It has been stored on the list of things I want to see for too long, and my impression is that it is an example of "a kind of limit" used by my admired teacher as a positive teaching in the video-narrative class. This kind of preconceived high expectation brought a sense of loss to my face in my ignorant viewing experience at first.
After reading some analysis, I can't help feeling ashamed and pushed myself to a great extent. Sure enough, people without cultural knowledge are too pitiful. The multi-level subtle core of the work requires a few thresholds to understand. The long input window period made me numb and accustomed to the stagnant life. I can't recall my love for film and television art at all, and I also forgot the taste of "curiosity" and "thirst for knowledge".
The setting of the plot and the shaping of the characters are intertwined. Anna Karenina, the barber of Seville and the wedding of Figaro are a high level of art and aesthetic presentation, and also the expression and transformation of the national complex. And the originally destined love at first sight happened to be resolved in the regretful ending, but instead became sincere and romantic and easy to empathize with.
Obviously it must be extremely controversial to the Russian people, but I always think that in trying to understand and appreciate a work of art, it's easier to appreciate the work itself by letting go of one's inherent political stance. Humanistic feelings are the language of communication between creators and viewers, and it is also a VIP ticket for viewers to enjoy works of art.
The “distress and shame” that Pushkin felt is still deeply repeated in the expressions of Russian artists, and the ark of Russian culture is still floating on the turbulent flood of European and American culture. The tenacity and restraint represented by Tolstoy is the Russian What the spirit is proud of, but also unable to comfort and soothe this uneasiness, it is great and bitter, and it is worth repeating and reminiscing.
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