Folk

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风载歌行
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平易近谣界的教父厄文·斯坦布鲁姆逝世了,留下了一段音乐传奇,跟多少由他领上平易近谣星途的平易近谣乐队。他的儿子乔纳森准备着要在纽约市政大厅为他举办一次留念音乐会,演著名单里包含了厄文生前爱好的乐队,此中有“米奇跟米基”,“平易近歌手”乐队,另有“新大巷歌手”等等。“米奇跟米基”(尤金·列维跟凯瑟琳·奥哈拉)已经是昔时的黄金情侣档,现在两自我的情感已经云消雾散。米奇遭到严重安慰,一改晚期创作的甜美作风,每张专辑都描写他无尽的疼痛。现在人们都等待着看到两自我在舞台上扮演他们的金曲:「吻在彩虹止境」。“平易近歌手”the Folksmen则是60年月,由三个在俄亥俄的维斯理安大学意识的大学重生:杰瑞(迈克尔·迈克基恩)!阿兰(克利斯托弗·盖斯特)跟马克构成的,昔时他们直接了26个月的天下巡演,成为平易近歌活动的中坚气力之一。乐队曾在格林威治村四周上演了良久,但推出一张试验性的电子平易近谣当前,他们已经有30多年不唱过歌了。“新大巷歌手”从前叫做“大巷歌手”,魂魄人物是波纳跟他的老婆,已经的三级艳星洛丽。他们信仰色彩里发生的神圣气力,给乐队定的礼服色彩极端俗艳。他们的音乐可能会被专业人士看做渣滓,合声多的成了乐音,乐队有14把吉他,但是这个乐队出了有数专辑。从准备到上演的全部进程被电视台全程记录,作为对厄文的致敬专辑推出。仅此一晚,这三个重组的乐队将在纽约的市政大厅扮演那些让他们多少近成名的音乐。
音乐乡悖论
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Time is fluid in this far-fetched, whimsical western tale of music and love. Somewhere in the future past, The Man In the Black Hat hides out between heists at an old stagecoach stop with Jail Time, the Particle Kid, and an odd band of outlaws. Mining the detritus of past civilizations, they wait… for the Silver Eagle, for the womenfolk, and for the full moon's magic to give rise to the music and make the spirits fly.
镜子的另一面:纽波特民歌艺术节1963~1965
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"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
亚洲怪谈
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《FOLKLORE》是一部共6集(每集1小时)的恐怖影集,每1集的故事素材源于亚洲各地区不同的迷信及传说,包括印度尼西亚、日本、韩国、马来西亚、新加坡和泰国。印尼篇:单亲妈妈和儿子在阁楼里发现一群脏兮兮又营养不良的小孩。为了拯救这些孩子,她无意间触怒了这群孩子的养母格姆贝儿,并引起一连串的报复行动。泰国篇:一名记者遇见泰国幽灵波欧,波欧坦承谋杀案与自己有关。波欧找到抱怨的对象,并解释了谋杀案的经过,同时要求这名记者发表他的故事,但却被拒绝。两人于是立下终身的协议。新加坡篇:当工头和建筑工人试图埋葬一名女孩尸体而不是焚烧她时,庞蒂雅娜(因难产而亡的女性鬼魂)被唤醒了。施工现场开始发生一连串不幸事件。日本篇:专门描写凶案现场的作家回到家乡参加爸爸的丧礼,脑海里因而浮现出童年的画面。随后他在家里发现一道秘门,门后的居室竟藏着家族过往的可怕秘密。韩...
亚洲怪谈 第一季
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HBO原創恐怖影集《亞洲怪談》(FOLKLORE)是以新加坡導演邱金海為首,找來亞洲各國不同導演所執導的恐怖故事集,其中包括印尼、日本、韓國、馬來西亞、新加坡和泰國等地區。
费城实验:再生
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1943年10月,美国海军在费城进行了一次人工强磁场的机密试验,即着名的“费城实验(ThePhiladelphiaExperiment)”,实验成功地将一艘驱逐舰及全体船员投入另一空间。在实验过程中,实验人员啟动脉衝和非脉衝器,使船只周围形成了一个巨大的磁场。随后整条船被一团绿光笼罩着,船只和船员也开始从人们的视线中消失。实验终止时,舰船已被移送到了479公里以外的诺福克(Norfolk)...其孙女试图重振世界战争II“费城实验”.........
土匪朱尔科
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Thestoryofthehighwaymanandfolkhero,JurajJanosik.
落跑天王
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AnactioncrimecomedysetinthelastdaysofcommunisminPoland,astoryoffolk-herothief,whoescaped29timesfromcops.Naymrowaslivingonhisowntermsagainstthesystem.ButloveandcollapsingBerlinWallchangedeverything.
牛头怪
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AcclaimedMexican-CanadianauteurNicolásPeredareturnstotheFestivalwithMinotaur,apendanttohis2009featureJuntos.ShotintheMexicoCityapartmentofPereda'ssignatureactorGabinoRodríguez,Minotaurisanincandescentchamberpiecethatobservesthreethirtysomethings(Rodríguez,LuisaPardoandFranciscoBarreiro)astheysleep,dream,read,andreceivevisitors(includingthehousekeeperwhotakescareofthem)intheircommunalspace.Alovelyandlethargicspelliscastasanambiguous,Marienbad-likelovetriangleemergesamongthetrio,conveyedthroughliterature(booksfunctionastelepathictransmittersanddefinersofrelationships),choreography,andtheacutephysicalpresenceofthethreeleads.ExtendingPereda'srecurringinterestsinclass,socialstructureandfamilyrelationsinMexicansocietyinitswraithlikefantasyofaleisureclassthatisquiteliterallysustainedinitsnarcolepticexistencebytheministrationsofthedomestichelp,MinotaurevokesthefilmsofTsaiMing-lianginitsdistendednaturalism,ritualisticsolitude,andcreationofacloisteredworldsuffusedwithlonging.ThesurrealauraofMinotaurseepsbeyondtheconfinesofthetrio'sapartmentintoastrange"nightwithoutdistance"inLoisPatiño'shallucinatoryportraitofbordersmugglingintheGerêsMountainsbetweenPortugalandGalicia.Castingrealtownsfolk,someofwhomweresmugglersintheiryouth,PatiñoplacestheirstifflyStraubianpresenceswithincross-processed,multilayeredtableauxofrocks,river,andtrees—anever-indeterminateplacethathasimbibedandbornewitnesstoinnumerable,desperateactsofsurvival.Conjuringaninstantinthememoryofalandscapefilledwithghosts,Nightwithoutdistanceextractsspellbindingfantasyfromthereal.
梦之网
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LeighVanVoreenhadtoescapefromFarthinggaleManorandthesecretssheharbored.ShefellintothearmsofLukeCasteel,whosedevotionpromisedherhope.OnlyLukeknewherdeepestsecret.Bravelysheborethelocalfolkssuspicionsasshegraspedforthehappinessthathadlongeludedher,awaitingthebirthofherchildandhopingforachanceathappily-ever-after.
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