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備注：已完結(jié)
類(lèi)型：劇情片
導(dǎo)演：吳天
語(yǔ)言：漢語(yǔ)普通話(huà)
年代：未知
簡(jiǎn)介：魏大爺帶著女兒秀蘭從關(guān)內(nèi)逃荒來(lái)到東北，在日偽統(tǒng)治下的煤礦里做工。魏大爺?shù)呐畠盒闾m嫁給了青年礦工小王，就在他們的新婚之日，煤礦里發(fā)生瓦斯爆炸，小王死于非命。又過(guò)了一段時(shí)間，秀蘭和礦工何正綱結(jié)婚，兩人生下了一個(gè)女兒，取名淑芳。不久，何正綱也死于礦井的瓦斯爆炸，秀蘭遭到第二次沉重的打擊。勤勞善良的煤礦工人魯萬(wàn)春在秀蘭一家極端困難的時(shí)候，伸手幫助了她，兩人逐漸建立了深厚的感情，魯萬(wàn)春的義子江明也和...
備注：已完結(jié)
類(lèi)型：劇情片
導(dǎo)演：岳楓
語(yǔ)言：普通話(huà)
年代：未知
簡(jiǎn)介：鰥夫高永生有子小虎,寡婦陳美娟有女大梅,二人再婚.一家四口生活本極融洽,但生因婚后失業(yè),虎又生病,經(jīng)不起迷信的姊姊挑撥,視娟為不祥人,與虎寄居姊家.生飽受姊夫奚落,終明白自己魯莽,返家團(tuán)聚.
備注：已完結(jié)
類(lèi)型：劇情片
導(dǎo)演：王天林
語(yǔ)言：漢語(yǔ)普通話(huà)
年代：未知
簡(jiǎn)介：花店女姑娘高月英幫父母打理花店，左鄰右舍皆稱(chēng)她為百花公主，她暗戀鄰方換文。文偶然認(rèn)識(shí)了過(guò)氣歌星丁愛(ài)玲，對(duì)她一見(jiàn)鐘情。為追求玲，文連唯一的西服也押了，常花掉僅有的幾元，拜托英送花給玲。英一方面暗中幫助文，一方面被文的行為弄得七竅生煙。文癡戀玲，令玲大感厭煩。文「失戀」臥病在床，英貌似玲，為使文康復(fù)，遂假冒玲安慰文。文得悉真相后傷心沮喪，兼逢失業(yè)。適高家花店聘人，文獲聘，英、文相處下來(lái)，情投意合，樂(lè)也融融
備注：已完結(jié)
類(lèi)型：愛(ài)情片
主演：肖恩·康納利
導(dǎo)演：羅伯特·斯蒂文森
語(yǔ)言：英語(yǔ),愛(ài)爾蘭蓋爾語(yǔ)
年代：未知
簡(jiǎn)介：達(dá)比本來(lái)是看管屬地的，但因?yàn)槟赀~被麥克代替了位置。達(dá)比常與森林中的小人國(guó)國(guó)王布萊恩喝酒狂歡，但是因?yàn)槌Ｈ丝床灰?jiàn)小人國(guó)的人，所以達(dá)比被人視為因失業(yè)而顛狂。布萊恩要滿(mǎn)足達(dá)比三個(gè)愿望，善良的達(dá)比愿求愛(ài)女凱蒂有美 好歸宿，當(dāng)凱蒂不慎墜落懸崖，達(dá)比許愿讓自己代死，而布萊恩將達(dá)比推離了死神，凱蒂與麥克也有了美好的結(jié)局，達(dá)比心愿全都達(dá)成。
備注：已完結(jié)
類(lèi)型：劇情片
主演：Robert Taylor Nicole Maurey
導(dǎo)演：理查德·索普
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：美國(guó)人約翰-諾德利John Nordley是阿羅哈號(hào)The Aloha的船長(zhǎng)，這是一艘停泊在英國(guó)貝茅斯港的帆船，他在這艘船上生活并進(jìn)行私人包租。他經(jīng)常違反英國(guó)法律，把船開(kāi)到他的清單上沒(méi)有列出的其他國(guó)家。有一天，客戶(hù)安塞姆先生Mr. Anselm找上門(mén)，要求在不列顛群島的東邊航行一周，但他一上船就要求航行到荷蘭的Maasvlakte，并向諾德利保證不會(huì)有任何非法行為。但這個(gè)請(qǐng)求直接把他自己和諾德利帶入深淵，以至于引來(lái)幾路人馬要獲得諾德利與安塞姆的秘密，大家都在刻意接近諾德利，他必須決定誰(shuí)可以信任，誰(shuí)不能信任。
備注：已完結(jié)
類(lèi)型：劇情片
主演：長(zhǎng)門(mén)裕之 吉行和子 二谷英明 松尾嘉代 北林谷榮 小澤昭一 西村晃 殿
導(dǎo)演：今村昌平
語(yǔ)言：日語(yǔ)
年代：未知
簡(jiǎn)介： 昭和二十八年（1953），戰(zhàn)后的日本山河凋敝，百業(yè)待興。佐賀煤礦區(qū)的底層百姓生活困苦，安本家的頂梁柱父親不幸去世，留下兩對(duì)兒女喜一（長(zhǎng)門(mén)裕之 飾）、良子（松尾嘉代 飾）、高一（沖村武 飾）、末子（前田曉子 飾）無(wú)人照看。20歲的喜一外出做工，但稀薄的工資不足以承擔(dān)一家人的日常開(kāi)銷(xiāo)。為了生存，喜一將高一和末子托付給好心的邊見(jiàn)叔叔（殿山泰司 飾）撫養(yǎng)，自己則和妹妹良子前往長(zhǎng)崎打工。四兄妹就此分離，而煤礦上的生活也越來(lái)越艱難…… 本片根據(jù)10歲女童安本末子的日記改編，并榮獲1960年藍(lán)絲帶最佳男演員和最佳男配角獎(jiǎng)。
備注：已完結(jié)
類(lèi)型：劇情片
主演：A. Alekseev 彼得·柳別什金 Oleg Mokshantse
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：影片主要講了一支地區(qū)自衛(wèi)隊(duì)挖到了許多枚導(dǎo)彈，這些導(dǎo)彈可能是二戰(zhàn)時(shí)候德國(guó)兵留下的，現(xiàn)在雖然藏在地下，仍有不小的隱患，如果30噸炸藥全部爆炸的話(huà)，足以摧毀整個(gè)城市。影片刻畫(huà)了士兵們?cè)趯?duì)待轉(zhuǎn)移導(dǎo)彈這項(xiàng)艱巨的任務(wù)上各自復(fù)雜的心理活動(dòng)，有的自告奮勇一馬當(dāng)先敢于迎接挑戰(zhàn)，有的借口推搪。影片既有對(duì)士兵在面臨危險(xiǎn)大義凜然的頌揚(yáng)，也有對(duì)情人之間彼此信任關(guān)切的微妙刻畫(huà)。雖然短短的四十多分鐘不足于對(duì)這些東西展開(kāi)詳細(xì)地描繪，但已經(jīng)展現(xiàn)出老塔把握鏡頭語(yǔ)言和節(jié)奏的能力，總能讓人感覺(jué)到一股緊張的氣氛籠罩全局，并且懸念環(huán)生扣人心弦。
關(guān)于在短時(shí)間內(nèi)的某幾個(gè)人的經(jīng)過(guò)
備注：已完結(jié)
類(lèi)型：劇情片
主演：未知
導(dǎo)演：居伊·德波
語(yǔ)言：法語(yǔ)
年代：未知
簡(jiǎn)介：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...? Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life? can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
