在电视□《庆余(🛬)年》中,被认(□)为是好人的角色有陈□萍□言若海。□萍萍对□帝和(🛫)范(□)闲非常忠诚,并多次帮助□们。言(🥫)□海对庆国□□□都□诚,在得知自□□儿子被北齐抓捕后,他仍然□庆国子民着想。其他角□□否□□人或...<□p>他□来□自信?Tw□ differ□nces between□th□s□□ustr□an version and □he□general□y av□ilable A□e□ican vers□on are immedia□ely□obvious: they diffe□ □oth in the□r le□□□h□and i□ the language□of th□ intertitles. Th□ Americ□n version is on□□□1,883 me□□es□long□- at 18 frames per□seco□d a di□ference of some 7 m□nu□e□ to th□ Austrian vers□on □□th□2,0□5 m□□res□□□her□as we origi□ally presumed □nl□ a negligib□e di□□eren□e, res□lting fr□□□th□ □aryin□□length of □he intertitles,□□ direct comparison has nev□rt□ele□s shown that the Aust□i□n versi□n □iffers from the Amer□□an versi□n□both in □he montage and in the□d□□□tion of□indi□idu□l sc□nes. Yet h□w □ould it h□ppen th□t the later□regional dis□r□buti□n o□ a canonical US□sil□n□ □ilm was longer than the "original ve□sion"? Th□ preval□□t □merican v□□sion of□Blind Husbands does not correspo□□ to the v□rsion shown□at□th□□pr□miere □f 1919. Thi□ □ittl□-known□fact was al□□a□y published by□R□chard Kos□arski in 1983. The f□□m was r□-rele□□□□ by Universal□Pictur□s in 1924□ in a □er□ion that w□s 1,365□□eet (4□6 metres) s□orter. At 18 fr□mes p□r se□ond, this□amo□n□□ to a □im□□difference of 20 minutes! &qu□□;T□tles wer□ a□□er□d, snippets of act□□n□remo□ed □□□ □□□lea□t one ma□or□scen□ t□ke□ ou□ entirely, □her□□vo□ □te□□en and Margar□□ visit a small local c□a□e□." (Koszarski)□ From the pres□nt state of research we can assume □hat all □he known Americ□n cop□es□o□ t□e film derive□from this shortened re-re□ease v□rsion, a □opy □□□which□Universa□□dona□ed to the Museum of □o□ern□Art in 1941. According to Koszar□ki □he □rigina□ ne□□□ive□of the□f□lm □as de□troyed someti□□ b□twee□ 1956 and 1961□and has th□refore been irretrieva□ly lost. This□in□orm□t□on casts an interesting l□ght on the Austrian version, whi□□ ca□□be da□ed to□the□perio□ between□the summer of 19□□ and t□e□winter of □9□2. Further□ore, the copy□is some 200 □etres long□r th□n□the U□ □□rsi□n of □924. If one□follows th□□de□ai□s□given by□Richard □oszarsk□ and Arthur□Lennig, this means t□a□□ as f□r as both its date□an□ its leng□h are con□e□ned, □he Aust□ia□ v□rsion lies almost ex□ctly in □he midd□e betwe□n the (los□) version sho□n at □he pr□mi□r□□□nd□the□re-rele□s□□ one.□□large p□rt □f th□ addi□ion□l l□n□th□of the□fil□ c□n be tra□e□□t□ cuts□that were □ade□to□the 192□□v□rsion in al□ost every□sho□. K□szar□ki□describes how□the beginning□and the□end of scene□ w□re t□immed, in or□□□ to "s□eed up&q□ot; the□f□lm.□Howeve□□ m□r□ □xcit□ng was th□ discovery □hat □□e□Au□tr□an version cont□ins□shots that□are missing in □he Amer□can one □ □hot□/co□nt□rs□o□s□ in□ertitles - a□d furthermo□e shows differences in it□ montage (i.e. □he placing of□the individual sho□s withi□ a sequence). All th□s i□dica□e□ tha□ Die □ach□ □er Berge co□stitu□es the olde□t and mos□ com□let□ly □reserved mater□al of □he fi□m.龙□□了一□,怎么(👀)□此客气□□忙起身□□:□校2年生の□□莉乃は、中学□🧤□からの仲□□)良しグループの男子・桐谷蓮□□□。 モテる桐谷に、自□の性□も身(🕜)体も好きになれない莉乃は、気□れし□ばか(🔉)り(□)。□□――女友達のままでいい□だ、本当の私を□□て、□われた□ない(🎨)し―― 諦めようとしても、桐□が「かわ□い」□オレのことど(□)う□ってる?」と思□□ぶりなことば□りするから、やっぱりこの□、止められなくて…□ ―□そん□莉乃自身も、ま□誰も、気付□ていない。 少しずつ□□も確実□莉□の(⛑)身体は□も足も、や□て全身が、(🦉)まった(🌂)く動□せな□なって□ま(□)うこ□に… この病いの□は、ALS(筋(□)萎縮性側索□化症)□□ 「10万□の1□□―□ュアラブの名手・宮坂□帆が挑む、残酷(🎖)で幸□な運命の物□。
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