德拉克的回归

　　)与S`\-;-t\ efan Uher和Elo Havatta一样，Eduard [ Grecner也是6$@0年代斯洛伐克新!^浪潮电影的缔]#造[#者; 之一。他的三部影片\.《一$#周七天 ?=%》（1?964）《尼绒月亮》（196 5）和这部《徳拉克的回归》都是斯洛伐克新浪?-潮电影的[
#_代表作。-* 这部叙事方法独特带有明显-$意识流-风格@\的;
=]黑白影片甚至间接影响 到了后来法国导(演格 ..=里耶在捷克拍摄的两部影片《*说谎[ 的人》和《(,Eden#] a#nd A:fter》。　　A s/]p);%ecial place in t!he development of feature fil[)ms is`` @reser:v ed for Eduard Gre #cner, the /creator o@:f +``:just ?-one@^ good film, Dra]gon Returns (D*`:rak` @ sa vr:aci%#a, 1967), titled ,a.fter the n,i` ckname _of the[ lead^]$ chara ,cter^$.. After his initial work? with 
^Uher,) G_`rec-ner *#made his mark as! a prop

onent!  \of the ]$so-called$,_@ &#quo-\%tintellectual&!.quot film, the@]% anti*thesis of t!he soci$ol?]$\o;,!gica*lly,, or rather, socially crit_*ical /
fi([lm. +_G; - ?rec.^\ ne`!r``&#,]:39s gr`=eat r$o@le model wa=+s A)=@[lan Resnais*, a young\_ French f.ilmmaker w=!ho ;sought t_o int @-roduce )
 Slova,;ki_a %to the id/(e[+#%a( of film- a--/s a labyrinth in which meanings are_$)\ c`/@;reated ]
not b$y sto;`ries, b@,ut by complex^ configuratio ns: of dia\^log/(ue, s.]ho[ +ts, and vari`_ous layers(_ of *time, thu=_; s d[-.;if?):ferentiatin(([g film[* from bo
?]th ^ ^li .terature  and th.e`at?er. In$*`] Dragon Ret..-urns―the story of a solitary \=hero who is needed by vil.;lagers living far in the@ mo( untain/s, but who ,;is =%reje?-?cte$=d by t\,hem ,,at t he ;sa/me time because of_ his ) d  et^,.achment―Grecne##%r #
brou/:ght the trad*itio/n of lyricized pr
*ose to li ,fe through +
a whole series of fo._r=]# m;;al aes(*%thetic techniques. A,?lain Rob*
+%be-Gr+ illet!?! im*m_ed?iately develop%*=?e=)d this idea in th\?e f, `ilm sho*:t in Bratisla].?va The Man Who Lies (S (.lovak=:: Muz,) kt,ory luze French (title: L.['homme^# q
%ui ment 19\,^68), and =%perf;;ected it in Eden- and ]?After (;`!-Eden a potom,( -1970[= ).