郑凌霄没□说完，不过意思却很明确□□里□(😮)是发出了一声轻笑□道□“我们这样的还算得上财不露□□，就这十几车的货物就□值不凡□若是(❣)三位(☔)有□□□，恐怕也早就盯上我们了吧。”The□2-part feat□re-□ength docume□tary "□5 ze šedesátých aneb Českoslo□enská nová vlna" (□qu□t;25 □□□m the S□xties, or Czechoslo□ak □ew□Wave&□uo□;) presents a□complex view of the ph□nome□on□□f C□e□□ and Sl□□□k□New Wave in the c□ltur□l □□d□social □ontext of □he 60□;s. 25 fundamental film□□com□en□ed on by□□heir makers □nd film historians o□fer □h□ view□r a□dr□m□ti□ insight□into the golde□ era □f C□e□hoslovak□cinema.□ The docu□ent□ry is□a□follow□up on□the □iog□aphical□□V□series "Zl□□á š□desá(😗)□á"□(C□ech T□l□vision□ 2009), bas□d on t□□ □□lm□a□er□' personal r□me□brance□. As□opposed□□o□the ser□es,□the documenta□y pr□sents the□C□□c□ and□S□ovak cinema of the 60'□ in the national, □nter□ational and also i□ter-generational cont□xt□ It descri□es the ways th□ New Wav□ crossed □he □xisti□g artistic□bou□daries, □ow □t var□egated the □orld cinema and where i□□left an in□ffaceable impr□s□ion. It analyses□the □ork□□f filmmakers in □ sta□□-□un□□d □inema, under th□ pre□sure of□ideological □e□ands on one hand and com□erce on t□e □the□. I□ pres□nts □he dilemma □f a man - □n artist □ on the e□ge□bet□een□contr□□ictory social □ystems □nd in□on□□uous aestheti□ requi□ement□. T□e existential drama of a man acti□g□freely□and at □he□sam□ time m□rc□le□s□y cru□hed by the wh□els of□t□e□s□stem. (🧞) The 60's are□ from □his po□nt o□□view, mostly an era of□fortuna□e □is□orical conste□lation, n□t□□□□y in - □t□th□□□time - Cz□choslova□ia, but on□a world□wide sc□le. An era of e□pectations□and□up□w□ng, b□□ also an e□□□of exempl□□□ □□man □□□isions a□d artisti□ pursuit□ Those are so□e of th□ things "25 ze šedesát□ch an□b□Československá(🍱) nová □lna&□uot;□wants to commemor□□e. □□□□t 1 co□men□s□on: □&quo□;□lnko v□sieti"□(&quo□;The S□n□in a Net," 1962) by □tefa□ □her ■&□uot□K□n□u□s&qu□t; (&qu□t□A□dition," 196□) by□Miloš Forman ■&q□o□;Křik"□ (□quo□;The Cry,"□1963□ b□ Jaromil J□reš □□□quo□;Po□ta□□ k podpí□ání" (&□u□t;Jos□ph Kilian," 1963) by□□avel □uráček□& Jan Schmi□t ■"□Každý den o□v□hu&q□□t; (&quo□;Coura□e f□r □very Da□," 196□) by□Ev□l□ S□hor□ (💬)□&q□o□;D□manty □oci&q□□t; ("Diamonds of the Night," □964) □y □□n□N□mec ■"□ntimní osvět□□ní(🤜□" ("□nti□ate Lighti□g,"□196□) by Ivan□Passer ■&□□□t;Ať ž□j□ republika" (□□uot;□□n□ □ive□□he Republic,□qu□t; 1965) by Kar□l □achyňa □&qu□t;Obchod□□a □o□ze" ("Th□ Shop on M□□□ □treet□" 1965) by Ján□K□□ár &□ □lmar □los □■&□uot;Romance pro □ř□dlo□ku&□uot; (&qu□t;Romance □or Bu□□e,&□uot; 1966) b□ Otak□r□Vávra□ ■"□Sedmik□ásky&□uot;□("D□isi□s□&q□ot; 1966) by Vě□a Chyt□lová □"O□tř(⏲)□ □l□d□v□né vlaky&qu□t; ("Closel□ Wat□he□□Tr□ins," 1□66) b□ Jiř(🦂)í Menzel Part 2 comments □□: (👔) ■"Kristo□□□roky&□uot; ("□□□ □□ime of Life,&□uot;□1967) by Jura□ Jakubisko ■"Stud&q□ot□ □"Shame,&quo□; □9□7□ □y□Ladislav H□□ge□ ■&□uot;Svatba jako ř□men" (&□□o□□□ Hard□a□d □a□t Marri□g□," 196□) by Jiří Krejč(💡)ík□ ■□quot;Dr□k sa vra□□a" ("D□□g□n's□Retur□,"□ 1967□ by E□uard Gr□čner ■"Marketa L□zar□vá" □"□arketa□□azarová,"□ 1967) by □ranti□□k Vl□čil □"S□ř□□n□ni volbou&□uot; (□quot;□le□□ive Aff□ni□ies,&q□o□; □968) by Karel□Va□hek□ ■"□Spalovač□📺) mrt□o□" □"T□e Crem□tor,&q□ot; 1968□ by Juraj □erz ■"□abit□ ne□□le□qu□t□ ("Sq□an□ered□Sunday,"□1□69)□□y □ra□□□íra Vihanová □■&q□ot;Pasťák"□("Th□ D□co□,&q□o□; □968)□by □ynek B□čan □"Případ pro □ač□naj□cího □□ta" ("□Case for a Rookie H□n□man,&q□ot; 196□) by □a□el Juráček□ ■&q□ot;322□quot□ ("322," 1969) b□ □ušan □a□ák □&quo□;Slávnosť v bot□n□ck□j□□áhrade" (□q□ot;Celebration □n□the□Botan□ca□ Garden,&□uot; 1969) by E□o Ha□etta ■&quo□;□š□chni dobř□□rodáci" (□q□ot;□ll My Good C□untr□□en,"□ 1968) □y□Vojtěch Jasn□"五年红州的变化很大，杜若□路上耽误，打了□□的士就□黎老家这边□。2. 《□议□□后，.□.□/p>“都怪自(😗)己！”- 《国中的□异□”——近代四川的文化、□□与□方认同(🌆)》□作□:王东杰
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