong. Until you grow up, your parents shouldn’t allow you to smoke or play cards. Interviewer: You can artificially set rules and constraints, like the dogma movement. Menzel: Yes, but that’s formal. It’s a limit that provokes and inspires, because you have to find ways to overcome it, but it’s about the language, not the content. The main thing is to think about what effect you are going to have on the viewer. Many dogmatic films are quite depressing." (Jiří Menzel's interview with Konstanty Kuzma, Eastern European Film Bulletin, 2013) Clip from: Closely Watched Trains (1966) Director: Jiří Menzel

DepressedBergman

16,831 次观看 • 7 个月前

From one of the greatest stop-motion films of all time: A Midsummer Night's Dream (1959), dir. Jiří Trnka, Loutkový Film Praha

From one of the greatest stop-motion films of all time: A Midsummer Night's Dream (1959), dir. Jiří Trnka, Loutkový Film Praha

Animation Obsessive

510,477 次观看 • 3 年前

taylor russell picks her four favorite films for Letterboxd • kwaidan (1964), dir. masaki kobayashi • in the realm of senses (1976), dir. nagisa ōshima • au hasard balthazar (1966), dir. robert bresson • woman in the dunes (1964), dir. hiroshi teshigahara

taylor russell picks her four favorite films for Letterboxd • kwaidan (1964), dir. masaki kobayashi • in the realm of senses (1976), dir. nagisa ōshima • au hasard balthazar (1966), dir. robert bresson • woman in the dunes (1964), dir. hiroshi teshigahara

best of taylor russell ★

38,790 次观看 • 2 个月前