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Distant

机译:遥远

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摘要

This article attempts to interpret Nuri Bilge Ceylan's award-winning film Distant [Uzak] (2002) through a discussion of social and cultural theory. Distant subtly chronicles the nature of the “distance” between two as individuals, between them and the other people in their lives, between them and strangers in their neighborhood, and between them and their country. They are essentially lost souls with little hope of resolving their problems and washing away their bitterness. To offer a systematic account of the film, the article especially elaborates on the concepts of time-image, isolated modern life and urban solitude, and the direct link between dirt and strangeness.
机译:本文试图通过讨论社会文化理论来解释努里·比尔奇·塞兰(Nuri Bilge Ceylan)获奖电影《遥远的乌斯塔克》(Uzak)(2002年)。遥远地巧妙地记录了两个人之间,他们与生活中其他人之间,他们与附近的陌生人之间以及他们与国家之间“距离”的性质。他们本质上是迷失的灵魂,几乎没有希望解决他们的问题并消除他们的痛苦。为了对电影进行系统的介绍,本文特别阐述了时间图像,孤立的现代生活和城市孤独以及肮脏与陌生之间的直接联系。

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