《力量与荣耀 小说》

In 1961, Stani□l□w Roze□□□z cre□□ed the novella film &qu□t;Birth□□ertific□te&□uot□ i□ c□□peration with h□s bro□her, □aduesz R□z□wic□□as screen□riter. □uch br□the□□tandems are□rare in□the □istory of film but as□de □rom fam□ly tie□, Stanislaw (born □n □924) and Tadue□z (born in□1921)□were mutual□y bou□d□by their lov□ for the cine□a□ □hey w□re □orn □nd g□ew□u□ in Radoms□, □ □mall town □hich □ad &□uot;its madm□n an□ its saints□quo□; □nd □□st im□ort□n□y, the &q□ot;Kinema" c□□e□a, as□Stanislaw recalls:□for hi□ □in□ma is "heaven, □he wh□le □orld, en□hantm□nt&□uo□;.□Tadeu□z□□ays□he co□siders cinema bo□h a cha□m□ng□market □tall□and a my□terio□s temple. □quot;All this sav□ge la□□ has always at□racted a□d fas□inated□□□□" he says. □quot;I □m □ev□□red□b□□c□□□ma□and I de□our cin□ma□ □'□□a□cin□ma eater□&q□ot; B□t □aduesz Ro□□wic□, an eminent □r□ter□ admits this □niqu□ for□ of coo□e□at□o□ □as a □robl□m□to h□m: "It is the□pre□enc□□□f th□ other□person not only in the□p□ocess o□ writing□ but□at its very c□r□, w□i□h is □nserp□rabl□ for□□e f□□□ absolute so□itud□.&□uot□ Some scenes □he bro□hers wro□e together; other□ were created□by□the writer□□imself,□□ollowing dis□ussions□with t□□ dir□ctor. □ut from the □□rs□ective □f □ime,□it i□ &q□□t;Birth Cert□ficate&q□ot;, □at□er □han &quo□;□cho" or "The Wic□ed Gate"□, that Taduesz describes□as his □ost □□timate film□ This i□ understandable. The tradge□ from□S□ptem□□r 1939 □n □oland was for □he□Rozewicz brothers their pers□□□l &q□ot;birth certifica□e"□.□When workin□ o□ th□ film, the direc□or sa□□□"□Thi□ time it is al□ about □haking□off,□gett□□□ rid of the psycho□□□i□a□ burden□□□ic□ t□e war was for all□of u□□ ... □ooperation with my brothe□ was□in□□□is□□□se □asier,□a□ we□share□□any war memories. □e□wanted to show to a□u□t viewe□s a picture of □□r as seen□by a□child. ... In re□lity,□i□ □s the a□□lts wh□ created t□e real wo□ld of massacres. Children□beheld the horrors comin□ bac□ to life□ □x□umed from un□erne□th □he g□ound, o□erw□elming the ea□t□.&qu□t;　□The principle of compos□tion□of□□qu□t□Birth Cert□f□cate&qu□t; is not obvious.□When watc□ing a novella□film, we t□nd to think□in ter□□ of t□aditional□th□a□re□□We expe□t that a m□niatur□ story w□ll finish wit□ a s□□r□ poi□t; the t□re□□fil□ novellas in Rozewicz'□s work lack t□is featur□. We □o not□know what □ill b□ happen to the b□y making his alone through □he forest□□ow□rds t□e end □f "On the R□a□&□□ot;. We do not know whether i□ □quot;Letter fro□ the Ca□p",□the help offere□ by□the sm□ll he□oes to a So□iet pri□oner□will rescue □im□□rom□th□ unknown f□te of his □omp□tr□ots. The□fate of□th□ Jewish□gi□l fro□ &quo□;Drop □f Bl□od" □s also unclear.□Will she□keep her new imp□rsonation a□ &□uot;Marysia Malinowska"? Or wi□l t□e Nazis make her into a r□presentat□v□ of the "No□d□□ rac□"?□T□ose quest□□ns□were a□ked by t□e dire□to□ □or a reason□ □□ prec□ived war□as chaos and perdi□ion, and □ot as linear h□st□ry t□at □o□ld be reflected i□ a□plot□ Althoug□ "B□rt□□C□□□ificate□quot; i□ s□tu□a□ed wit□ moral content, □t doe□□no□□aim □o □e a mo□ality □□ay□ Bu□ with □he immense p□□□su□e of□realit□, □o□varien□ □f fate□shou□d□be□□xcluded. This approac□e□ c□n be compar□d wth Kr□□sztof Ki□slowski's &quo□;Blind Chance"□2□ years later, □h□ch □□□tur□d d□a□atic c□oices of □ di□ferent era.　(□)　Th□ film□n□vell□ "□On the □□ad" h□s a very□s□ar□ng p□ot, but it dre□ special at□ention of the □evi□wers. The ominati□g□□vertone of t□e war □ilm□□c□□ated b□ □h□ Po□ish Film□Sc□□ol at tha□ tim□□shou□d□be □ept in mind. Main□□ owing to Wajda,□□hose f□lms d□□lt with ro□antic heritage. □hey were perme□ted with pathos, bittern□s□,□and irony. □oz□wicz is□an extra□r□□nary art□st□ When narrating a story about□a□boy l□□t in □ w□r zo□□□ carrying s□me documents□from th□□regiment □ff□ce as if they□were□a treasu□e□ the nar□□t□r□in "□On the□Road" discov□rs □□ugh prose whe□e □ne should find □oetry. And suddenl□, th□ □rr□t□onal□touches th□s r□ther tame wor□d. The boy, who until t□a□ □oment □ese□bled□a Polis□□vers□on of the Good S□□□ie□ S□hw□ik□ sets off□ l□□e Don Quixote, for h□s first and □ast battle.□A c□itic d□scribed i□ as□□q□o□;an abs□r□ gestur□ and someone else□c□uld s□re□y□u□e□i□ to cri□□cise □he Polish st□le of dying. .□. □□t the R□zewi□z brothers do no□accuse:□they only □omp□se an□el□gy for□□he pictur□□qu□ p□asant-soldi□□, pro□ably the most imp□r□a□t □e□eran of the Polish w□□ of 1□39-1945." "Birt□ Certificate&□uot□ is not a lof□y□□tatement about national imponder□bilia. The f□lm revea□s a ple□eian perspect□ve whi□h □leksander □ac□ieqicz onc□ contrast□d with □h□se &□uot□ly□i□al lam□n□ations" inherent in th□ Kor□ian tradition.□However, a historica□ overview of Ro□ew□cz&#□9;s work □hows th□t the distinctive style □oe□ not□□ignify a fundamental diff□rence in□illus□rating the P□lish September. □ust as the memorable sc□□e from□Wajda's &q□o□;Lotna□quot; was in fa□t an e□pressi□n of □esperation and distres□, the□sam□ emotions permea□e the final scene□of &qu□t□Birth Ce□□ificat□&qu□t□. The□□ ar□ □ot id□ological c□ncepts, tho□□□□o□ce desc□□bed a□ such□and fervently □□ba□e□, but ra□her□psycholog□cal creat□ons. □n this□specific case, □b□er□□s Wit□ld Zalewski, it is not about ma□□festing kn□□ht□□□p□ide, but ab□ut a□gesture□of□□ sim□le man who does n□t agree□to be□enslaved□　　The n□vella "Drop of□B□ood□qu□t; i□, □□th Aleksand□□ Ford□#39;s &q□ot;□order□Street&quo□□□□one of the f□rst □arrations of the fate of the P□lish Jews dur□n□ t□□ Nazi occupation.□The s□ory about a □□rl lite□a□l□ looki□□ □or her place on □□rth has□a dram□□□c□dimension. Esp□cially in the age of t□day's journ□listic □□sput□s, often □anipu□a□ive, l□cking in □m□a□□y and imbued with bad wil□, R□zew□cz□#39;s st□ry f□o□ the p□□t sh□□□s with its □uthenticity.□□he small he□ione□of the s□□ry is□the onl□ one □h□ s□rvives a German r□id on her family□h□me. P□ysi□al survi□l □o□s not, however, mean □ r□□ur□ □o normality. Her frighte□□□□de□art□re □□om the rub□is□ dump that was her hid□o□t□lead□her to□a ruined apartmen□. Her□walk around i□ □s painfu□ be□ause stil□ fres□ signs of l□fe are m□□ed w□th eviden□e of a□n□hil□tion. Help i□ □eed□d,□but Mirk□ does no□ know □□yone in the outsi□e world. □e□ subseq□ent attempts e□□□ess the □tate□of □h□□fugitive'□s spiri□□ □ □rom □ope and fai□h, moving t□ doubt, a s□nse of □ppre□sion, a□d th□ckening fea□, and finally to □□spair.　　□t the same time, the Jew□□h girl's search f□□ refuge resemble□ □he sta□e o□ Pol□sh socie□y. The appearance of Mirka results□in co□fusi□n, and lat□r, trouble. T□is was □lrea□y signa□□ed□b□□□oz□wicz in an □xceptional scene fr□m &qu□t;□etter from□th□□□amp" in which t□e□boy'□ neighbou□□ seeing □ □□gitive Russ□an soldie□, ret□eats immed□ately, a□mitting□that □□u□t;□ow, □eop□e wor□y only□about themselv□□." Such □m□aras□i□g ex□uses □ask f□ar. Du□i□□ the□□ccupation, no one □eels □□□□. Neithe□ □ocial status not t□e aegis of a chari□y or□□nisat□on □rotects again□□ rep□ession. We see the potential g□ardians of Mirka passi□□ her b□□□□and for□□ □mong themselves. These are□frie□dl□□han□□ but □hey ca□□□□□o□□er st□o□g□support. The st□ry t□k□s place on that thin line□between□solidarity and□he□oism□ □olidar□ty arises s□onta□□ous□y□ but only s□me a□e□capable of□heroi□□. □elp fo□ t□e girl□doe□ not a□ways result□□□om compassion;□someti□es i□ □s b□se□□on past re□atio□s and□per□on□l tie□ (a □eighbour □f the doctor takes in the fugitiv□ for a□few day□ b□□ause of past□fr□□nds□□p□□□□□z□□i□z portr□ys all □f this in a subtle way; even □h□ smallest□ge□ture□has s□gni□icance. Take, for□□xa□□le, the conversa□ion w□th□a st□an□er□on the trai□: short□□as □f jotted down o□ □he □argin, but s□ full of □ension.□And ea□lier, a p□culia□□□xaminatio□ of Po□ishn□ss□ the □q□ot;H□ly Fa□her&qu□t; pr□ye□ □orced on M□rka □y□the□v□llage b□ys □o check □□at she is□□ot a□J□w. Would not risi□g to the challenge □ean a dea□h □en□anc□?　　Vie□□d□afte□ many ye□r□□ "Birth □ertif□□ate□□uot; discloses ye□ another qual□□y□that is□not□present□i□ th□ w□□ks of the Polish S□ho□l,□but i□ prom□nent in l□□er□B-clas□ war film□. T□is i□ the pictu□e o□ ev□ryda□ life duri□g t□□ w□□ a□d□occup□t□on outl□ned in□the three nov□llas. It harmo□ise□ w□th the logic of speaking □bout "□life af□er lif□". □mall heroes of Roz□□icz sudd□n□y ente□ th□ re□lity of war, □□th no experience or scale with□w□ic□ to c□mpare □t. For them, □he presen□ i□ a natura□ extension of and□at the s□□e□time a □omple□e nega□ion□of □he pa□t. Consi□□r th□ sl□ey small-town marke□□la□□, □hrough which armoured colu□ns w□ll shortly□pass. □r □eet t□e G□rman mo□o□cyc□ists, w□o l□o□□like aliens f□om o□ter□space - a picture taken from an autopsy becaus□ this□is h□w S□an□s□aw □nd Tad□esz per□eived the firs□ Germ□ns □hey ever □□t. Note the blurred □ilhouettes o□ people a□ain□t a w□ite □all □ho □re be□ng sh□t□-□at□fir□t they are shocki□g, but□soon they□will pr□bably□become a □art o□ the grim□lan□s□ap□□ In the city cen□re □t□nds□□ prisoner □amp o□ □ sodden bo□ ("People p□r□sh l□k□s flies; the b□dies □re □ransported□during □h□□□□g□□□quot;); in t□e str□□t t□e childern a□e r□nning aft□r a □oal wagon t□ collect so□e □r□ci□us pi□□e□ of fue□.□T□er□'s a□bustle aro□nd some fo□d□(□ boy□□eproac□es his y□unge□ □rother&□□□□s action□ □y sin□□ng: "□The warrant officer□#39;s son i□ begging in f□ont of □he church? I□#39;m going to tell mot□er!&qu□t;□; and t□e kitche□, which one even□ng beco□es the p□oscen□um of a real d□ama. An□ □he□□ are □he□s□mb□□□: □ ba□ of□chocolate forced□upon a boy □y a Wehrm□ch□□soldier (&qu□□;On □he Road")□ a pair of sho□s□be□o□gi□g to Zbyszek's□father □hi□□ the□boy spont□neously g□ves t□ a □ussian fugi□ive□ a pri□ele□s s□ic□□of br□□d, □rou□d□&nbs□;under th□ heel□of a po□ice□□n in□the □uter ("L□tters □□om th□ Ca□p&quo□;). As □he direct□r put i□: &quo□;In e□ery f□lm□ I□□om□unic□te my own v□sio□ of the□w□□l□ □nd of the□pe□ple. □nly then □he□s□yl□ fol□□ws, the □ef□n□□ w□y □f exper□encing□things." In Birth C□rtificate,□he adds, his approach was□dr□v□n by the sub□ect: &qu□t;I attempted to crea□e not o□ly the textu□e of the doc□ment but□also t□ a□d so□e p□etic e□e□e□t. I know i□□is risky but as□for th□□merger□□f documentation and poety, o□ten hidden very d□ep, if only it manages to make i□s □□y onto □□e scre□n, it □e□u□ts □n what c□n referred to as '□rt'.□quot;　□🌦□　Afte□ 194□,□□her□ were□n□mero□s films created □n Eu□ope that □ea□t wi□h war and childr□n,□□ncl□di□g "□o□ewhe□e in Europ□" (&qu□t;□al□ho□ Europaba□", 1947 by □eza□Ra□van□i)□ &quo□;Shoe□hine"□ ("Sciesc□a"□ 1□46 □y Vittorio □e □ic□), and "Child□ood of□Ivan&□□□t; (□quot;Iw□nowo dietst□o&q□ot; b□ An□□iej Tar□owski). Yet there were□f□wer than one would expect. Pursui□g a □ubject□so imbued wi□h sentime□ta□ism r□q□ires styl□□tic d□s□pl□ne □nd a s□ecial abili□□ to m□□age ch□ld □cto□□. The□□u□h□r□of &q□ot;Birt□ Certif□cate&qu□t;□ma□ter□d both - □nd □t was not b□□chanc□. St□nislaw Roz□□icz was a□ways the benefic□nt □pirit□□f□the f□l□ mili□u; he coul□ □nite□people around a c□mm□n goal□□H□ emanated p□ace □nd se□sitivity, wh□□h f□owed to□hi□ □o-workers□□nd pupils. A film,□being□a group work,□necessitates some f□r□ o□ empat□y - tuni□□ in □□□□□others.□　I□ a □iogra□hi□al d□cumentary abo□t□□tanislaw Ro□ewicz □ntitl□d &qu□t;Walking, Meet□ng" (1999 by Anto□□ K□auz□),□□her□ □s □ beauti□□l sc□□e when the □i□ector, □fter a fe□ de□ades, meets □eata□Bar□zc□ew□□a, who pl□y□□Mireczka in the nove□la □quo□;Drop□ o□ Bl□od". The w□man fal□s i□□o the arms of th□ el□erl□ man.□T□ey are both mo□ed. He wonders how many □ears have□□assed□ S□e□answer□: "A fe□□ye□□s.□N□t too □any." And Rozewic□, with□his characte□is□ic smile says: "It is true. We spent□□his enti□e t□me□□o□ether.&□uo□□<□>人工助手是一种利用人工智(🖋)能技术□软件□序，可以执(🙍□□各种任务，例如设置提醒事□、处理行政任务、生成代码□段、□测代码错误和安全□洞等。它们可以通□自然□言处理、机器□习和□度学习等技术□用户□行□动□并...

胡八一去巴蜀□👑□是在《南海归□》这一部作□中。<□p>□之前这一路，众人眼□全□茫茫水域，眼睛都看直了。李天(🍑)□没有因为□的□□而回头，□种□厉内荏□家伙，境界□高，战力再□，□也无所畏惧。□<□>虫虫助手是厦门市虫虫网络科技有□公□开发□🐍)的一款□游(🖋)下载平台。它□供了□(💎□方位的移动娱乐服(□)务，包括手游下载、游戏资讯、游戏活动(💽)、游戏工具、□具交易、攻□评测、玩家□动社(□)□□功能。虫虫助手致力于为广□智能□...

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