凯丽金
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:The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus ("The Church Is an Old House"), which was distributed to the members of the committee for their comments.In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
底里
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:过惯少爷生活的文祥，在家人的压力下被迫妥协，安排到山寺静心念书。寺里的环境，令他难能适应。文祥委屈的抱怨，只能用排满功课来消磨。另一方面，寺内女尼们对他的谄媚，畏忌也叫他感到烦厌，但有个女人，却令他好生亲切。素碧——这位因“不孕”为因被婆家逐出家门的女子。她对文祥照顾倍至，文祥饱受着被关爱的幸福，使他淡化因环境不适带来的不悦情绪。落山风起，狂风潇飒，是个阳光耀目的日子，文祥无意间闯进了晒衣场，吸引他的是那师姐在风招摇的贴身衣物。啊！这情欲的勾引、似癌细胞般侵蚀着他平静的心思！抖动着原始情欲，文祥再也无法静心念书！迷茫，恍惚、梦幻地勾绘着对师姐的恋慕之情。不得自拔的文祥，情欲如波澜在心湖扩张泛滥。素碧夜浴的撩拔，成了文祥发泄情欲的图像，这彼此交通的桥梁，接近了两人的距离。师父下山看病期间，两人贪婪地饱食落网的猎物，文祥尽倾情衷，素碧满...
徐嘉良
