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奈雪影院

盲目的丈夫们
美国英语1919
  Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?  The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)  From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

奈雪影院

女性生活中的24小时
法国法语2021
  24部短片,24位作者,24位女演员和10位导演,短片聚焦了方方面面针对妇女的歧视和侵害。  公车上的性骚扰、恋人之间的PUA、职场上性别歧视的着装规范、被恶意泄露的性爱视频、更衣室里的摄像头……平日里上下班的道路也不得不面对的危机四伏,以为温馨甜蜜的家也有可能是痛苦的牢笼。  H24通过一系列由真实事件启发制作而成的短片,讲述着世界各地的女性在白天和黑夜中每一个小时可能遭受的困境。  由24位作者编写的有力独白,配合24位女演员的重新诠释。每一个四分钟的短片都曾是真实发生的事件。她们跟我们一样,是学生,是老师,是少女,是母亲,是向往着赛场的运动员,是上班路上行色匆匆的女白领,也有辗转求职各处打工谋生的女职员。她们也曾对生活满怀希望,也曾怀着憧憬踏入爱情。在H24里,她们独自面对镜头,背负着被男性强奸、虐待、骚扰、歧视或贬低的耻辱和痛苦,低声诉说着像诗篇一样的独白。  这些故事令人不安,但又因平庸更加可怕。故事的主人公也许就在你我身边,也许就是你和我本身。  这些发生在女性身上的灾难,仿佛是一场无形、漫长且难以对抗的病痛。在全球范围内,35%的女性遭受过来自伴侣或其他人的性暴力,在一些国家这一比例可达到70%;全世界有1500万少女(15-19岁)被迫发生性行为;每天,有137名妇女被其家庭成员杀害;只有不到40%的遭受暴力的女性会寻求帮助,而这里面只有不到10%的人会报警。  这些暴力如此普遍、如此平庸、如此不幸地每天发生。然而面对它们造成的伤害和死亡,人们往往选择保持沉默:亲人的沉默,邻居的沉默,移开视线的路人的沉默。施加迫害的人毁掉了女性的生活,却依然逍遥法外,很少因此受到谴责。  但H24并不仅仅是女性屈服于暴力和死亡的故事。  即使在这些普遍得足以让每一位女性产生共鸣的事件中,它依然讲述了那些不屈的灵魂,在遭受苦难之后抵抗、斗争、谴责和战斗。身为女性,我们直视痛苦,我们也可以挺身而出守卫遭遇苦难的每一位女性。我们也可以是打破沉默的人,将女性的命运掌握在女性自己手中。  “我们气愤于沦为报纸头条的妇女的命运。我们想让匿名者、受害者或反抗者发声,创造一个属于我们的故事的空间,让这些经历不再因时间的流逝而消弭。”  ——瓦莱丽·乌雷亚,H24策划与总导演  “这部短剧中的女性并不仅仅局限在受害者的角色上。H24号召人们抵抗。这个系列的剧本、拍摄和图像处理必须展现这种反抗,这种不愿被视而不见的不服从的渴望。”  ——娜塔莉·马斯杜劳,H24策划与总导演

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