《地狱之门伦敦 剑术师》
类型:科幻 剧情 爱情 地区:台湾 年份:2018
主演:茜屋日海夏 泰瑞·伍根 马邵君 Albert De Guzman
导演:Robert Young
更新:2024-12-14 06:09:17
简介:Two□diff□re□ce□ be□we□n t□is A□strian ve□sion□a□d □he □□nerally □vailabl□ American □ersion are i□me□□ately ob□ious: they□d□ffer □oth in their length and in the la□g□ag□ of□t□e i□te□ti□les. Th□ A□e□□can□version□i□ on□y□1,883 metres long -□at 18 frame□ per s□cond a□□iff□rence of □□me 7□□□□utes to the Austr□an v□□sion wi□h □,045 □e□□e□. Whereas w□ origi□ally presumed □nly a□negligible differe□□e, resu□ting from□the varying length o□ the□intertit□es, □ direc□ com□arison has n□ver□heless shown □hat t□e Austrian vers□□n dif□ers from the□American v□rsion □o□h in the montage□□nd i□ th□ duration□of □□□iv□d□al scenes. Yet how □□□ld it happen that the□lat□□ regional di□tri□□tion of a ca□oni□al□U□□sile□t film was lon□□□□than the "□origina□ version&□uot;? The□prevalent A□e□i□□n ve□sion □f Blind Hu□bands does□□ot correspond t□ th□ ve□sio□ sho□n □t the premie□e of 1919. This lit□le-known fact □as already p□blishe□ by □icha□d Koszarski □n□1983.□□he□film was re-released □y U□ive□□al□Pict□r□s in 1924, in a versi□□ th□t was 1□36□ feet □416 metres) shorter□□□t□18 frames p□r se□ond□ th□s □m□u□□s □o a□time di□ference of 20□minutes! &qu□t;Title□ wer□ a□tered, sni□pets of action □emove□ and at□le□s□ one major□scene taken out entirely, □here von□Steub□n and Marg□ret v□sit a smal□ lo□□l chapel." (Kosz□rski) From □h□ pr□s□nt state of research w□ can □ss□me □hat □ll the kno□n American copies □f the film derive from □his □h□rtened re□releas□ versi□n, □ cop□ of□which Universal□do□ated □o t□e Muse□□ of Modern A□t □□ 1□41. Ac□ord□n□ □o Koszarski the or□gin□l negative of t□e fi□m□□as de□troyed so□et□me betwe□n 1956 and 1961 a□d h□s there□ore b□en irre□riev□bly los□. This□informati□n□c□sts □n i□tere□ti□g light on the Austrian version, which□□an be dated to th□ □□ri□d be□□e□n the summe□ of 1□21 a□d□the□wi□ter□of□192□□ □u□th□□more, the copy is some □00□m□tr□s lo□ger than □h□ US version of □92□. □f one fol□ows the □□tai□s give□ by Richard □oszarsk□ and Ar□hur L□nnig, □his means □hat, as far as both its d□te and its length are□□□n□erned, th□ Aust□ia□ □e□sion lies alm□st exactly in the middle b□tween the□(lost□ version □hown at the p□emier□ an□ t□e re-re□eased□one.A large □ar□ o□ the addition□l □□ngth o□ the□film can be□tra□□□□to c□t□ th□□□were made to□the 1924□v□rs□on□in□□lm□st ev□ry shot. □oszarski desc□i□es h□□ the begi□nin□ and the□end of scenes□wer□□trimmed, □n order to "speed u□&q□o□; the□film. Ho□ever, more excitin□□was th□ disc□very □h□t t□e Austrian vers□on contains sh□ts that are mis□ing in□the Amer□□a□ on□ - sh□t□/count□rshot□, i□t□□t□□les - and furthe□more shows di□fe□ences in it□ mo□tage (i□e.□the p□acing of th□ individual shot□ within □ sequence). All□this □n□icates □□at D□e Rache de□ □erg□ c□□s□itut□s th□ oldest and m□st□comple□ely pres□rved mater□al of the film□□ □台(🅿)一片漆黑,“哒、□....□急促的□□声传□(🎶)□片□后,□(💠)个中年□人(白居易)喊□:(➖□“吁~~”□舞台逐渐□亮□显出三名男子(元稹、白□□和船家)的身□(大屏幕上(👦)是江边停着一匹□的古代夜景图)。白...
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