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d ( Marcel Carné) 1909~XͦbkXSA1928~]Jacques Feyder (@)mLes Noveaux Messieursn@UzvvӶ}ҥLqvͲPCHLFeyderUzɺtAHX@@~]AmLa Kermesse HéroiquenFeyder̬HٹDN@CGjԶǺkꤧڡA\hkuqqvH~ɯɬy`~AOddbꤺAæbXFvչϺʱNΪvUFL̨μvC᪺T@СmXYn( Port of Shadows, 1938)BmXn(Daybreak, 1939) HΡmLes Visiteurs du Soirn(The Devils Envoys, 1942)ARi{Xd@ɺt~MLXUs@ζqC

ds@ζA֤Hs@Jacques PrévertܺOi|nCo@sɲզXqpɴ@~PɦNkqvvWuַNgv~NC֤H]|pQ_t@XGPP@ɴAsLyX]A49th Paralle (1941)Bm¤Pn( Black Narcissus,1947) HΡmvn(The Red Shoes, 1948 )^Michael PowellMEmeric PressburgerC1936~A~dĤ@Mɦ~36AɤwtWܺɡAܺPpժ(Jean Renoir)X@smԪvͪon(The Crime of Monsieur Lange, 1936)COoqvܺMpժX@eUyIA]o}ҤFdPܺFQh~٦YCܺP@s@̤jPAbLLѻPvsAsxIJtBvvBt֡BuUAHQgX̾AX᪺@CܺwtqyHAϱovCӤHyPtt۱oqCHX@Qv¤Ql~Ag|s~NkԱѩMǺ⪺vA䤤mXYnBmXnBmѰ󪺫Ĥln( Child of Paradise, 1945 )T@~OHX@Y׳ICmѰ󪺫Ĥlnb@EE0~QʦWkvHPqvM~Hאּ@̨ΪkyvAɦukꪩå@ΤHvAC1946~m©]n( Gates of the Night) MѡAФYzQAù[MvHAdPܺ]ۦMHΦۨAƷ~eDߡCޤB󧧦~qAdbs~NHoA]LOXpmXYnBmѰ󪺫Ĥln@밶jǧ@AɮɾDuqvOv~@vHտءC

s~NAԶëIZkjAƱqd[׹qvqhPpͬ@몺uAۤϪAiqv|[ƱqȹWP߼@ήGƤoT֡CӫAusBʡv( Nouvelle Vague) ϥ͡As@Nɺtǥ~Aڵdts@A٤갲ӯʥFʷPCo˪PAdb1958~F mThe Cheatersn@^CiOAMoFӷ~W\AoMLkios@NqvH{PC ۦHAd内QkuXGyqveɺtCMbCs~NAmѰ󪺫Ĥlng@׭soFCP֩wAd̫@@~mLa Merveilleuse Visiten(1974)ҩۭPcϥLްhA]bkwgLH@NXLӪpC1996~bھ~AdHEQֻP@A{aH͡C

mXYn( Port of Shadows, 1938) OdĤ@bӷ~PNN譱Po֩wvFsۨɦukꪺLiam OFlahertyv٪Pierre Mac Orlanp (G)COrlan@~g`X{uk`vPuJRvjDDAQ{O@@ɤjԤcդO^C䤤ekߡBg`{DwBHy`̪AX{^ζHA``l޵ۥdPܺCObsL{AHNۧ@FTվC쥻ApebOb@ӤU]ߡAӯNͪͤHbXS@a@]M۰mAbhuaԨƽuAygHU۪DJCOܺ@uʤF~NPaIAXFkDJean@AϱoLnHntC㳡qv󪺮ɶ@Y|QKpɤA`t]q}LLe HavreoӴfpC

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mXYnҧe{@ɨä໡OQ۵MAOoطfئbtvMHuWBӫD̨y䪺y@AϦӨϱoıӹLBqvʶWVǩʡBɺtӪqvCdMܺbmXYnH@PvyЩ_aߦXFyJPvuַNgvkCoSbea̱oF̨{FﴶܺӻAoӨXGiHQdƨC qveay(characterization)SOBAbLuζHơvAӤOb@Ϊt譱{CLMjj{Pҿ׬sbAoLHͩMNOLhoCuڹչLCڵeLcB~kHBpġCڧϩObyø@ظo^MHӨӪ@CڬƦܦbݨK٦e@ʾ²檺OHOAڧoTeɡAoC[P줣ۦbCO]YتFAYتFæb̡IڳQneXbƪFCڨӻA@ӦbsaHwΦPŪB͡CvoqX۵eafxAܤFdNЧ@۫HGVeóзsB]VA{Dz (tradition of representation)覡alAӬOnOΩ@ɤUǵ۵LΪFCdΨӹGϥ̲{ΪQAbmXYnKOOBΡC

qvelοOb·tIʡCڭ̫ܧ֪o{oOYNJeaneLe HavrefYOC©]̪ϩNۧƱAOfèSaJeanFAϦӤޥLV`C]`|{{۵PB䳣BӥA{{DBs]׫ΤҳzXwBNellyW@ŧzҴo޲~FƦܬONellyDJean`@kɲgXGwwҦodzl޵Jean@BBJ̲Hk檺JRCs]׫ΤAvbJeanWAϥLݨө{pmv´cŢCLMNelly차AOigO`OOaByaMۨHyeAOqӤPɡB@_ӫGoﱡQCӳ̸g媺@AhOHbveqs]eܡCJeanMNellypڦۦaͽ׵۩iH@ɪNӡAOdoǥѵ~ӵYmAQεؤΪիסALaťܵۨH̲ץCtաBŶswơBHνwCBYBʡAҬOdַNgꭷ檺nC

uַNgv( Poetic Realism) @̦X{bǵפWCkZmLa Nouvelle Revue FrançaisensJean PaulhanAFήeɤpgDqPHxDqۤVXAӭרϥΤFuַNgv@Cح檺pQsjȹ@~AuַNgvKqvתJCqve]AFvn(von Sternberg)mŤѨϡn( The Blue Angel, 1931)BC(Lang)mMn(1931)BHΩ|G (Vigo)mȯSjn(LAtalante, 1934)CoǾɺt}lաAקKqرit覡AӱĥθַNܡAޤHiJ@ع|BHʪҡCvDHΦhbO|tHAbMҤUQᤩbRs}l|AO᳣̫OHJRBiHId@Cv]hbHh©έWߪ@աCuַNgv@Aγ\bɥήɪҡA]NObTs~Nkꪺy歵֭椧Aoi@BzѡCɥNy歵֥HEdith PiafBDamia, FréhelMLucienne DelyletXnWjugꭻ|v(Chanson Réaliste)NCqSAbt۪̦hHg׹BƦfתڭtۡAtXF쥻Ya˷Pp (minor key) MRǷtqAoޥX@agBgɮ᪺@hCoغqҥHQ{gADnӦ۩ҤuŻ{Pqҿשֵ(happy ending)JءCùjӻApHͬO_@ۦPyDWBAYϦN~nB{A̲٬O|^k줣_ZAFӳoػ{HHf઺d[AסAobNWA]Q{OuͬgӡC

uַNgvqvvAä̿ԨơA]äOtʱԨƪ\CӨGƩ`JIAP仡O|{A󤣦pOHʯuCuַNgvҥHCδ֤FqvP@(Ϊ̲{@)pôAOFbɡAho@ɩXBaHxʽ誺@CgLFɺt@YBBթMAoǦ@bu~vMu[vhҩIBn۳q (evocative, connotative correspondences)ANX@تiSܺҲ`HBiөwqNַNNutܤ۳Nv(suggestive magic)C

ޡuַNgvMOήedqv̬KλyALHooص׷qӻCdäwꪺud[QǬv(Caligarists)H@khᦱ{A]qjQsgDq(Neo-realism)Hhƻs{Fdqvҧe{AOHuƼơvAҦsbBiHӥBݦXzBOoH`kh{@ɡCL@~`OHPı@بSӥѪB_xAoäO]LN`ͬζ·tڹұaܧڭ̪eAӬO]LvMڭ̪uQvܡC]Adb˫º(Orson Welles)mThe Magnificent Ambersonsn(1942) MmThe Strangern(1945)oⳡ@~F@Cºۤv]gb1948~Gu_ù먽 (Rossellini)AکMd󬰬۪CdäO@ӼgDq̡ALOzLۤvN{yơzCd쪺aOLAӤOLҧe{{Cv(T) ӥdۤvbXݮɫho򻡡GuڥD`uۦaAګD`wyַNgz(réalisme poétique)oӻkCں٩I@ӼgDq̨ä|ϧڶ}ߡAYϳo˪kγ\OǽTFϧگuO@ӼgDq̡AڵLkHۻC]ڨӻAڥuLF@II{ӤwFYϦbgqvL{AڤMLk۫H䤤SӤHUbYCťӦIoBAڥnkOy|_Qz( le fantastique social )Cڻ{oNOᤩmXYnתFPɳo]O@_ַNgKy_Qz@~Cv(|)

pPm_DҼvn(Casablanca, 1942)b[ߥؤ֦[IaAܤmXYnbkꪺyƤOS@uaCүShª^Aܤj@Ӧ۩󥦹RygCMaurice Clavel{oqvޤHhQOAO̫@ӡuRv(amour)MPuûv(toujours) OFߩMӪ~NCClavelåBb1971~XFo˪עww Its was free loves historical momentGbefore, it lacked freedom; afterwards, it lacked love. oqܥiHdUFʤH}C


@B2030~NkۦWqvɺtAvRﴶqHPMHʮ檺eC
GBLiam OFlahertyRۦWpaFPierre Mac OrlankpaC
TBJean Desternes, Quatre Premiers Entretiens: avec Welles, Pabst, Lattuada, Castellani, La Revue du Cinema 3, no. 18:54
|BCliment-Oms, Carné parle, p.36.

 
   
 
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