别名:
Vampir,Vampir-Cuadecuc
导演:
上映:
1972-05-05
更新:
2023-06-10 16:00:11,最后更新于
11月前
豆瓣评分:
0.0分
备注: 1080P蓝光
剧情:
Vampir-Cuadecuc is possibly a key film in understanding the transition in the Spanish film world from the period of the “new cinemas” (permitted by the Franco government) towards the illegal, clandestine or openly antagonistic practices against the Franco regime. It consists of shooting the filming of a commercial film Count Dracula by Jesús Franco. Portabella practices two types of violence on the standard narrative: he totally eliminates color and substitutes the soundtrack with a landscape of image-sound collisions by Carles Santos. Filmed provocatively in 16mm. and with sound negative, the tensions between black and white favor the strange “fantasmatic materialism” of this revealing analysis of the construction mechanism for the magic in dominant narrative cinema, which at the same time constitutes a radical intervention in the Spanish cinematographic institution. 收起
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电影《吸血鬼》的剧情详细介绍
◎影片名称:吸血鬼
◎影片别名:Vampir,Vampir-Cuadecuc
◎影片类型:恐怖,纪录
◎豆瓣链接:3026208
◎IMDb链接:tt0066517
◎影片时长:Spain: 67 分钟
◎影片导演:佩雷·波尔塔贝利亚
◎影片主演:保罗·穆勒 杰克·泰勒 克里斯托弗·李 赫苏斯·佛朗哥 索莱达德·米兰达 赫伯特·罗姆 玛丽亚·罗姆 弗莱德.威廉姆斯 艾玛·科恩
◎上映日期:1972-05-05
◎影片地区:西班牙
◎影片语言:英语
◎更新时间:2023-06-10 16:00:11
◎影片剧情:
Vampir-Cuadecuc is possibly a key film in understanding the transition in the Spanish film world from the period of the “new cinemas” (permitted by the Franco government) towards the illegal, clandestine or openly antagonistic practices against the Franco regime. It consists of shooting the filming of a commercial film Count Dracula by Jesús Franco.
Portabella practices two types of violence on the standard narrative: he totally eliminates color and substitutes the soundtrack with a landscape of image-sound collisions by Carles Santos. Filmed provocatively in 16mm. and with sound negative, the tensions between black and white favor the strange “fantasmatic materialism” of this revealing analysis of the construction mechanism for the magic in dominant narrative cinema, which at the same time constitutes a radical intervention in the Spanish cinematographic institution.
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