734
3.0

邓稼先

导演:
王冀邢
主演:
巫刚,刘蓓,汤镇宗,徐敏
别名:
未知
3.0
734人评分
普通话
语言
未知
上映时间
未知
片长
简介:

公元1996年7月29日,中国在成功地进行了最后一次核试验后向全世界宣告,从7月30日开始,中国将暂时停止核试验。\r消息传到大洋彼岸时,著名美籍华裔物理学家杨振宁教授敏感地意识到,这是中国政府和中国人民为缅怀在十年前的这一天不幸逝世的“两弹元勋”邓稼先而精心选择的特殊纪念日。作为邓稼先的两代世交和终身挚友,杨振宁不禁流下了热泪。\r1958年,留美归国的邓稼先博士接受了秘密研制原子弹的任务,从此开始隐姓埋名,担任中国原子弹的理论设计工作。作为理论物理学家,邓稼先带领核武器研究院的理论设计部,在没有任何理论借鉴和技术资料的困境下,经过艰苦奋战,成功地实现了“零”的突破,为中国第一颗原子弹的诞生提供了理论设计,做出了重大贡献。\r公元1964年10月16日,中国在西部地区成功地爆炸了第一颗原子弹,向全世界宣告了中国的军事科技实力,改变了世界政治军事力量对比,提升了中国的国际地位和威望,邓稼先功不可没。\r紧接着,邓稼先又组织领导了中国第一颗氢弹的理论设计工作。公元1967年6月17日,中国成功地爆炸了第一颗氢弹,震惊了世界。随后,邓稼先又为研制中子弹和核武器小型化做出了重大贡献。

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简介:A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.  Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.
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1980
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