reviews
'I was fascinated to read Fausto Cruchinho's article ‘The Woman in the Shop Window and the Man Looking at Her: The Politics of the Look in Oliveira's Oeuvre'. It so happens that Manoel de Oliveira's latest film, Eccentricities of a Blond Hair Girl, premiered in Berlin in February this year, is precisely - and primarily - about a man looking at a woman framed in a window. This is a felicitous example of the way that artists can often belatedly provide literal confirmation of the metaphors that critics apply to their work. Having recently written an overview of Manoel de Oliveira's work from a rather different, more journalistic perspective, I'm fascinated to read the more scholarly approaches to his films in Dekalog 2. The collection is extremely valuable for followers of the director's oeuvre, which - as several contributors point out - is elusive to the point of being virtually inaccessible, in terms of limited availability on DVD and rarity of screenings. The book's contributors impress in their attention to the complexities of an oeuvre which is too often dismissed as a glorious but eccentric and even inscrutable aberration in the field of European cinema. Relating Oliveira's work to the standard economics of film production, Randal Johnson notes the point that Oliveira's concept of film-making is idiosyncratic and odds with the norms of film-making practice. But what is especially suggestive in several of these essays is that they emphasise Oliveira's literary and historical - rather than specifically filmic - interests, especially his working practices with the novelist Agustina Bessa-Luis. The inescapable conclusion: what makes Oliveira so distinctive as a film-maker is that his works beg to be read not as an exotic or dissident form of cinema, but as a branch of literature pursued by other means.' – Jonathan Romney, Independent on Sunday
Carolin Overhoff Ferreira has taught drama, film, scriptwriting, theatre and film history in Germany and Portugal. She is the author of Neue Tendenzen in der Dramatik Lateinamerikas (New Tendencies in Latin-American Drama) (1999) and the editor of O Cinema Português através dos Seus Filmes (Portuguese Cinema Through its Films) (2007).
评分
评分
评分
评分
这本书的装帧设计简直是一场视觉的盛宴。从封面那低调而富有质感的深色调,到内页纸张那种恰到好处的微哑光处理,无不透露出一种对阅读体验的极致尊重。我特别欣赏它在排版上的匠心独运,字体的选择古典又不失现代感,行距和字距的拿捏恰到好处,即便是长时间沉浸其中,眼睛也不会感到丝毫疲惫。每次翻开它,都像是在进行一场精心策划的仪式,不仅仅是阅读文字,更是一种触觉和视觉的享受。装帧的坚固程度也让人放心,那些细微的烫金工艺在光线下闪烁着低调的光芒,仿佛在诉说着这本书所承载内容的厚重与深邃。我甚至会花时间去研究扉页和目录的设计,它们仿佛是通往正文世界的序曲,每一笔设计都透露出对“阅读”这一行为本身的敬意。这本书的物理形态,本身就具备了收藏的价值,它不仅仅是一本读物,更像是书架上的一件艺术品,沉默而有力地占据着一席之地,等待着被开启和品味。
评分这本书在语言层面上的打磨,达到了令人咋舌的精妙程度。它不像那些追求口语化、平易近人的现代文学那样,试图消弭作者与读者之间的界限;相反,它拥有一种近乎古典诗歌般的精准和密度。每一个词汇的选择都经过了反复的掂量,没有一个多余的形容词,也没有一句含糊不清的表述。那些看似简单的句子,拆解开来却能发现其中暗藏的复杂句法结构和丰富的文化指涉。我常常需要停下来,反复咀嚼那些拗口的、却又无比贴切的词语组合,感受它们在舌尖上和脑海中碰撞出的火花。这是一种需要“用力”去阅读的文本,它要求读者付出相应的智力投入,但所换来的回报,是那种文字被锤炼至极致后所散发出的、冰冷而耀眼的光芒。
评分这本书的叙事节奏掌握得如同大师级的指挥,收放自如,引人入胜。它没有采取那种一味追求快速推进的现代小说惯用手法,而是选择了一种更为古典、更为沉稳的步伐。有些章节,作者会耐心地铺陈细节,仿佛在用油画笔蘸取最浓郁的颜料,细细描绘出一个场景、一种心境,那种缓慢的渗透力,让人不由自主地慢下来,去体会文字背后的潜台词和空气中的温度。而当关键的转折点来临时,节奏又会陡然加快,如同交响乐中的高潮段落,信息量和情感张力在短时间内爆发,让人措手不及却又酣畅淋漓。这种呼吸感的控制,体现了作者对篇章结构的深刻理解,使得整个阅读过程充满了张弛有度的美感。它拒绝了廉价的刺激,转而提供一种更深层次的、需要投入时间去消化的阅读回报。
评分阅读这本书时,我最大的感受是,作者的笔触中蕴含着一种罕见的、近乎近乎哲学的距离感。他似乎站在一个高远的位置俯瞰着笔下的人物和事件,不轻易介入情感的漩涡,而是以一种冷静甚至略带疏离的姿态去观察、记录和分析。这种“旁观者清”的视角,反而让情感的表达更加克制而有力。当你以为作者要进行道德评判时,他却只是留下一个开放式的疑问;当你以为他会给出明确的答案时,他又巧妙地将聚光灯转向了另一个未被注意的角落。这种克制的叙事策略,极大地激发了读者的主动性——我们被迫去填补那些留白,去完成思想的对接。这已经超越了单纯的故事消费,更像是一场与作者在智力层面上进行的深度博弈,你得跟着他的节奏去思辨,去构建自己的理解框架。
评分真正让我感到震撼的,是这本书所营造出的那种独特的“氛围感”。它不是通过明确的场景描述堆砌起来的,而是一种由内在逻辑和情绪渗透而成的浑然一体的场域。一旦进入这个场域,外界的一切喧嚣仿佛都被隔绝了。你会被一种持续的、淡淡的忧郁或某种难以言喻的庄严感所笼罩。这种氛围的营造,得益于作者对环境细节的微妙捕捉——可能是窗外一束光线的角度,可能是某个角色不经意间的一个手势,这些零散的元素,在作者的组织下,共同构建了一个具有强大吸附力的精神空间。读完合上书本,这种氛围并不会立刻消散,它会像残留的香气一样,在你清醒的日常中潜伏一段时间,迫使你持续反思刚刚经历过的情感旅程。这是一种罕见的,能够跨越纸页边界,影响读者现实心境的作品。
评分 评分 评分 评分 评分本站所有内容均为互联网搜索引擎提供的公开搜索信息,本站不存储任何数据与内容,任何内容与数据均与本站无关,如有需要请联系相关搜索引擎包括但不限于百度,google,bing,sogou 等
© 2026 book.wenda123.org All Rights Reserved. 图书目录大全 版权所有