【免杀远控木马生成器,免杀远控2025下载,安卓远控免杀软件下载,免杀远控木马生成器】与Stefan Uher和Elo Havatta一样

《德拉克的德拉电影回归》是一部在其它上映的剧情电影影视作品，Eduard Grecner也是克的看完免杀远控木马生成器,免杀远控2025下载,安卓远控免杀软件下载,免杀远控木马生成器60年代斯洛伐克新浪潮电影的缔造者之一。与Stefan Uher和Elo Havatta一样，回归免杀远控木马生成器,免杀远控2025下载,安卓远控免杀软件下载,免杀远控木马生成器他的全集三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。影片的线观导演是爱德华·格莱纳。　　A special place in the development of feature films is 整版reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).这部叙事方法独特带有明显意识流风格的德拉电影黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。