悲伤恋歌国语

电影《青松岭》，是一部特定历史年代出品的故事片。长春电影制片厂1973年摄制，汉语普通话语种，彩色普通银幕，时长107分钟。影片根据张仲朋同名话剧改编，片中讲述的是漏网富农钱广运用赶大车的权力试图引导村民走资本主义道路，老贫农饲养员张万山在党支部的领导下与他作坚决的斗争，揭露了他的真面目，教育了落后群众和只抓生产忽视阶级斗争的队长，最终取得斗争胜利的故事。本片导演刘国权、姜树森，编剧张仲朋，摄影孟宪弟，作曲施万春，美工，美术童景文。片中主要演员：李仁堂饰张万山，朱龙广饰方纪云，刘晓媚饰秀梅，张宝茹饰周成，冯连杰饰杨老五，戚惠民饰张大婶，王友来饰大虎，唐宝良饰二顺子，沈福元饰老满，王忠礼饰孙福，杨卉村饰大凤，丁家乃饰广发，刘颖饰七姑，李树楠饰钱广。本片音乐由长影乐团演奏，指挥尹升山。剧情梗概故事发生在中国北方某山区，青松岭生产大队，一片丰收景象。年轻姑娘秀梅，人称“假小子”。某日清晨，她和大楞偷偷把队里的大车赶出来练车，不料，头一次出车，马就惊了，幸亏模范饲养员张万山大叔把惊马拦住，才没有发生意外事故。秀梅和大楞学习赶车毫无个人目的，只是不满车把式钱广搞投机倒把活动，希望学会赶车，接过钱广的鞭子。大队长周成是秀梅的哥哥，不仅不支持年轻人的积极热情，反而轻信钱广的话，批评了妹妹秀梅，结果更加助长了钱广的威风。新任党支部书记方纪云来到青松岭后，发现大队长周成只顾抓生产，缺乏政治头脑，对钱广只注重他的赶车技术，不考虑他的政治表现。特别是对钱广经常为某些人带运私货到城里去卖，严重影响集体生产，周成也视而不见。方书记认为应支持秀梅等人的建议，让年轻人学会赶车，尽快把钱广的车把式换下来。不久，村里办起了赶车训练班，请张万有为师，培养秀梅等人赶车。秀梅和几个年轻人热心学习赶车。而钱广怀恨在心，在辕马跑得满身是汗时，故意给马饮水，结果马病了，他把责任推到秀梅身上。爱马如子的万有大叔精心喂养病马，终于把马治好了。万有大叔用自己的亲身经历教育年轻人，帮助年轻人不仅学会了赶车，而且教育他们要树立为革命赶车的思想。一天，张万有批评钱广给人带私货损害集体的行为，钱广便摔鞭不干，并以此要挟周成。年近六十的张万有不顾自己的寒腿病，夺下钱广的鞭子亲自赶车进城送货。不料，刚出村口马车又惊了。惊马的地方与上次秀梅赶车惊马的地方相同，又是在村口大榆树下。方纪云和万有大叔感到十分可疑，经过仔细研究，发现是钱广为了把持车把式的工作进行投机倒把，故意把牲口训练出“三鞭子”的习惯，大车走到大榆树下不打三鞭子，牲口就要惊车。钱广的阴谋被识破了，经调查证实他还是个逃亡的富农分子。经过这场斗争，大队长周成提高了思想觉悟，秀梅等青年们学会了赶车，掌握了鞭子。

改编自H.P.Lovecraft的小说《查尔斯·德克特·沃德案件》，标题则取自爱伦坡《厄舍府之倒塌》中提及的诗歌闹鬼的宫殿。

MEAT traces the process through which cattle and sheep become consumer products.It depicts the processing and transportation of meat products by a highly automatedpacking plant, illustrating important points and problems in the area of production,transportation, logistics, equipment design, time-motion study, & labor management.

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.