無限古典

Not Again! 24 Great Films Too Painful To Watch Twice

2009-04-16T12:59:00.000+08:00

Not Again! 24 Great Films Too Painful To Watch Twice
Posted: 14 Apr 2009 10:39 AM PDT
Collected by avclub
1. Requiem For A Dream (2000)
Darren Aronofsky’s brutal adaptation of Hubert Selby’s novel depicts the horrors of substance abuse in many forms-heroin, pot, caffeine, prescription pills, hope-with such visceral, breathtaking force that shell-shocked audiences were forced to think long and hard about pouring that first cup of coffee the next day. The result is one of the only genuinely effective, non-hysterical anti-drug movies ever made. Dream flirts extensively with delirious camp during its fever dream of a climax, but retains a pummeling power thanks to Aronofsky’s unblinking willingness to trawl deep into the bowels of hell alongside his heartbreakingly fragile characters.
2. Dancer In The Dark (2000)
Starting with 1996’s Breaking The Waves, writer-director Lars von Trier all but commandeered the genre of fascinating, beautifully wrought movies that are too agonizing to sit through twice. Waves, Dogville, Dancer In The Dark, and even the less successful Manderlay all center on women making well-meaning but disastrous choices, attempting to help other people but winding up meekly agreeing to their own financial, sexual, and emotional exploitation. And when presented with such humble, cooperative victims, the people around them tend to abandon any semblance of morality and decency in order to take full advantage of the sacrifices they’ve been offered. Dancer In The Dark follows the same pattern as the others, but it’s particularly painful thanks to Björk’s sweet, nakedly vulnerable performance as a cringing immigrant factory worker who’s gradually going blind while trying to save up money so her son can have the operation that will save him from the same fate. Von Trier calculates his plotlines with exacting, inspired sadism, ensuring that her attempts to reach out to others backfire, her kindness is repaid with betrayal, and every seeming spark of hope exists only to better illuminate the miserable darkness. And yet Dancer is a beautiful film, filled with terrific performances and heartbreaking music, performed by Björk in character.
3. The Passion Of Joan Of Arc (1928)
Von Trier owes his entire painful career to his Danish countryman Carl Dreyer, particularly his silent classic The Passion Of Joan Of Arc, which deals with the ultimate case of a woman suffering for her faith. What makes the film difficult to watch isn’t so much Joan’s persecution at the hands of her ecclesiastical tormentors, or even Maria Falconetti’s famously expressive performance, which registers her anguish in every crevice of her face. Its disturbing intensity comes mainly from Dreyer’s refusal to play by the rules: Defying the most basic tenets of cinematic grammar, which require filmmakers to establish spatial relationship on a 180-degree plane, Dreyer instead constructs the film as a series of extreme close-ups, with little sense of where the characters are in relation to one another. That disorientation, combined with the feverish emotions whipped up by the trial, places viewers in a grim psychic space.
4. The Seventh Continent (1989)
Just about every film by Michael Haneke-the fiendishly precise Austrian director of Funny Games, The Piano Teacher, and Caché-could have made this list. An unsparing moralist with a peerless talent for getting under viewers’ skins, Haneke backs up his schoolmarm-ish theses on violence with a punishing aesthetic that couldn’t be further from the escapist frivolity of Hollywood fare. The first entry in a so-called “glaciation trilogy” that continued with Benny’s Video and 71 Fragments Of A Chronology Of Chance, Haneke’s brilliant debut feature The Seventh Continent watches with chilling dispassion as an average middle-class family sets about destroying itself. Haneke starts by focusing on the mundane, joylessly repetitive details of their life, then follows the drastic measures they take in carefully dismantling it. In the pantheon of Haneke shocks-the “remote control” in Funny Games, the broken glass in The Piano Teacher, Maurice Bénichou’s fate in Caché-Continent’s fish-tank scene may be the most emotionally wrenching.
5. Winter Light (1962)
Perhaps the grimmest entry in Ingmar Bergman’s “Trilogy Of Faith” (also known as the “God’s Silence” trilogy, which should be a good indicator of the bleakness standards at play), Winter Light follows a small group of parishioners who have no celestial answers for their anguish. The opening scenes alone constitute one of the sparest expressions of Bergman’s dour spirituality: As a rural pastor performs his noon service, a handful of the faithless faithful go through the requisite motions, but with a palpable disconnection from their meaning. Though he offers himself as counselor, the pastor can’t comfort them, because he too is in spiritual crisis; after serving in Spain during the civil war, he witnessed so many bloody atrocities that he struggled to reconcile the idea of just loving God with the reality of human cruelty and violence. In the end, apostasy is the only answer.
6. Bad Lieutenant (1992)
The blunt title turns out to be an understatement: The hard-living detective in Abel Ferrara’s Bad Lieutenant, played with fearless brio by Harvey Keitel, surely counts as one of film history’s most corrupt cops. He’s a gambler and an addict, given to pocketing drug seizures for recreational use and planting them when necessary, participating in sleazy sex-and-drug-fueled bacchanals, and flagrantly abusing the public trust. For his part, Ferrara coughs up some suitably repulsive images: a nun getting gang-raped on the altar; a virtual how-to clinic on preparing and shooting up a ball of heroin; a profanity-laced confrontation with Jesus; and most memorably, a scene in which Keitel pulls over two underage girls and agrees to let them go in exchange for sexual favors. As hard as these scenes are to watch, the clincher may be Keitel’s performance itself-a display of raw, unvarnished emotion from a character whose slumbering conscience and faith are suddenly reawakened. Witnessing his transformation is like watching a dried-out junkie.
7. Straw Dogs (1971)
A forceful, unrelenting statement on masculinity and violence, Sam Peckinpah’s Straw Dogs sounds like a perfectly watchable home-invasion thriller, concluding as it does with the hero standing his ground and beating back his formidable attackers. But like many of the films on this list, it’s a case where the moviemaking is skillful enough to make even its simple revenge scenario seem dangerously potent. Critic Pauline Kael described it as a “fascist classic” for casting Dustin Hoffman as a wimpy, bespectacled academic and pacifist whose manhood remains questionable until he’s put through a bloody rite of passage. Hoffman’s gruesome showdown with a group of crude locals would be shocking enough on its own, but the infamous scene that prefaces it counts as even more disturbing. Left alone in their home in a seemingly quaint Cornish village, Hoffman’s wife (Susan George) is raped by her former lover and his crony. Initially horrified, she eventually responds with something close to ecstasy, underlining her husband’s weakness in the context of an indefensible rape fantasy.
8. Audition (1999)
“Kiri-kiri-kiri-kiri-kiri!” (”Deeper, deeper, deeper…”) J-horror maestro Takashi Miike has plenty of disturbing images to his credit-a man suspended horizontally by hooks and doused with hot oil in Ichi The Killer, the infamous lactation sex scene in Visitor Q-but Audition, his best film in a walk, unsettles because its shocks are character-oriented, in addition to merely being gross. The first half of the film could be mistaken for austere melodrama, as Miike follows a widowed producer who “auditions” a new wife under false pretenses, and finds a quiet, petite young woman who fits the bill. But the woman turns out to have a dark agenda, and she answers his deceptions in a horrifically extended torture sequence involving a very long needle. Her retribution is Miike’s sick idea of social critique, addressing the problem of female objectification with unspeakable (and yet weirdly erotic) acts of cruelty.
9. Sick: The Life And Death Of Bob Flanagan, Supermasochist (1997)
Simply describing the sadomasochistic stunts pulled by Bob Flanagan, a performance artist who died from cystic fibrosis at age 43, is enough to get half the population wincing as if they were sucking on a lemon wedge. But seeing Flanagan’s work in Kirby Dick’s surprisingly moving and inspiring documentary Sick is another matter. As a way of combating a body that was constantly betraying him, Flanagan tested his astounding pain threshold in shocking ways, most notoriously including a nail pounded into his penis. (In close-up.) It may sound like something no one would want to watch the first time, let alone twice, but Sick is redeemed by Flanagan’s wicked sense of humor and courageous defiance in fighting a disease that normally strikes down the afflicted during childhood.
10. Come And See (1985)
Many films use a child’s perspective to tell a war story-it’s a easy way to chronicle loss of innocence and portray the consequences of violence. Nothing on film drives this point home quite as effectively as Elem Klimov’s Come And See, the chronicle of one boy’s struggle to defend his Belarusian village from the Nazis in 1943. Aleksei Kravchenko spends the early part of the film eager to join his comrades, finding a damaged rifle of his own and dressing in oversized military clothing, camouflaging his youth before the war actually takes it from him. Kravchenko’s face tells the story, as repeated close-ups document his transformation. By the film’s end, it’s hard to tell whether dried dirt or actual wrinkles are violating his once-youthful visage. The scene where a Nazi officer gleefully pushes Kravchenko to his knees and points a pistol at his temple to pose for a photograph may once have brought to mind Saigon and that notorious execution of a Viet Cong officer. Now, it’s hard not to think of Abu Ghraib.
11. In A Year Of 13 Moons (1978)
There’s torment enough in Rainer Werner Fassbinder’s deeply personal In A Year Of 13 Moons long before it reaches the sequence that made it semi-notorious. Fassbinder’s hero, a transvestite martyr played by Volker Spengler, is a pitiable Frankfurt drifter who had a sex-change operation years earlier, prompted by an offhand comment (”too bad you’re not a girl”) from an unattainable object of desire. Spengler convinces neither as a man or as a woman, and he winds up subjecting himself to his old crush, now a cruel businessman whose towering office space is accessed by the password “Bergen-Belsen.” And on top of it all, the film was shot mere weeks after Fassbinder’s lover committed suicide. But 13 Moons saves its most disturbing setpiece for its final act, which contains a monologue on self-mutilation set against footage of the killing floor in a slaughterhouse. Fassbinder super-fan Richard Linklater lifted the idea for Fast Food Nation as a tactic for letting audiences know where their steaks and burgers come from, but the combination of those images and the dissociated voiceover makes 13 Moons considerably more disturbing.
12. Safe (1995)
A sort-of horror movie in which the monster is the entire world, Todd Haynes’ Safe follows a rich, empty housewife (played masterfully by Julianne Moore) into the depths of “environmental illness”-a malady that real-world doctors still can’t agree on. Is it all in her head, which is half-vacant and in need of something to worry about when all basic needs are met? Or is she just sensitive to low levels of toxic chemicals that most people simply don’t notice? The film doesn’t offer an clear answer-instead, it follows Moore through incredibly uncomfortable anxieties and unpeggable illnesses. She ends up at a wellness retreat, which at first seems to offer some hope, but she’s soon sucked even deeper into the discomfort of her own mind. It’s pure bleakness.
13. Irreversible (2002)
Gaspar Noé’s Irreversible picked up some well-deserved notoriety for its centerpiece, a gasp-inducing nine-minute single-take sequence in which Jo Prestia anally violates Monica Bellucci at knifepoint in a grimy (and highly symbolic) red underground tunnel, then beats her to an unrecognizable pulp. There’s nothing cinematic or subversively sexy about the rape scene; it’s a ghastly, raw experience that seems to go on for hours, with Bellucci’s muffled cries and wide, blank eyes becoming increasingly inhuman as the process drags on. But Noé doesn’t make the rest of the film any easier to take. Laying out the story in reverse chronological order, he begins with a stomach-churning act of revenge for the rape, then sets his camera spinning slowly end-over-end, preventing viewers from gathering their bearings and turning the film into a ghastly carnival ride. Throughout the film, his shocking content and his startling intimacy with his characters make for a strikingly vivid, immersive, intense experience, but it’s a singularly exhausting one as well.
14. Boys Don’t Cry (1999)
Graphic rape scenes are tough enough to sit through without squirming, but the brutal assaults in Boys Don’t Cry make repeat viewings of the film an act of psychic self-abuse. Based on the real-life tragedy of transgender 21-year-old Brandon Teena-played with haunting depth by Hilary Swank-Boys is relentless in its portrayal of barbaric bigotry in small-town Nebraska. After Swank starts a romantic relationship with Chloë Sevigny’s Lana Tisdel, Lana’s redneck friends forcibly expose Teena as a biological female, then savagely rape her before the hatred escalates to an inevitably horrific end. Just as sickening as the violence, though, is the complicity of Lana’s mother-who calls Teena “it” and ultimately gives the boys sanction to “clean up” the situation-and the outright antagonism (bordering on titillation) of the hick sheriff who grills Teena after the rape. The fact that the film’s events are based on truth-and the lingering attachment Boys Don’t Cry has to the hate-fueled murder of Matthew Shepherd around the time of its release-only magnifies its gut-crawling impact.
15. Grave Of The Fireflies (1988)
From the opening scene showing 14-year-old protagonist Seita dying on a train-station floor as harried travelers look on bemusedly, it’s clear that Grave Of The Fireflies isn’t going to be easy to watch. An animated Japanese film as visually beautiful as it is emotionally draining, Fireflies finds tragedy in the horrors of war and the dangers of human pride. The story of two Japanese siblings orphaned during the firebombing of their village during World War II, Grave draws out the suffering of Seita and his younger sister Setsuko over 88 quietly horrifying minutes as they struggle, and eventually fail, to survive in a bleak, war-torn landscape. In spite of its dark subject matter, Fireflies is brightly colored and peppered with sweetly innocent moments between brother and sister, making their eventual fates all the more disturbing.
16. When The Wind Blows (1986)
This deceptively sweet little British animated feature emphasizes the cost of war on a very personal level, by observing a quiet rural couple preparing for impending nuclear conflict, then slowly dying of radiation poisoning afterward. Naïvely accepting everything their government pamphlets tell them (though they don’t understand much of what they’re told, and remain sure that since they can’t see or feel any radiation, it can’t possibly be hurting them), they fumble through their days, gently squabbling and supporting each other in homey old-married fashion without comprehending either the scope or the causes of the fight that’s killing them from afar. Perhaps the saddest part is their conviction that nuclear war will be no different from World War II, which they lived through, and that if they just tough it out and tighten their belts, they can get through lethal radiation poisoning the way they got through wartime shortages. Much like Grave Of The Fireflies, When The Wind Blows is adorable in its personal, knowing details, and excruciating in its big picture.
17. Leaving Las Vegas (1996)
It’s been a long fall for Nicolas Cage, from celebrated Best Actor Oscar winner a mere decade ago to the star of Next, Ghost Rider, and (tee-hee, “How’d it get burned?”) The Wicker Man. It’s honestly hard to remember at this point what a revelation he was in his Oscar-winning role in Leaving Las Vegas, as a failed screenwriter pointedly setting out to drink himself to death. The film, written and directed by Stormy Monday’s Mike Figgis, is more consciously polished and Hollywood-y than most of the films on this list, but it has much the same quality of unstintingly, aggressively delving into just how miserable human beings can get. It isn’t enough, for instance, that co-star Elisabeth Shue is trapped in a degrading life as a Vegas prostitute. It isn’t enough that her best friend is an abusive, suicidal drunk who seems content to drag her down with him. It isn’t enough when she gets gang-raped, and subsequently evicted from her home by landlords clearly uncomfortable with the disreputable appearance of a bruised-up, limping rape victim. No, she actually has to get mocked and abused on her way home after the rape, as her taxi driver, noticing how gingerly she’s moving, asks if she got “a back-door delivery you weren’t expecting,” then tells her she was asking for it by dressing the way she does. Only Figgis’ glittery, somber direction and the leads’ stellar performances turn this wallow in miserablism into something sadly poetic.
18. Jonestown: The Life And Death Of Peoples Temple (2006)
19. S-21: The Khmer Rouge Killing Machine (2003)
Though they take drastically different approaches, the Jim Jones documentary Jonestown and S21 are both far too intense and draining for repeat viewing. S21 coldly but powerfully appraises the devastating aftereffects of totalitarianism through the firsthand stories of survivors of Khmer Rouge terror. Jonestown, meanwhile, traces the tragic rise and fall of Jim Jones, a fiery idealist and social activist corrupted by power. People’s Temple attains an almost unbearable intensity in a heart-stopping climax that draws extensively on audio footage miraculously documenting Jones’ endgame strategy of poisoned Kool-Aid and mass suicide. It’s as close to being there as humanly possible.
20. The Last House On The Left (1972)
Taxi Driver is considered the definitive rebuke of ’70s vigilante movies, but it’s a laugh-a-minute joy ride next to the vengeful depravity depicted in The Last House On The Left. Drawing from Ingmar Bergman’s The Virgin Spring, Wes Craven’s brilliantly unwatchable first feature is a no-holds-barred depiction of the rape and murder of two teenage girls by a pack of hippie lunatics, and the graphic revenge the girls’ parents enact on the murderers. Last House looks cheap and amateurish, which adds to its snuff-film-style realism. Never has the gulf between “great film” and “enjoyable” been so wide.
21. Million Dollar Baby (2004)
The first three-quarters of Million Dollar Baby play like an old-fashioned sports movie, focusing on the heartwarming father-daughter dynamic between coach Clint Eastwood and boxer Hilary Swank. Then (spoiler alert!) Swank suffers a horrible accident in the ring, and Million Dollar Baby is suddenly rich with ripped-from-the-headlines relevance as Eastwood wrestles with the question of whether he should euthanize his surrogate daughter. The decision is appropriately gut-wrenching, and Eastwood’s direction is always tasteful, but who wants to ponder the difficulty of putting a loved one out of their misery if fate doesn’t require it?
22. United 93 (2006)
Writer-director Paul Greengrass dramatizes the events of September 11 on the ground and in the air with a “you are there” veracity that’s gut-wrenching and surprisingly probative. From the initial confusion to the panicked response, United 93 explains what the whole last six years have been like, from shock to violence to exhaustion. But Greengrass’ refusal to insert any kind of distancing effects means that viewers get to relive every second of sick horror from one of the worst days any of us will ever experience. A lot of Americans didn’t want to see United 93 even once, and it was hard to blame them.
23. Lilya 4-Ever (2002)
Just prior to Lilya 4-Ever, Swedish writer-director Lukas Moodysson made Together, a movie so generous in spirit that a lot of its fans found this follow-up, a comparatively bleak story of a teenage Russian sex slave, too tough to take. Actually, Lilya follows logically from Together as another profound illustration of how people need people. (A little familial support would’ve prevented most of the movie’s string of tragedies.) But in spite of a spectacular lead performance by Oksana Akinshina-and a lyrical final scene that tries to put a happy spin on human misery-Lilya 4-Ever essentially asks its audience to watch the hopes of a bright, pretty girl get crushed one by one. It’s powerful stuff that lingers in the memory so strongly that a second viewing may not even be necessary.
24. Nil By Mouth (1997)
Gary Oldman has openly said that he appears in dreck like Air Force One because Hollywood paychecks let him fund his own indie films. So far, though, his only writing-directing project is Nil By Mouth, a gritty, grueling drama in Mike Leigh mode. Like Irreversible, it centers on a protracted, nauseating act of violence against a woman, framed within a nervy, talky plot. But Nil By Mouth is less story-driven; it mostly captures, intimately and unsparingly, the details of working-class life in South London, among addicts and alcoholics. It’s an impressively immediate, immersive film, but a hard one to sit through, thanks to its direct look at physical and emotional abuse. Then again, the accents are so dense, and the dialogue flies so fast and furious, that it may be necessary to watch it twice just to follow what’s going on. Sometimes even the most exhausting films have to be watched more than once.

朱纬《发烧天碟》连载 01

2009-03-25T18:50:00.002+08:00

FX50

2009-03-23T12:50:00.009+08:00

FX50

Turn off the lights March 28 for Earth Hour!

2009-03-20T09:53:00.002+08:00

Recive from Live Earth!
Hello ,

Earth Hour

Earth Hour 2009

On March 28, at 8:30 pm local time, one billion people will go dark for Earth Hour. World Wildlife Fund is asking individuals, businesses, governments and organizations around the world to turn off their lights to make a global statement of concern about climate change and to demonstrate commitment to finding solutions.

Already hundreds of icons and landmarks around the world have signed up to turn their lights off for Earth Hour 2009 including - the Eiffel Tower in Paris, Sydney Opera House, Acropolis and Parthenon in Athens and The London Eye, among many others.

Click here to be part of the global lights out.

March 22 is World Water Day

world water day 2009World Water Day is an international day of observance and action to draw attention to the plight of the more than 1 billion people around the world that lack access to clean, safe drinking water.

Click here to see all the ways you can help bring this day to the forefront of the world's attention.

More than 1 Million Participate in Friends of Live Earth

More than 5,000 schools in India recently held events via our Friends of Live Earth program. More than one million youths participated in events held in the the cities and surrounding areas of Delhi, Bangalore, Mumbai and many more. The kids enthusiastically participated in various school activities, writing essays, eco-quiz, art competition, watching the screening of Inconvenient Truth and many cleaning-up-environment activities.

Click here to see photos from Friends of Live Earth India.

Visit Live Earth Video for more on Earth Hour and World Water Day, as well as highlights from last month's Twestival, which raised more than $250,000 for charity:water.

Thanks and visit soon!

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Follow Live Earth on:
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Click here to invite your friends to Live Earth!

世行发布的经济数据！

2009-03-19T11:17:00.004+08:00

世行发布的经济数据！

朱纬《发烧天碟》连载

2009-03-18T19:15:00.002+08:00

BlackBerry&Iphone

2009-03-18T12:06:00.000+08:00

BlackBerry&Iphone

T400开箱！

2009-03-17T17:16:00.003+08:00

T400开箱！

永遠在蛋這一邊

2009-03-10T12:30:00.000+08:00

永遠在蛋這一邊

村上春樹

btr譯自以色列《HAARETZ》報

今天我作為一個小說家來到耶路撒冷，也就是說，作為一個職業撒謊者。

當然，並不只有小說家才撒謊。政治家也做這個，我們都知道。外交官和軍人有時也說他們自己的那種謊，二手車銷售員、肉販和建築商也是。但小說家的謊言與其他人的不同，因為沒有人會批評小說家說謊不道德。甚至，他說的謊言越好、越大、製造謊言的方式越有獨創性，他就越有可能受到公眾和評論家的表揚。為什麼會這樣呢？

我的回答會是這樣：即，通過講述精巧的謊言--也就是說，通過編造看起來是真實的虛構故事--小說家能夠把一種真實帶到新的地方，賦予它新的見解。在多數情況下，要以原初的形態領會一個事實並準確描繪它，幾乎是不可能的。因此我們把事實從它的藏身之處誘出，將之轉移到虛構之地，用虛構的形式取而代之，以試圖抓住它的尾巴。然而，為了完成這點，我們必須首先釐清在我們之中真實在哪兒。要編造優秀的謊言，這是一種重要的資質。

不過，今天我不打算撒謊。我會努力儘可能地誠實。一年裡有幾天我不說謊，今天碰巧就是其中之一。

所以讓我告訴你們一個事實。很多人建議我不要來這兒領取耶路撒冷獎。有些人甚至警告我，如果我來，他們就會策劃抵制我的書。

此中的原因，當然是肆虐於加沙地區的激烈戰爭。聯合國報導，有超過一千多人在被封鎖的加沙城內失去了生命，其中不少是手無寸鐵的公民--孩子和老人。

收到獲獎通知後，我多次問自己，是否要在像這樣的時候到以色列來，接受一個文學獎是不是合適，這是否會造成一種印象，讓人以為我支持衝突的某一方，以為我贊同某國決意釋放其壓倒性軍事力量的政策。當然，我不願予人這種印象。我不讚同任何戰爭，我不支持任何國家。當然，我也不想看見我的書遭到抵制。

然而最終，經過仔細考慮，我下定決心來到這裡。我如此決定的原因之一是，有太多人建議我不要來。或許，就像許多其他小說家，對於人們要我做的事，我傾向於反其道而行之。如果人們告訴我--尤其當他們警告我--"別去那兒，""別做那個，"我就傾向於想去那兒，想做那個。你們或許可以說，這是我作為小說家的天性。小說家是異類。他們不能真正相信任何他們沒有親眼看過、親手接觸過的東西。

而那就是我為什麼在這兒。我寧願來這兒，而非呆在遠處。我寧願親眼來看，而非不去觀看。我寧願向你們演講，而非什麼都不說。

這並不是說我來這兒，是來傳達政治訊息的。當然，做出是非判斷是小說家最重要的職責之一。

然而，把這些判斷傳達給他人的方式，要留給每個作家來決定。我自己寧願把它們轉化為故事--趨向於超現實的故事。因此今天我不打算站在你們面前，傳達直接的政治訊息。

但請你們允許我發表一條非常私人的訊息。這是我寫小說時一直記在心裡的東西。我從未鄭重其事到把它寫在紙上，貼到牆上：而寧願，把它刻在我內心的牆上，它大約如此：

"在一堵堅硬的高牆和一隻撞向它的蛋之間，我會永遠站在蛋這一邊。"

對，不管牆有多麼正確，蛋有多麼錯，我都會站在蛋這一邊。其他人會不得不決定，什麼是對，什麼是錯；也許時間或歷史會決定。如果有一個小說家，不管出於何種理由，所寫的作品站在牆那邊，那麼這樣的作品會有什麼價值呢？

這個隱喻的涵義是什麼？有些情況下，它實在太簡單明白了。轟炸機、坦克、火箭和白磷炮彈是那堅硬的高牆。蛋是那些被碾碎、被燒焦、被射殺的手無寸鐵的平民。這是該隱喻的涵義之一。

可這不是全部。它有更深刻的涵義。這樣來想。我們每個人，或多或少，都是一個蛋。我們每個人都是一個獨特的、無法取代的靈魂，被包裹在一個脆弱的殼裡。我是如此，你們每一個人也是。而我們每個人，多多少少都面對著一堵堅硬的高牆。這堵牆有個名字：它叫體制（The System）。體制應該保護我們，但有時，它不再受任何人所控，然後它開始殺害我們，及令我們殺害他人---無情地，高效地，系統地。

我寫小說只有一個理由，那就是使個人靈魂的尊嚴顯現，並用光芒照耀它。故事的用意是敲響警鐘，使一道光線對準體制，以防止它使我們的靈魂陷於它的網絡而貶低靈魂。我完全相信，小說家的任務是通過寫作故事來不斷試圖釐清每個個體靈魂的獨特性---生與死的故事，愛的故事，使人哭泣、使人害怕得發抖和捧腹大笑的故事。這就是為什麼我們日復一日，以極其嚴肅的態度編造著虛構故事的原因。

我的父親去年去世，享年九十。他是位退休教師，兼佛教僧人。讀研究院時，他應徵入伍，被派去中國打仗。我是戰後出生的孩子，經常看見他每日早餐前，在家裡的佛壇前長時間虔誠地祈禱。有一次，我問他為什麼這樣做，他告訴我他是在為那些在戰爭中死去的人們祈禱。

他說，他為所有死去的人祈禱，無論敵友。我凝視著他跪在祭壇前的背影，似乎感到死亡的陰影籠罩著他。

我的父親死了，他帶走了他的記憶，我永遠不可能瞭解的記憶。但潛藏在他周圍的死亡氣息卻留在了我自身的記憶裡。這是少數幾樣我從他那兒承繼下去的東西之一，其中最重要的之一。

今天我只希望向你們傳達一件事。我們都是人類，都是超越國籍、種族、宗教的個體，都是脆弱的蛋，面對著一堵叫作"體制"的堅硬的牆。顯然，我們沒有獲勝的希望。這堵牆太高，太強---也太冷。假如我們有任何贏的希望，那一定來自我們對於自身及他人靈魂絕對的獨特性和不可替代性的信任，來自於我們靈魂聚集一處獲得的溫暖。

花點時間想一想這個吧。我們每個人都擁有一個真實的、活著的靈魂。體制沒有這種東西。我們一定不能讓體制來利用我們。我們一定不能讓體制完全失去控制。體制沒有造就我們，我們造就了體制。

那就是所有我要對你們說的話。

我很榮幸獲得耶路撒冷獎。我很榮幸我的書正被世界上許多地方的人們閱讀著。我也很高興今天有這機會向你們演講。

（完）

Mobile telecoms in the recession -- Boom in the bust

2009-03-07T11:52:00.001+08:00

Despite the recession, the mobile industry is enjoying a promising transformation

Illustration by David Simonds

WHEN the mobile-telecoms industry recently met in Barcelona for the Mobile World Congress, its biggest global shindig, head and body seemed oddly separated. Bosses bemoaned the downturn and demanded free radio spectrum to stimulate the industry. But on the show floor it was hard to keep track of all the new “smart” phones and services.

This disconnect is likely to continue for some time. Despite hopes to the contrary, the industry is not immune to the recession. Makers of handsets, which consumers are replacing more slowly, will be hard hit: unit sales are expected to fall by at least 10% this year, having increased by 6% in 2008 to 1.2 billion. But at the same time the industry is going through a transformation that promises to fuel rapid growth in the years to come. To draw a parallel from computing, it is as if the personal computer (PC), its graphical user-interface, high-speed internet access and open-source software had all taken off at the same time.

Conventional handsets are very good at making phone calls and sending text messages, but doing anything more complex, such as browsing the web, is painful. And do not even think of adding new software: installing applications is agony. With the latest smart-phones, however, which account for around 15% of handsets sold, voice calls and texting are just two features among many. New applications, often linked to a service on the internet, can be downloaded from an online “store” with a few taps on the touch-screen or miniature keyboard. Users are presented with an embarrassment of riches: there are thousands of mobile applications, ranging from the useful (to-do lists and e-book readers) to the ridiculous (beer-glass simulators and farting-noise generators).

Predictably, such flexible devices, and the programs that run on them, were pioneered by a newcomer to the mobile industry: Apple. By the end of 2008 it had sold more than 17m of its elegant iPhones, and there have been over 500m downloads from its “App Store” since its launch last July. Others have followed in Apple’s footsteps. In Barcelona, for instance, Microsoft and Nokia, the world’s largest software firm and handset-maker respectively, announced their own application stores. Research in Motion (RIM), the maker of the BlackBerry, and Google, the world’s biggest internet firm, have done the same.

The popularity of software downloads to smart-phones, along with the rapid growth of mobile broadband (see article), have industry leaders making forecasts for the growth of mobile-data traffic that are reminiscent of some of the more outrageous predictions during the internet boom. Nokia Siemens Networks, a maker of network gear, expects mobile-data traffic to grow 300-fold by 2015.

But not everyone will be a winner. As handsets slowly turn into computers, the mobile industry will at last undergo the shift that has been predicted for several years: from being vertically integrated to being sliced into distinct, horizontal technology layers, such as networks, devices, operating systems and applications. The vertical “sausage” that was the industry is becoming a layered “hamburger”, says Carl-Henric Svanberg, the boss of Ericsson, the largest maker of mobile-network gear.

This will transform the economics of the industry. Historically, network operators have been in the strongest position, explains Ben Wood of CCS Insight, a market-research firm. They owned the radio spectrum, built the networks, maintained the relationships with customers—and then grabbed most of the spoils. But in the new world, predicts Mr Wood, they will have to share revenues and profits with providers of software and services, such as Apple, Google and Facebook.

When the internet first reached mobile phones in the late 1990s, operators tried to keep subscribers in “walled gardens” of services that they controlled. When this ultimately failed (having held back the entire industry), it became fashionable to predict that operators would end up as “dumb pipes”—simple data conduits that do not add much value. That outcome may be desirable, but it is not the most likely. Operators are too powerful simply to roll over, says John Delaney of IDC, a market-research firm. They have assets other firms need, such as the infrastructure for customer support, and the means to pinpoint users or target advertising. In fact, operators have started to offer such building blocks to underpin other firms’ mobile services and have launched an effort to standardise them, called OneAPI.

If operators cannot control the mobile internet, might others, such as Apple, Google or Nokia, become gatekeepers? After all, the rise of the PC catapulted two firms into dominant positions: Microsoft and Intel, the world’s biggest chipmaker. With a share of about 90% and 80% in the markets for PC operating systems and processors respectively, they make most of the money.

But it seems unlikely that the mobile-phone industry will produce such quasi-monopolies. For one thing, everyone saw what happened with Microsoft in PCs. It was to avoid a similar situation that Google developed its own operating system for smart-phones, called Android, and then proceeded to give it away as open-source software. Google did not want to be “blocked by another business model”, as Andy Rubin, the firm’s Mr Android, puts it. Nokia has also opened up Symbian, the operating system that powers its smart-phones. So even though Apple and Microsoft are maintaining a tighter grip on their own smart-phone operating systems, this layer of the industry hamburger seems bound to become a commodity.

An Intel-like monopoly in chips also seems implausible. Although Intel is making a big push into the mobile industry with its latest line of low-power chips, called Atom, plenty of other firms already supply such chips—most of them based on designs developed by ARM, a British firm. Conversely, it seems unlikely that handsets will ever become as much of a commodity as PCs. The handset market is maturing and most growth will come from software and services (which is why Nokia has launched Ovi, an attempt to create a global one-stop shop for such offerings). But handsets are much more personal than PCs and offer more scope for innovation.

Then, of course, there is the question of how big the new hamburger will be. Informa, a market-research firm, projects revenues from content and data services of $240 billion by 2012. Although most applications on Apple’s App Store are free, consumers spend some cash there: a sixth of American iPhone users spent over $100 in the past year, according to ABI Research, another market-research firm. It remains to be seen whether this promising new source of revenue proves sustainable. But despite the economic turmoil elsewhere, the industry seems justified in its confidence that the smart-phone is finally emerging as a powerful, innovative and lucrative new computing platform.

《殤》大提琴_賈桂林·杜·普蕾

2009-01-07T12:39:00.003+08:00

賈桂林·杜·普蕾（Jacqueline Mary du Pré，1945年1月26日－1987年10月19日），著名大提琴演奏家。

簡歷

杜普蕾1945年生於牛津一個中產階級音樂之家：她母親是個不錯的鋼琴家也是個天才教師。這個法國姓來自她父親那邊源於Channel島的祖籍。就在她要過五歲生日前，初露音樂才華的她在收音機上聽到大提琴的琴聲，堅決要求拉這個。

杜普蕾就學于Herbert Walenn的倫敦提琴學校，十歲時從師于William Pleeth. William Pleeth曾經在里斯本在Julius Kengel手下學琴。Pleeth的拉琴風格也是激情豪邁的。後來杜普蕾相繼跟隨瑞士的卡薩爾斯，巴黎的Tortelier，和莫斯科的羅斯托波維奇繼續學業. 1956年獲得Suggia獎，當時的評委會裡包括巴畢羅里。此獎是為了紀念1950年去世的葡萄牙大提琴手Suggia所設。

1959年杜普蕾第一次公開表演她的艾爾加協奏曲；1960年贏得皇后獎盃(Queen』s Prize);1961年在倫敦第一場演奏會成功完成，當時她的大提琴是一把1672年的Stradivarius. 一年後她先後演奏了幾場重要的埃爾加，其中包括第一場後來成為歷年傳統的BBC音樂會。那一年開始George Malcolm 成了她的奏鳴曲表演夥伴，而且二人開始聯手為EMI錄音。1964年她和Stephen Kovacevich成為協奏曲夥伴。並首場演出了Priaulx Rainier的協奏曲。同年一位不知名的崇拜者送給她一把1712年的Stradivarius，『Davydov』, 此琴成為她今後的演出器材。到1965年她的聲譽已經漸漸升高，1965年當她錄製了她那場著名的埃爾加協奏曲之後，成為了有目共睹的一顆燦爛明星。同年她首次在美國演出。

1967年她與丹尼爾·巴倫波伊姆結婚。年底與小提琴手平夏斯·祖克曼的會面促使後來三人組成了一個演出團。並錄製了貝多芬和柴科夫斯基的三重奏。此時，全世界幾乎都拜倒在杜普蕾裙下：她與阿胥肯納吉、帕爾曼、祖賓·梅塔等年輕且充滿魅力的音樂家成為了朋友。她本人也成為舉世矚目的最有名的演奏家之一。但是，從1971年七月開始，她開始受到一種奇怪病魔的騷擾，手指開始會偶爾失去知覺。她的演出開始受到影響。後來她的病被診斷為綜合硬化症(Multiple sclerosis)，經歷了一系列的病痛反覆發作之後，她于1973年退出樂壇。她試圖教授音樂，但是最終因為病症加重，于1987年十月病逝于倫敦家中。

今天所選的這首曲子就是杜普蕾的《光影》，中文《殤》，從字面理解，有不詳傷痛的意思，從音樂里體現出來的也是深深的哀傷、低低的嗚咽，同時大提琴這種可以體現人聲歌唱美的樂器，讓人欲罷不能！

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彌賽亞哈里路亞—Handel Messiah Hallelujah Chorus

2008-12-29T15:54:00.005+08:00

彌賽亞哈里路亞—Handel Messiah Hallelujah Chorus

最近又翻出吳宇森的老片《Face》變臉,當然其中又我最喜歡

的尼古拉斯凱奇和昆廷·塔伦蒂诺，其中一段尼古拉斯凱奇安

裝完畢定時炸彈后在教堂大廳和唱詩班的一起高唱哈里路亞。

圣歌的莊重典雅，洗練而悠長的旋律，總是讓人百聽不厭的，

感覺很棒！今天我們就來聽聽亨德爾的這段。

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E小調第九號交響曲From the new world

2008-12-26T17:00:00.008+08:00

E小調第九號交響曲From the new world 自新大陸

Dvorak Symphony No 9 in E mino Op 95 From the new world

德沃夏克和新大陸打交道時在1891年初，以為紐約富商的妻子Jeanette

Thurber（珍妮特-瑟伯）夫人想找位名人來主持她剛剛成立的國立紐約

音樂學院，最終她選擇了德沃夏克。德沃夏克的反應則比較謹慎，不過

瑟伯夫人是以為頑強而不折不撓的人，她提出了一個為期兩年的合約，

同時讓德沃夏克一年中有四個月的自由時間，但需要指揮十場音樂會。

酬薪不低。最終德沃夏克同意了。雖然以后的合作總所周知不是那么

如意，但是他的筆絕不懈怠，除了像《e小調交響曲》和《F大調四重

奏》op.96-在戰前一直叫做“黑人”（Nigger），而現在叫做“美國

人”（American）——這樣一些作品之外，還寫出了《降E大調弦樂

五重奏》op.97，當然還有《大提琴協奏曲》這樣的一些杰作，全是

在這段時間內完成的。

聽過了前面那首小夜曲，大家肯定是不滿足，下面就開始好好欣賞

下這首廣受贊譽的E小調第九號交響曲From the new world。

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祝各位圣誕快樂！無限古典會繼續努力！

2008-12-24T13:24:00.003+08:00

祝各位圣誕快樂！

無限古典會繼續努力！

悅賞_Dvorak_String_Serenade_in_E_major_Op_22

2008-12-23T11:07:00.004+08:00

趁熱打鐵，欣賞一下Dvorak_String_Serenade_in_E_major_Op_22

這首弦樂小夜曲完成于一八七五年，在簡單的三部曲中做出最豐富的變化。

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捷克作曲家安東寧.德沃夏克(Antonin Dvorak) 生於西元 1841 年 9 月 8 日，死於 1904 年 5 月 1 日。

他是代表捷克國民樂派的最重要音樂家。他充分融合民族主義的精神與交響曲的傳統，吸取民歌對他所產生的影響，並尋找各種可能的方式，將之發揮到管絃樂、合唱、室內樂及歌劇等作品中。

由於德佛亞克本身曾在交響樂團中演奏中提琴，因此他在器樂曲上的創作似乎也較受大家喜愛。其中在室內樂方面的表現更可稱得上繼布拉姆斯之後的第二位大作曲家。

他創作的起點從室內樂曲開始，而在其後的作曲生涯中也不曾間斷室內樂曲的創作。著名的作品包括 [ 悲歌 ] 鋼琴三重奏曲、 [ 美國 ] 弦樂四重奏曲、新世界交響曲 ... 等。

讀辛豐年音樂筆記之《德沃夏克常駐我心中》

2008-12-22T18:21:00.006+08:00

德沃夏克常駐我心中

哪裡敢自許為德沃夏克的知音，但我同他的作品頗有緣。自從讀樂“開蒙”，但迷上了《自新大陸交響曲》。半個世紀以來，他的器樂作品中的精華部分，已見識了不少，成百上千地讀，未嘗厭倦，倒是越發感情深了。據說在西方，由於《自新大陸》等作的“過度演奏”，反而掩蓋了他的其他佳作（甚至是更值得欣賞的作品）。那麼我真可算是既有幸也有緣了。

愛樂而不讀《自新大陸》，這樣的人恐怕不多。但是這個話題不便展開。幾十年神遊其中，可談的怕有千言萬語。然而又忍不住說幾點最難忘的感受。
一聽開頭的那段柔板，我有如置身于莽莽荒原之上。也似乎從時空兩方面遙感到了最初踏上新大陸的移民的心境。不過，後來看了德萊塞的《嘉麗妹妹》，其中寫到女主人公隻身來到大城的遭遇。不知怎的，聽這一段引子時又仿佛同她的印象靠攏了。於是，豺狼出沒的荒原同禍福莫測的人海，竟可互喻互證了！那麼當德沃夏克遠渡重洋來到異土的彼時，也是感慨萬千吧？
《自新大陸》中醉人的警句舉不勝舉。還有那些隱身在內聲部和低音中的支聲複調，賽如滿天星斗，哪裡數得清！有人說，誰要是能將其中曲調都聽清楚，算得上一個用心的聽眾了。奉勸人們備一本袖珍總譜，先預讀，再細聽，聽後再去從總譜中發掘那些未聽明白的細節。這樣去細嚼細咽，才能獲得更大享受。不然，又怎對得起大師的嘔心瀝血。
第一樂章裡有個重要的主題，不但曲調美，神似一支黑人民謠《馬車從天而降》，而且配器手法絕。它在長笛低音區中吹出，怯生生地，且有蒼白感。簡直就是一副欺淩無處可訴的黑女奴聲口！
“廣板”樂章中轉入升c小調那一段裡，長笛、雙簧管舉哀號慟。小提琴與黑管吞聲飲泣。中提琴和大提琴上的弱奏震音，則是參加葬禮者的一片唏噓之聲，為死者，也為自己的不幸。同時我們也感到，作曲家如果不動情，又哪能譜出這感人至深的樂章？與其說是文生情，其實還是情生文！
當年讀到黃自論勃拉姆斯的文字，從此便注意傾聽交響音樂中的“交響性”。《自新大陸》中的“交響性”實在太精彩了！真正激動人心的“交響性”，並不是只靠人工製作出來的浩大聲勢，而是前思後想千愁萬緒一齊湧上心來的激情噴發。這在《自新大陸》末章中展開部中（特別是從第227小節起轉E大調處）尤為動心駭“耳”。每聽到此，沉浮於波瀾迭起的樂流高潮中，言語道斷，只有歎為“聽”止了！
熟悉了《自新大陸》之後，初聽他的《G大調第八交響曲》，好像又來到了另一個世界。前者傳達的是他同新大陸人民的感情交流，後一首則讓我感受到他對本民族土地、人民的熱愛。它讓我臥游波希米亞，呼吸到那兒森林原野的芬芳。
然後，《D大調第六交響曲》又使我目眩了！這人哪來哪許取之不盡用之不竭的樂想？（須知他雖以民族音樂為土壤，卻向來不直接採擷民間曲調。）而他這部壯年之作，一股青春朝氣簡直像要泛溢。從第一樂章的開頭到第四樂章的結束，酣暢淋漓，樂流一瀉到底，氣勢始終不衰，聽了使人暮氣為之一掃！
尤其醉人的又是一篇慢樂章。一篇可以同《自新大陸》的“廣板”爭奇競秀的“柔板”。在那僅僅三個音的母題上，他推衍出一篇情文並茂的“樂賦”來。樂想的展開有如山溪流淌般生動自然，跌宕生姿，一步步發展為汪洋瓷肆的音樂洪流，聽的人已不覺醉倒！
在捷克唱片源源而來的20世紀60年代，又聽到了他九部交響曲中的“第一”到“第三”。可惜，英國樂評家托維品評為最深刻的《b小調第七交響曲》，沒買到唱片，只在收音機裡聽過幾次。
看看托維在《交響音樂分析》中對德沃夏克作品的評介是頗有味道的。雖然據說他的書已不像過去那麼受歡迎，我倒寧願聽他那熱忱坦率也風趣的激賞與抨擊，不想去看冷冰冰的解剖。這位曾遭哲學家維特根斯坦罵作禿驢的托維，是對“樂普”有功的人。
我非但有一開始讀樂便接觸《自新大陸》的幸運，也很早便聽到了他的室內樂作品：《F大調絃樂四重奏》。而室內樂作品更是一位元樂人內心世界的窗戶呵！
這首外號“黑人”的作品，是“新世界”的孿生兄弟，它們都是他在美國當音樂學院院長時的產兒。因此，黑人、印第安人的異域心聲，便同波希米亞人的母語交融在一起了。可怪的是，不少愛樂也愛德沃夏克的人竟不曾注意它，甚至不知道人間還有如此美妙而雙容易親近的音樂──在艱深的室內樂領域，這種深入淺出尤其難得！
我至今珍藏著一張“黑人”的密紋唱片、一本原版總譜，是在視“大洋古”為毒草的20世紀60年代，托友人分別從貝多芬與德沃夏克的故鄉買來的。它們記錄下了我對“黑人”執著的追求。早在20世紀40年代，偶然從收音機裡碰見過一次，便不能忘懷了！
人們說，他為小提琴寫了些不算最好的音樂，而為大提琴貢獻了他最好的音樂。誠然！即便是老奧伊斯特拉赫（大衛）演奏他的小提琴協奏曲，也未能深深打動我。而我至今常常懷念卡薩爾斯獨奏、托斯卡尼尼指揮NBC交響樂隊協奏的《b小調大提琴協奏曲》。後來雖聽了好幾位名手演奏的新唱片，我總怕丟失了對這兩位反法西斯大師的闡釋的記憶。
德沃夏克這部傑作可以說既是協奏曲又是“交響樂”。尤其是那個“柔板”樂章，獨奏大提琴慷慨悲歌，管弦樂烘雲托月，它們對談、，互為賓主，打成了一片，織就一卷變幻流動的錦繡。其實這是他身在大洋彼岸，心懷故國鄉親萬縷愁思織成的！這也使我猛然憬悟，篇幅已不容許再流連，必須寫尾聲了！
但我最後要談的兩部作品並非最不重要的。相反，假如說聽其樂如見其人、其心，它們正是這樣的作品。

《E大調弦樂小夜曲》抒發的是一種無比真摯的幸福感。聽它就像傾聽你的好友細說他的幸福家庭。濃情蜜意，卻又何其純樸率真！
《大自然、生命與愛情》是他五十歲那年寫的一套三部曲。他顯然是要在“方吾生之半途”（但丁《神曲》第一句）的時候，告白自己對宇宙與人生的反思。作品的標題曾有幾次變動。《大自然》曾題為“獨處”或“夏夜”。第二部定題為《狂歡節》。第三部則標上了《奧賽羅》。這些，對於讀曲者當然是重要的“導遊路線”。
《狂歡節》是其中流傳最廣的一部。據說它也像《自新大陸》一樣被“過度”演奏了。我也是首先接觸《狂歡節》，然後才聽到另外兩部序曲的。
《大自然》並不是景外人觀賞的一幅風景畫，而是一個在夏夜的沉靜中為自然美所陶醉的人的禮贊。這是王國維《人間詞話》中所謂的“有我之境”吧？但人與景已融合無間了。
《狂歡節》中之我，也不是倚在陽臺上看熱鬧的人，而是投身於人潮，一任自己被人群推擁著走，開懷共用著生命的狂歡。這和柏遼茲的那首《羅馬狂歡節》是兩種味道。
《奧賽羅》手稿上注了莎劇的文字。那音樂的展開也有明顯的情節性。但我不管它的具體情節。只覺得充滿激情的音樂有一種崇高的悲劇感，一個沉重的文學題材被他表達得很概括，令人肅然尋思人的命運了。
德沃夏克的音樂縱然也有說不上什麼深刻的（例如有些鋼琴曲），但卻總是一往情真。我覺得只有飽含真摯之情的音樂才能長青不敗，才能如此持久地耐得起千萬人共賞而不倦。（記住，《幽默曲》《自新大陸》是百餘年前問世的！還不妨作個比較：行姆說過，柯勒律治認為《堂吉訶德》值得從頭到尾讀，但讀過一遍後便不再值得全讀了。毛姆本人也不過通讀五遍而已。）
19世紀民族樂風大盛之時，頗有一些人製作廉價的“民族風味”。蕭伯納在其樂評中對此很挖苦了一頓。德沃夏克的音樂，民族風味真可謂道地了，然而他又是“我手寫我口”，完全是用他自己的舌頭說話。
如果讓我為同好們舉辦他的作品音樂會，我會排出一份很長的節目單，不但要包括上面提到的傑作，還將推薦：《降E大調弦樂五重奏》，此曲之美，可與“黑人”相提並論。還有那一組精美的《傳奇》，民族香味極濃的《捷克組曲》，質樸無華而耐賞的《小提琴奏鳴曲》，悲壯的史詩《胡斯序曲》，等等，至於兩套“斯拉夫”，是不消說的了。
還是托維的話有意思！他贊德沃夏克最優秀的音樂有如“璞玉渾金”之美。
深願多情愛樂的的人們都來聽他的音樂，同這種既有璞玉渾金之質，也經過精工磨琢，卻又毫不失其自然之美的音樂結緣！

對于我個人來說，對于德沃夏克聽的并不是很多，其中最熟悉的都是些弦樂小夜曲，例如String_Serenade_in_E_major_Op_22之類的，希望通過這篇文章能夠更多的了解德沃夏克，更多的去聽，聽聽他的自新大陸，聽聽他的交響曲全集。

同樣的小提琴不一樣的表現手法

2008-12-21T13:03:00.006+08:00

一、

陳凱歌《和你在一起》預告片

二、

潘婷廣告《You can shine》

Extraordinary Pantene Commercial

字幕釋義：

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聾子也想拉小提琴？

你腦子有水啊？

你就不能學點兒別的？

你在浪費所有人的時間！

（手語）

---你還在拉小提琴麼？

---為什麼我和其他人不一樣？

---為什麼你一定要和別人一樣？音樂，是可以看得見的。閉上你的眼睛，你就能看見音樂。

（古典音樂會）

最後一名選手的演出令人讚歎，現在。。。

哦，看起來我們還有一位選手，有請她登場。

（片尾字幕）

潘婷，你必閃亮！

短短的幾分鐘的廣告或許要更勝陳凱歌的整部片子，

表現手法上Extraordinary Pantene Commercial

反倒表現不出很濃的商業氣息，更多的表現生命的

意義和生活的尊嚴！

當然最重要的是這首卡農還是要聽的，以后會陸續

整理不同版本的卡農，敬請期待！

處女座音樂大師

2008-12-21T10:57:00.008+08:00

處女座音樂大師

一、

國籍奧國

姓名布魯克納

出生日期 1824/09/04

代表作品第四號交響曲『浪漫』等

評號交響作曲家

二、

國籍捷克

姓名德佛亞克

出生日期 1841/09/08

代表作品『斯拉夫舞曲』、『第五號交響曲』、『幽默曲』等

評號波希米亞的舒伯特

無限古典正式開張啦！

2008-12-20T12:10:00.001+08:00

無限古典正式開張啦！

無限古典

Not Again! 24 Great Films Too Painful To Watch Twice

朱纬《发烧天碟》连载 01

FX50

Turn off the lights March 28 for Earth Hour!

世行发布的经济数据！

朱纬《发烧天碟》连载

BlackBerry&Iphone

T400开箱！

永遠在蛋這一邊

Mobile telecoms in the recession -- Boom in the bust

《殤》大提琴_賈桂林·杜·普蕾

彌賽亞 哈里路亞—Handel Messiah Hallelujah Chorus

E小調第九號交響曲From the new world

祝各位圣誕快樂！無限古典會繼續努力！

悅賞_Dvorak_String_Serenade_in_E_major_Op_22

讀辛豐年音樂筆記之《德沃夏克常駐我心中》

同樣的小提琴 不一樣的表現手法

處 女 座 音 樂 大 師

無限古典正式開張啦！

彌賽亞哈里路亞—Handel Messiah Hallelujah Chorus

同樣的小提琴不一樣的表現手法

處女座音樂大師