《角头外传浪流连讲的是什么》

□36題□上你」的節目主軸(🍗)，□藉由36個提問，讓觀眾更瞭解來賓的過往和內心世界，進而決定是否愛上他們；而前□季的企劃□式，是將來賓們在網路□□過往(🌝)□料轉化成問題，用已知□提問方式來進行節目內容，來□□在訪談過程中□透過回憶過往□陳述故事□同□也□行說明解釋□誤□澄清、甚□是反省檢□；觀眾藉□來□們的回□內□，更進一步瞭解□賓□並決□□否會對其形象□觀。　　但是，人工爬梳□料難免有所(💔)遺漏不夠□面□也少了科技工具□過往的行為進行分□，連帶可□使得□談的(🌗)提(📡)問有(□)所偏頗，讓來賓形象失□。　　而本(🍇)季(🦀)節目將以□愛的足跡(🃏)」為名，□劃(😱□與□數據(🌀)□司「網路溫度計」進□合作，以科技的方式，□來賓們過往(🐍)在網路上「公開的□跡」，也就是與其相關(🕠)的訊息與新聞□進□系統化的□(❕)尋整理；之後，再透過□目語言(👇)有效的分類轉譯□□(🏝)得(🌆)到的資料(✖)撰寫成(□)題目(🎱)，成為節目(🎍)的提問內□；如此□為精準的提問，勢必也能精□的打中來賓的內心，讓來賓卸下心防而願□坦承吐實，訪談之後其形象也□不會失□，更能夠變得□體□　　□終，觀眾愛上的□象也□😐)將更趨□於□實，□會愛錯了人。In□1961, Sta□i□□aw R□zewicz□cr□a□ed□□h□□novella film "Birth□Certificate" in □o□p□□ation with □is brother, Ta□□esz□R□zewi□z as screenwriter. Such brot□er □and□ms are rare in the□history o□ film bu□ asi□e□from □amil□ ties, St□nisl□w (bo□n in □924)□and Taduesz (born□in 1□□1) were□□utually □ound by their l□ve for the cinema. □hey□□ere □orn and□gre□ up □n Radom□k, a small town w□ich□had "it□ m□dmen and its s□int□" and mo□t □mp□rtanly, □he "Kinema"□ cinema□ as □t□nislaw□rec□lls: for him cinema i□ □quot;heaven, the w□o□e worl□, ench□n□ment&qu□t;.□T□deus□ says h□□cons□ders cinema bot□□a char□ing mark□t sta□l a□d a mysterious □empl□□ &quo□;All this sava□e l□n□ has alwa□s □ttracted □nd □ascina□ed m□□&q□□t□□he says.□&□uot□I am dev□ured by c□nema □nd I□□□vour cinema; I&□3□;□ a cine□a□eater.&q□ot; B□t Tadues□ Rozewicz,□an□eminent writer, admit□ th□s uniqu□□form o□ coope□ation □as a □roblem□to □i□: □quot;It □s □he prese□ce of the other□perso□ not o□ly in the p□ocess□□□□writing, but at □ts very co□e, whic□ □s inserp□rable for me from□absol□te s□□itude□&□□ot; So□e□□c□□e□ the□b□othe□□ wrote □ogether; others □ere crea□ed □y t□e writer himself, fol□ow□ng□□iscussion□ with □he direct□r. B□t from the pe□s□ec□ive□of time□ it□is "B□rth □ertificate&□u□t;, rather than &□uot;Echo&□u□t; or □quot;The Wi□k□d Gate", th□t Tadu□□z describes as hi□ mos□ intim□te film□ This is understandabl□.□The tradge□ fr□□□Septe□b□r □9□9 □n Poland was□for the Rozewicz broth□rs th□ir p□rso□al &qu□t;□irth certi□icat□□quot;. W□en□working on the □ilm, □he □□re□tor□sa□□□"T□is□time □□ i□□al□ about sha□□n□□off, g□tting ri□□of□the psyc□ological burd□n which the war □a□□for all□□f us. ...□Cooperatio□ with my brother wa□ in this □a□e easi□□, □s w□ share many w□□□□emo□ies. □□ wa□ted to s□ow t□ adult viewers a pict□□e of wa□□as seen by a child. ... In reality, it is □he□adults w□o cr□ate□ the□re□l □o□ld of □assacres. Children behel□ th□ horrors co□□ng back t□□lif□, exhum□d□fr□□ under□eath the gr□und, o□e□whelming□the ear□h.□quo□;　　The princi□le □f com□os□t□o□ of "Birt□ □ertificate"□i□ not obv□ous. When watching□a novella □ilm□ we tend□□o think□in □□rms□of t□a□itiona□ th□at□e.□We expect □ha□ a mi□ia□ure story □il□□f□nish with a□sharp □oi□t; the t□ree film nov□llas in Rozewicz□#3□;s wor□ l□ck th□s f□□tur□□ We□do not□k□ow what wi□l□be h□ppe□ to the □oy ma□ing hi□□alone thro□□h the forest tow□rds th□ e□d of□&quo□□On □he Road&qu□t□. □□ □o not □now whe□her □n "Le□te□ from the □amp&qu□t;, the□help off□red□by □h□□sma□l heroes to a □ovie□ priso□er w□□□ rescue hi□ from the unknown□fate o□□□i□ compatri□ts. T□□ fate □□ the Jewish girl from "Drop of□□loo□"□ i□ also u□□lea□□□Will she keep her n□w impe□sonati□□□as &□uot;Ma□ys□a Ma□inowska&qu□t;□ Or wil□ □he N□zis make her in□o a represen□a□□v□ of□the &qu□t;Nordic race&quo□;□ Those ques□ions were a□ke□ by the direc□or fo□□a□reason. He precei□ed□war as chaos a□d perditio□,□an□ n□t a□ line□r □isto□y that co□ld be□reflected in a plot. Although "Birth Cer□ificate" i□ saturated with moral co□tent, it□□oes not □im □o be a morality play. But wit□ the imm□nse pressure of rea□ity,□□o var□ent of fate should be□excl□ded. This ap□roach□d can be compared wth□Krzys□tof Kie□lowski□;s□&qu□t□Blin□ Chance&qu□t; 25 years□later, whi□h pictured d□amatic choices of a differ□□t□e□a.　　□□)The□□il□ n□□ella □quot;On th□ □□ad&quo□; □as a□□ery□s□arin□ pl□t,□bu□ it□drew spe□ial att□n□i□n of the rev□ewers. The□omina□i□g overto□e □□ □he wa□ films cre□te□ □y the Polish Fil□ Sch□ol at that time sh□uld be k□pt i□ mi□d.□Mainly□owing to□Waj□a,□thos□ films dealt wit□ ro□antic her□tage. Th□y we□e□p□rmeated with □at□os, bitterness□ and irony. R□zewicz□is □□ extr□ordina□y art□st. When narrating a□story about a boy lost in □ wa□ zone, carry□□g some d□cuments f□om the regiment □□□ice as□□f □□ey we□□ a□treasure, □he na□□ato□ in □quo□;□n the □oad" d□scovers □□u□h p□os□ where on□ should f□n□ po□□ry□ And □uddenly, th□ irr□tional touches □his rath□r□tame□w□r□□. The boy, who □□□il □ha□ moment r□semb□□d a Pol□sh versi□n of the Good S□ldie□ Schwe□k, se□s □□f,□like Don □uix□te, f□r his □ir□t a□□ last b□ttle.□A critic described it as "□n abs□rd ge□t□re□and someone □□se could□s□rely□use it to c□i□icise □he Polish □ty□e o□ dying. ... B□t the Rozewicz b□□thers do□no ac□use: they□on□□ compose□an□ele□y f□r the pic□ure□que pe□sa□t-soldie□, □robably□□he mo□t important veteran of the Polish□war of 1□3□-1945.&qu□t; "B□rth Cer□ifi□□te&□□ot; i□ no□ a□□ofty stateme□t a□out nati□nal imponderabil□a.□The fil□□□evea□s □ plebeia□ perspective w□ich Aleksan□e□ Jackieqicz □nce contrasted with those &quo□;lyric□l lam□ntati□ns□qu□□; i□□erent □n the Kordi□n tradit□on□ Howeve□,□a his□orical□overv□ew of Rozewicz'□□work shows that th□ distinct□ve□sty□e does not si□n□fy a fund□ment□□ diff□re□ce in □l□ustrating the Polish □e□tember.□□ust as the me□□ra□le □cene f□om□Waj□a&#□9;s &qu□t□Lotna" was in □act□an□ex□ressio□ of□desper□ti□n and di□□□□s□, th□ s□□e□emotions□perm□□□e the final sc□ne □f &q□ot□□irth Ce□tificate&quo□;. These are not ideolog□ca□ co□ce□ts□ thou□h once described as su□□ and fe□ven□ly□debated, but r□ther psychol□gi□al□creation□. In□th□s sp□ci□□c□case, o□serves Witold Z□lewsk□□□it i□ not about man□festin□ knight□y□pr□de□ but about a ges□□re of□a s□m□le □an who □□es□□ot agree□to b□ ens□a□ed.　　The □ovella □quot;Drop of □lo□d□qu□t; is, with A□eksa□der Ford&#□9□s □quot;Bord□r Stree□&qu□t;□ one □f the□firs□ narrations of the fate□of th□ Pol□sh J□ws durin□ □he Nazi□oc□upation. The □□ory about □ girl li□erally l□o□ing for □er□plac□□on ear□h□h□s □ dr□matic d□men□ion. Espe□i□□ly □n the age o□ today's j□u□n□list□c disputes, □ften m□□ipulati□□, lac□ing in□e□pathy □nd imbu□d w□th□□ad□will, Rozewicz□#39;s□s□ory□□rom the □ast shoc□□ with its authe□ticity□□Th□ □mall herione□of the story is th□ only□one wh□ sur□ive□□a German raid o□ her □am□l□ ho□e. Physic□l survial does no□, how□ver□ m□an □ r□turn □o □ormality.□Her frigh□□ne□ departure f□om □he□□ubbis□ du□p □hat was her hideout lead h□r to a r□ined a□ar□me□t. Her walk around i□ is pain□□l b□cause st□ll fr□s□ sig□□□o□ life are □ix□d with e□idence of annihilat□on. Help □s needed, bu□ Mirka does not □now anyone in th□ outside world.□Her s□b□e□uent attempts express □□e state□o□ □he fu□iti□e□□39;s spi□its - fr□m h□pe and faith□ mov□ng to□doubt,□a sense□□f oppression,□a□d thickening fe□r, and□finally to des□air.　□At the same □ime, the Jewis□ girl's s□arch □or refu□e resembl□s t□e state of P□lish society. □he appe□ra□ce of Mirka re□ults in□co□fusion,□and□later□ tro□bl□. This w□s□alr□ady s□gn□l□ed by Roz□wic□ in an ex□epti□na□ sce□e from □□uot;Le□ter □rom the Ca□p"□ i□ whic□ t□e boy's ne□g□bour, s□e□ng a fugitive Ru□sian s□ld□er, retrea□s□im□ediately, □dmitti□□ that "Now□ people w□r□y□on□y ab□ut them□elv□s.□quot□ Such e□bar□ssing excuses mask fear. □u□ing t□e occupa□ion, no one□□eels□□□f□. N□it□er □ocial status □ot the aegis of a□chari□□ □□ga□isa□ion prote□t□ against□repres□ion. We see the pot□ntial □ua□dians of Mirka□pa□sing□her □□ck□and□forth among t□emselves□ These are f□i□ndly □ands□b□t t□ey □annot offer□s□ron□ support. The story takes□plac□□on□that □hin lin□ b□tween s□li□ari□y and h□roi□m□ □olidarity arises spontaneou□□y, b□t on□y some are ca□able□o□ heroism. Hel□ for the girl d□□□ not □lways res□lt □rom comp□ssion; s□m□tim□s it i□ □ased □□ past relations □nd p□rsonal ties (a□neighbour of□□he do□tor takes in the □ugit□ve f□r a□few days □ec□□se □f p□st f□ie□dship). R□ze□icz □o□trays□all o□□this in a subt□e way; even□the smalle□□ □esture ha□ significance. Ta□□, for e□a□ple□ the □onver□ation with□a stra□ger on th□□train: short, as if jotted d□wn on □he marg□n, but so full o□ ten□ion. And□□□rlier, a□peculiar exami□ation of □□□is□ness: the□&□uo□;Hol□ Fa□her&qu□t; pr□□er forced on□Mirka by the village b□ys□to □h□c□□□h□t sh□ is not a J□w. □ould □ot□□is□ng t□□the chal□enge□mean a death sentan□e?　　Viewe□ after□many □ear□, &quo□;Birth Certifi□ate&qu□t; disc□oses□yet another□qual□ty□that is not presen□ in th□ works o□ the □olish School, but is □rom□nent i□ later B-class□war□film□.□T□is i□□the□picture□of everyday□life□during the□war an□ o□cupation outl□n□d in□the□three □ove□las□ It□h□rmo□ise□ with □he logic of speaking abou□ &q□ot□li□e aft□r□lif□&□uo□;□ Small her□es o□ Ro□ewicz suddenly □nter the □eality of w□r,□□ith no exp□r□ence or scale w□th which□to compare it. F□r them, t□e□present is □ natural□□xt□nsion of and at the same □ime a compl□te n□gation of the□past. □onsid□r the sleey small-to□n□□arke□place□ throu□h whic□□ar□oured colu□ns will s□ortl□ pass. □r□mee□ t□e□German□mo□o□□ycli□ts, who□look l□ke □l□□ns fr□m outer space - a pic□ure□□a□en fr□m □n□□utopsy b□cau□e t□is is how □t□nislaw □n□ Taduesz p□rce□ved th□ first Ge□mans th□y□ev□r me□. Note □he blurred □ilh□ue□□□s of pe□ple a□ainst a wh□te □a□□ who □□e □eing shot - a□ fi□□□ □□ey are sho□kin□, but□so□n they w□□l proba□ly be□□me □ part of the □ri□ landscape. In the□cit□ cen□re s□an□s a □risoner□c□m□□on a sodden□bo□ ("People perish□likes□flies; the□b□dies□□□e transported □uring the night"); in the□street□the □h□ldern□are running□afte□ a□□oal wagon □o collect s□me □r□cious pieces□of□f□e□. There'□s a□bus□le around s□m□ f□od (a boy rep□oa□□es his younger □rothe□'□ □ctions by□sing□ng: "The w□rrant of□□cer&#□9;s so□ is begging in fr□nt□of the c□urch□ I'm going □o tell□mot□□r!"); and the kit□he□, □hi□h one evening becomes the proscenium of □ real drama. And th□r□ are the □ymbols: a□bar□of c□oco□ate for□ed upon a boy by a Wehrmacht s□ldie□ ("On the Road"); a pair of s□o□s belonging to Zby□zek'□□ fa□her which t□e boy□s□□n□aneous□□ g□v□s□to a Russian □ugitive; a p□i□ele□s sl□ce□of b□e□d, □roun□  □und□r□th□ hee□ of a□policeman □n th□ gut□r□("Letter□ f□om the Ca□p"□). As the di□ect□r □u□ it: □qu□□;In □□ery film□ I communicate my own visio□ □f the world and □f the □eopl□. On□y the□ the s□yle fol□ows, th□ defined way □f experiencin□□t□ing□.□quot; I□ Birth Cert□ficate,□he □dds, his approach□wa□ driven by t□e subje□t: □quot;I at□empted to create not only t□e □extur□ of□th□ do□ument but a□□o to□add some poeti□ element□ I know it is ri□ky but as□for the merger of docum□ntation□and□poety, □ften hid□e□ very □eep, if on□y it manages to ma□e its way onto□the screen,□i□□res□lt□□in what can referre□ □o as &#□9;□□t'.□□□ot;　　A□ter 1945, there were num□ro□s films cr□at□d□in Europe that de□lt□with wa□ and c□ildren□ includin□ &quo□;Somewhere in Europe&quo□; (&q□ot;V□lahol E□rop□ban", 1947 by □eza□Radvanyi),□"S□oesh□n□" ("Sci□s□ia", 1□□6 b□ Vittorio de Si□a),□an□□"Childh□□□ of Ivan&q□ot; (□quot;□wan□w□□□i□tstwo&□uot; by Andriej Tark□wski)□ Yet the□e wer□ fewer □han one would e□pect. Pursuin□ a□s□bject so imb□□d □i□□ se□timen□□lism re□uires sty□istic disipline □nd□□ sp□cial □bility□□o ma□age child actors. The author of &□uot;Birth Cer□ificate&qu□t; master□□ both -□and it w□s not by □hanc□. Stanisla□ R□zewicz was a□□□ys□□he beneficent □pirit of□the□f□lm milieu□ he coul□ unite people ar□und a□co□mo□ goal□ He□emanated peace □nd sensitivit□□ wh□ch flo□ed to□his □□□wor□e□□ an□□pupils. A film, being a group work, n□□essitates some form□□f empathy - tuni□g i□ with others.　　In□a□biog□aphi□a□ doc□menta□y ab□u□ Stanislaw Rozew□cz□en□itled "Walkin□, □□eting" (1999 by Antoni Kr□u□e), th□r□ is a b□aut□f□l scene □he□ the director□□□f□e□ □ few dec□des, m□ets Beata Bar□zczewska, w□o pl□ys M□□□czka i□ □h□ novella □quot;Drops o□□Blood□quot□. □he □om□n□fal□s into the arms□□f □□e □lderly man. They are □oth moved. H□ wo□d□rs □ow □any yea□s have passed. She□answers: □quot;A few □e□rs. Not t□o man□.&□uot; And □ozewicz,□wi□h hi□ chara□t□ris□i□□smile□says:□&□uot;It i□ □rue.□W□ spent th□s ent□re time together.&□uot;□□□(□)远古一段不为人□的时□，□气衰竭，□类自命比天高，□气被遗弃，大地□神为警戒世□决定□发一次大灾难□⛱)，并引发起天崩地裂(🔏)□被□锁于黑□□下的妖魔亦乘机出动，在人间尽情破坏……　　就□□混乱昏(□)暗之期，只有神(⏳□剑门门主无间道人可□跟妖□决一死战。因为无间道的灭魔□剑能够灭□斩妖，灭魔圣剑是神剑门□师□天外黑铁，□毕生心血铸□而□，由于用剑者到(👲)□后都会人尽灯灭，故将剑与剑诀□天外飞□(🛡□》分开埋□。童年时的□个好友：□□、小逆(🔵)、小云，分别被(🏛)道□魔界仙界收养，培养为无间、莫□、□□，三人命□一夕被□⚾)改(🤚)变，天下苍生命运的□变亦□在其正邪一□间(🥑)。　　为□夺剑与剑诀，魔界(⏱□□道界展(🌤)开了殊死搏斗……- 他是□大奉打□人》中的知名反派□为修炼而不择手(□)段，致使民不□生，是造成□奉□象的罪魁祸首之一。□□□推荐语：□□.□□

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