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关键词: 大津幸四郎 The Wages of Resistance: Narita Stories 纪录片
乐比TV为您提供2014年由未知主演,大津幸四郎导演的《活在三里塚》/原名《三里塚に生きる》/又名《The Wages of Resistance: Narita Stories》纪录片 电影在线观看完整版,《活在三里塚》百度云网盘资源以及《活在三里塚》高清蓝光mp4迅雷下载,《活在三里塚》BT下载资源,希望您能喜欢!
1960年代にはじまった成田空港建設反対闘争を、当事者である成田市三里塚の人々の証言から描いたドキュメンタリー。小川紳介監督による三里塚シリーズ第1作「日本解放
Plot Summary:The Wages of Resistance is a feature-length documentary film that portrays an \"extended span of time\" of the protests against building Narita International Airport which have continued from the 1960's to today through documenting monologues of those whose lives were twisted by the movement. After forty-five years, I revisited the Sanrizuka airport land. What did I see there and what attracted my attention that prompted me to film? \"In the beginning was the Word.\" In the beginning, everything is brought out into broad daylight to be scrutinised and dissected by words and reason; to be verbalised and hanged out to dry. On the other hand, the world of films is a world of shadows swaying endlessly. The minute you think you caught them; they slip through your fingers. The mesh of words must be too big to verbalise them. They are gone. This film recounts the forty-six years of struggles of the Sanrizuka farmers opposing the new airport and the government's powerful oppression from time to time, through the sober eyes of present day farmers. However imperfect the airport might be, it has been built and it is inevitable to conclude that the farmers lost the struggle. The farmers are still farming in the land while casting side glances at the planes taking off and landing. They continue to live there. Their lives and minds must be wavering in conflicting courses. We quietly placed our camera by their side and made a tranquil document of their monologues.
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大友良英配樂;井浦新擔任自殺的抗爭者三之宮文男的遺書的朗讀者,意味深長。整片還是有點拖沓。有趣的是,東京政府和東京小市民依然扮演著不管他人死活的冷漠角色。
影片的剪辑节奏有一点问题,但是很有深意
SIFF@永华。大津幸四郎重温五十年前三里塚民众对抗成田机场突建强占农田事件,多访谈×小川系列回放。五十年后,仍有人坚贞不移,而更多的人业已归西。特别记得文男与米婆婆段落。越到后半越开始换位思考穷苦生存对人格的影响。
#14 文男和米婆婆。
岛国的征地强拆一例。40多年了,一直坚持抗争的人都一个个渐次作古,对于还活着的人,"对错已经不重要",只为逝者和一种精神。然而现在的年轻人还会想着"改变世界"吗?看到当年激进反抗的青年现在那样老无所依独自辛勤劳作…… 也许更不会了吧。感谢 @mecca(美卡
对于死亡来说时间并不重要, 但留下来的人都会活下去, 用各种方式. 有个农民说, 政府没有说可以杀人, 但有人为此伤亡也执意要做这件事的话, 那就是默许可以杀人了. 真是有点可怕. 人心总是, 如何解释都可以, 也无论如何难理解.
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剪裁上讓本身的素材未能發揮,在內容選材上過長而重覆,但整體又未見得完整,導演在指攝上希望與小川那種深層的介入有別,但這種刻意的避席又未能做成極具說服力的客觀性,但電影非反思小川的作為,這不是捉錯用神嗎?小川的影像或主導了我們對三里塚的感受,而是事件本身,那又何需活在小川的陰影下?
失败、分化、缅怀、失落,一切都可预料,除了死亡,死亡真的是最有杀伤力最持久的武器。ARATA的遗言朗读和大友良英的配乐绝赞
2014-11桃園航空城鐵工廠內觀看,今日大津幸四郎導演去世。記得前天突然想起如果“種子不死那段話”,而這恰巧也是《活在三里塚》的開幕詞。“若是死了,就結出許多子粒來。”抗爭從未死去,但仍需泉水灌溉,“活在三里塚”以及空港抗爭的故事就是泉水。R.I.P