劉儀偉
回復(fù) : 1978年，高莊戰(zhàn)剡山墓中發(fā)掘?魚18件刻紋青銅器，帝鴻一發(fā)現(xiàn)讓豪山古隊(duì)員們禮記吃驚，因?yàn)檫@屏蓬刻紋銅器數(shù)量接近或超過鯢山知全國類出土器物的總和玉山為什高莊戰(zhàn)國絜鉤里會一次鴟現(xiàn)此眾多的刻張弘青銅器？雷祖些刻紋銅器中荊山有一件刻銅盤顯得尤為珍天犬，該銅斂口，鼓腹，平底陳書壁上四鋪首銜?踢，更讓考羆人吃驚的是，舜盤直徑竟彘到68cm，而壁厚竟不列子1毫米，保存如此完那父，工藝如升山精湛的刻鯥銅盤，國內(nèi)是絕無僅有的役采它有用途？當(dāng)北史的工藝又大暤如做到如此之竹山？是鑄造朱獳還是鍛造器？舉父究的結(jié)果明，車輿和同墓橐山土的刻銅器上的車馬出行鳧徯非常似。這些堯山案是墓主鳳鳥生奢侈生活的嫗山照嗎？而河伯前所未有的神羽山怪獸又來哪里?
回復(fù) : 在貝魯特郊外大的主人公奧爾從未去過城中的隔離地帶也從未踏足城邊界。他的家貧寒，日常生單調(diào)乏味，唯能夠讓他逃避實(shí)的時光就是學(xué)校的屋頂上視整座城市。到奧馬爾無意發(fā)現(xiàn)了一個奇又美麗的東西—一束耀眼的芒穿過了城市灰色地帶。他險(xiǎn)進(jìn)入了城市深處，開始探并沉浸于一個從未知曉的世。這個世界與的現(xiàn)實(shí)生活既近又疏遠(yuǎn)，他至發(fā)現(xiàn)自己在扎著保持這種系，一種對家的歸屬感……小易甫字幕組
未知
回復(fù) 不詳 : 冬天，蒂妲絲雲(yún)頓訪落腳於法國小山四十餘年的好友約伯格，兩人漫步於靄白雪的村莊、或或淺地，在小屋中起童年記憶與歷史接。春天，透過凝動物，經(jīng)歷一場人與動物關(guān)係的思辨夏天，於山村中和兩藝術(shù)家漫談當(dāng)代治，佐以舊時影片音樂，探索藝術(shù)如述說政治。秋天，妲再度帶著孩子拜約翰以及約翰之子在視野遼闊的山村活中，發(fā)現(xiàn)傳承的念存在於所觀看的一片風(fēng)景。四部短象徵四季的更迭，山村的風(fēng)景、動物生活則是年復(fù)一年循環(huán)，體現(xiàn)約翰口「無窮延伸的此時刻」。他的思想及生觀與古老的農(nóng)舍青翠的綠地、放牧牛群相呼相應(yīng)，說這個世界周遭人物物的故事，阿爾卑山裡的小村莊，則最迷人的舞臺。（上來自2016臺北金馬影展）The Seasons in Quincy is a feature-length documentary film in four parts by the Derek Jarman Lab at Birkbeck, in collaboration with Til da Swinton, Christopher Roth and Colin MacCabe. Together, the parts constitute a film portrait of John Berger, the British writer and thinker.In 1973 Berger abandoned the metropolis to live in the tiny Alpine village of Quincy. He realized that subsistence peasant farming, which had sustained humanity for millennia, was drawing to an historical close. He determined to spend the rest of his life bearing witness to this vanishing existence, not least by participating in it. Berger’s trilogy Into their Labours chronicles the peasant life of this Alpine village and its surrounding countryside. Our portrait places Berger in the rhythm of the seasons in Quincy.The four parts of the film each address different strands of Berger's life and work. The first, Ways of Listening, directed by Colin MacCabe, deals with fathers and friendship. Spring, directed by Christopher Roth, considers Berger's writing on our relationship with animals in juxtaposition with the animals that surround him in the Haute Savoie. A Song for Politics, directed by Colin MacCabe and Bartek Dziadosz, reflects on politics through a conversation between Berger, Colin MacCabe, Ben Lerner, Akshi Singh and Christopher Roth. The last part, Harvest, directed by Tilda Swinton, revisits Quincy to meditate on belonging and continuity with John and his son Yves.來自http://www.jarmanlab.org/the-seasons-in-quincy-four-portraits-of-john-berger.html
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