土地晚报

• 清晰：BD
• 类型：
• 主演：
• 年代：1977 / 丹麦 / Peter,Watkins
• 导演：Peter Watkins
• 国家/地区：丹麦
• 时长：120分钟
• 语言/字幕：国语对白 中文字幕
• 年代：1977
• 更新时间：2024-04-18 16:47:22
• 详细介绍： Thisstrangefilmisamade-updocumentary,detailingthef… Thisstrangefilmisamade-updocumentary,detailingthefuturehistoryofDenmarkinfourrelatedbutdiscretestorylines.Inone,therefusalbyagroupofshipyardworkerstoworkonshipscarryingatomicwarheadsleadstosympatheticstrikesaroundthecountry,andageneralstrikethreatens.Inanother,thefuturerelationshipoftheCommonMarketnationstovariousdefensepactssuchasNATOisdiscussedbyagroupofhigh-rankingnationalrepresentatives.Thethirdandfourthstoriesarecloselyintertwined:afteraleftistgroupkidnapstheDanishSecretaryofState,thepolicestretchthelawasfarasitwillgoinordertorespondtothethreat.~ClarkeFountain,AllMovieGuide ‘EveningLand’openedinCopenhagenandfourotherDanishcities,aswellasinStockholm,onFebruary18,1977.ThereactionbymostoftheScandinaviancriticswashostile,andthefilmwasattackedprimarilyfor“lackingapoliticalbase.”TheMarxistsexpressedtheirdislikebecausethefilmsupposedlysympathizedmorewiththe‘terrorists’thanwiththeworkers.Onereviewer’squery-“WhenwillPeterWatkinslearntostopfrighteningthepublic?”-echoedthesentimentsofmostoftheconservativepapers. Insteadofdwellingonthesenegativereviews,IagainturntoJosephGomezforhisevaluationof‘EveningLand’(‘PeterWatkins’,TwaynePublishers,1979:“ThosefamiliarwithWatkins’ScandinavianfilmsmightatfirstperceiveEveningLandasastepbackwardinhiscinematicdevelopment.Gone,forinstance,arethecomplexsound-trackoverlays,thecarefulmanipulationofsilences,andamultilayermethodofpsychologicalinvestigation.Itmightbemoreappropriate,however,toconsiderthefilmasasteptotheside-aparalleldevelopmentofhisstyle.Infact,WatkinsstressesthathedeliberatelyattemptedtobreakawayfromwhatheachievedinEdvardMunchinordertoestablish,inEveningLand,astructureofconfrontationchieflythroughdialogue.Theemphasisisalsoindirectness,andthusWatkins,forthefirsttimeinhisprofessionalcareer,avoidstheuseofanoff-screennarratororatelevisioninterviewerwhobecomesamajorcharacterinthefilm.Althoughstylisticallydifferentfrommuchofhisotherwork,oneofthepurposesofEveningLandremainsthesame.Watkinsagainattemptstoforcehisaudiencetore-evaluatefilmandtelevisionstructuresbyextendingthembeyondtheirconventional,present-day“response-oriented”uses.Also,inthisfilm,especiallythroughtheuseofMartinthejournalist,wholoseshisjobasindustrialcorrespondent,Watkinstriestoalerthisaudiencetothedangersofthemisuseofmediaintoday’sworld.ThegreatachievementofEveningLandrestswiththedialecticpatternsthatWatkinsevolvesthroughhisediting.Thoughthefilmgivesa"multifacetednewsreel"impression,itsstructureismeticulouslycontrolledthroughtheediting.Watkins'dialecticalorganizationisespeciallycomplexbecauseitissustainedthroughouttheentirefilm,andevenifoneemploysSergeiEisenstein'sAB=Cshotstructuretoanalyzetheeditingprocess,theconstantlyshiftingnuancesineachtermoftheequationalterthemeaningsofthetermsevenwithinthesameshot.Assuch,generalizationsbecomealmostimpossible.Thestrikecommittee,forexample,doesnotrepresentaconsistentpositionatanyonetime.Itismadeupofnumerousviewswhicharecontinuouslychanging,andthusthetermsofthedialecticshifteverytimeanewjuxtapositionisposed.Thesepermutationsmultiplythroughoutthefilm,andassuch,itsverystructurecomestoreflectthedifficultiesofcomingtounderstandthepressuresandimplicationsofeventswhichaffectustoday.Ofcourse,thefilmdoesnotproposeanykindofdogmaticsolution.Watkinswantshisviewerstotrytounderstandandtoevaluatethesituationshedepicts.Perhapsthentheaudiencewilldiscussnotthefilm,butthesesituations,andwillarriveatdecisionsthroughanincreasedawareness.ThisisWatkins'greatesthope,andhisbeliefintheintegrityofhisaudiencestandsasthecornerstoneofhismethodsoffilmmaking.Althoughhisfilmisstructuredentirelyindialecticalterms,Watkinsclaims"thereisanunderlyingmotifofanxietyandpassionforthestateofourentiresystem-andthetotalpurposeofEveningLandissummedupbyitspleaattheconclusionforagreaterawarenessofthehumandilemmasfacingoursociety."TheproblemwiththisstatementisthatMajBritt'sdialogueattheendofthefilm...isprobablynotstrongenoughtosupportthisclaim.PoulMartinsenhasindicatedthatheandWatkinsconceivedaslightlydifferentendingwhichexhibitedanewstrengthamongmanyoftheworkersastheydiscussedhowtochangetheirtactics.Perhapsinthiscontext,theemphasison"thehumandilemmas"wouldhavebeengreater.Asingletakeofsuchasequencewasshot,butitdidnotturnoutverywell,andunfortunately,financialproblemsdidnotallowforthismaterialtoberefilmed...” InthenextsectionGomezcriticises‘EveningLand’forthe“unrealistic,evenromanticized”portraitoftheterroristgroup,andconcludeshisreviewbysaying: “AlthoughitcouldhavebeenamuchstrongerfilmhadWatkinsmadetheterroristsasruthlessasmembersoftheRedBrigade,EveningLandremainspracticallytheonlyseriouspoliticalfilmaboutlifeinWesternsocietyinthelate1970s.WhilethisfactseemstohaveeludedtheScandinaviancritics,itwasdulyacknowledgedinFrance,wherethefilmwasrecognizedasamajorpoliticalworkwhich"candevelopanalysisandtruethinking"intheviewer.MostFrenchcriticswentontopraisethefilm'stechnicalaccomplishmentsanditsbrilliantdialecticstructure.Ataboutthesametimethesereviewswerebeingpublished,however,[theChairman]oftheProgramudvalget(DanmarksRadio'sboardofgovernors),wroteWatkinsaletter.IncredibleasitmaysoundtoanyonewhohasenduredatypicaleveningofDanishtelevision,[theChairman]refusedtotelecastEveningLandbecauseitdidnot,“inouropinion,initsformreachastandardwhichDRfindsnecessary”.Givenresponsessuchasthisone,andtheoverallattitudesoftelevisionandfilmexecutivesinNorway,Denmark,andSwedentohiswork,itshouldnotbedifficulttounderstandwhyWatkinsfinallydeemeditnecessarytoleaveScandinaviaandtobeginwhatwouldamounttoanotherperiodofself-exileinhislife.” 详情