在小说《诡□(🎇)□(📊)□》□,并□(🚟□有明确说明魔女是否会怀孕。根□资□ □ 得知,□小说□诡秘之主》中□第 457 话中,作者写□贝□纳黛受到(⏫)堕落母神污染后肚子中孕育了□□胚胎□但这只是贝尔纳黛怀孕的例□,□能..□<□p>□Stefan Uher和Elo Havatt□一样□Ed□ard Grecner也是60年代斯洛伐克新浪□□影的缔造□之一。他□三部影□《一周七天》(1964□《尼□月亮》(1□65)和这部□徳□克□回归》□是斯□伐克新(🎋)浪□□影的□表作□□□叙事方法独特带有明显意识流风格的黑□影片甚至□接影响到了后来(⛏□法□导演格里耶在捷克□摄的两部影片《说谎□人》和《Ed□n□a□d Aft□r》。 A□special place in the development of□feature□films is r□s□rved for Ed□a□d Grec□□r, th□ cre□tor□of jus□ one go□d film, Drag□n Re□ur□s□(Dr□k□□a vracia, 1967), titled after□th□□nickna□e of □he lea□ cha□ac□□r.□After□□is in□tial work with Uher, Grecn□□ made h□s ma□k a□ a□proponent of the s□-calle□ &q□ot;in□ellectual&□□ot□ □ilm,□t□e an□ithesis of t□e so□iologi□ally, or□rathe□, socially critical film. □recner's great r□□e □odel was A□an□Resnai□, a young Fre□c□ filmmaker who soug□t to i□troduce S□o□akia□to□the idea of □i□m as a laby□inth□in wh□ch□meanings□ar□ cre□ted not □y stories, but b□□complex□configura□i□n□ of dialog□□,□shots, and variou□ layers□of tim□, □□us differen□□ating□f□lm□□rom both li□erature and t□eater. □n D□agon Ret□rns―the stor□ of□a □o□itary □e□o who □s □eeded by villagers l□ving far in the□mo□nta□□s,□b□t w□□ is rej□□te□□by t□em at □he same ti□e □□cause of his detachme□t―Grec□er □rought the tra□it□on of□lyr□ci□ed pros□ to life □□rough a□whole series of f□rmal aesthe□ic techniqu□s.□A□a□n Robbe-Gri□l□t immediately□□ev□loped this□idea in □he film□shot in□Bratislava The□M□n □h□ Lies□(Slovak: Muz,□k□ory luze□ French title: L'h□□me□qui□ment□ 1968)□ and□p□rf□c□ed □t in Eden and After (Eden□a potom, 1970).
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