出生证明

出生证明

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  In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."
  The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.
  The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.
  The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.
  At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?
  Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."
  After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.
  In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

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幽冥镇活人骤变,獠牙滴血,变僵尸。狄仁杰探查发现,幽冥教以蛊虫控尸,幕后黑手竟是越王李贞!其欲炼"僵尸大军"谋反。危急时刻,狄仁杰以雄黄烈火阻尸潮,亢龙锏斩尸王。最终蛊母爆亡,僵尸
汉语普通话
2025 国产剧 大陆 大陆
张新成,宋祖儿,王彦霖,任程伟,张月,何雨虹,刘奕铁,王影璐,吴超,高露,刘钧,朱雨辰,刘奕君,李佳航,王凯,杨采钰,杨烁,练练,吴玉芳,周铁男,薛昊婧
上世纪九十年代末,留学德国的柳钧回到家乡东海,他顺应时代发展,立志将父亲的老机械制造厂改造成科技领先的现代化制造厂。民企在技术、资金、人脉等各方面都遇到重重困难,举步维艰,但好友钱宏明的进出口贸易、房
国语
2021 国产动漫 大陆 大陆
锦鲤,刘晴,赵双,吴楚越,阎么么,宣晓鸣
内详
普通话
2017 香港剧 中国香港 中国香港
刘丹,梁证嘉,陈俊坚,郑恕峰,黄颖君,李泳豪,欧瑞伟,邱芷微,曾敏,利颖怡,曾健明,谢芷伦,王俊棠,卢宛茵,李靖筠,李绮雯,李美慧,李伟健,何启南,汤盈盈,梁雯蔚,单立文,温裕红,曾守明,姚莹莹,区霭玲,陈嘉辉,黎彼得,黄子雄,秦启维,方绍聪,卢峻峯,徐玟晴,罗鸿,张诗欣,杨秀惠,郑世豪,樊亦敏,许思敏,萧徽勇,杜大伟,滕丽名,苏恩磁,罗乐林,袁文杰,炜烈,张明伟,邓英敏,张美妮,陈荣峻,李亦乔,吕慧仪,马贯东,简淑儿,陈嘉慧,潘冠霖,张汉斌,吴香伦,钟志光,陈嘉慧
處境劇的御用監製羅鎮岳已經準備開拍新一套處境劇,暫定叫《愛.回家之開心速遞》,「過往的處境劇都是以家庭為主,今次當然不例外啦。而故事除了家庭,因為網購現在都好hit,就會講到一間百貨公司,入面開設的網
粤语
2013 日韩综艺 韩国 韩国
tablo,秋成勋,李辉才,张铉诚
kbs最新推出的亲子综艺(快乐星期天),内容为父亲带着孩子,在没有妈妈的情况下度过48小时现4位父子。参演艺人:为秋成勋与女儿tablo与女儿张铉诚的儿子们李辉才的双胞胎儿子收视率分布:131103K
韩语
2025 国产剧 中国大陆 中国大陆
国语
2024 海外剧 德国 德国
Olivier Masucci,Julia Koschitz,David Schütter
Inthe1980s,withGermanydividedbetweenEastandWest,AlfredHerrhausen,avisionarybankerontheboardofdirecti
德语
2025 香港剧 中国大陆,中国香港 中国大陆,中国香港
陈小春,李治廷,韩雪,任达华,何润东,熊黛林,李丽珍,黄嘉乐,张国强,伍咏薇,吴嘉龙,汤加文,成家宏,隋凯,陈惠敏,汤镇业,李子雄,艾威
老中青三代热血“守诚者”勇毅冲锋,诠释跌宕起伏“中国香港警察故事”。
汉语普通话,粤语
2025 国产剧 中国大陆 中国大陆
刘学义,孟子义,高寒,刘令姿,边程,范静雯,赵顺然,代斯,王艺瑾,衣云鹤,王伟华,黄梦莹,张垒,漆培鑫,王佳璇,许静雅,朱戬,邵伟桐,王雅佳,闫玉晨,李芳硕
“当朝左相”沈在野因他人计谋被迫迎娶和亲公主姜桃花,沈在野表面上是一个奸佞丞相,实则一心为国为民为天下;姜桃花为保小命绝境求生,两人互斗过,合作过,在一次次的危机中暗生情愫……剧集根据白鹭成双小说《桃
汉语普通话
2025 国产剧 中国大陆 中国大陆
张译,李光洁,蒋欣,刘佳,冯嘉怡,丁勇岱,杨烁,施京明,王劲松,是安,任重,郝平,白冰,董晴,徐梵溪,毛俊杰,宋熹,赵煊,金泽灏,章煜奇,田昊,姬他,颜世魁,林鹏,潘之琳,吴其江,赵梓冲,王艺荻,艾东,纪帅,孙强,宋楚炎,朱元浩,周劢劼,詹明君,黄义威,方晓莉,刘冠成,陈创,张思潼
本剧讲述了海东省检察院检察官洪亮、郑雅萍等人在复查东平市“万海黑社会性质组织案”过程中发现司法人员在案件中的徇私枉法。他们以举报线索为突破口,彻底打掉了背后的黑恶势力,同时查办司法工作人员的职务犯罪。
汉语普通话
2025 香港剧 中国大陆,中国香港 中国大陆,中国香港
陈小春,李治廷,韩雪,任达华,何润东,熊黛林,李丽珍,黄嘉乐,张国强,伍咏薇,吴嘉龙,汤加文,成家宏,隋凯,陈惠敏,汤镇业,李子雄,艾威
老中青三代热血“守诚者”勇毅冲锋,诠释跌宕起伏“中国香港警察故事”。
汉语普通话,粤语
2026 泰国剧 泰国 泰国
泰钦·派伊桑皖,查维缇彭·普颂基缇萨库尔
一个人的死亡有两种方式 :  一是肉体的死亡 ;二是,从记忆中死去
其它
2025 韩国剧 韩国 韩国
徐贤,玉泽演,权韩率,徐范俊,池慧媛
讲述了被小说中的配角附身的主人公后,无意中与男主人公共度一夜而展开的惊险浪漫故事。
韩语
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