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那英,陈数,马思纯,李沁,张雅琪,龚俊,张晚意
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龚俊,彭小苒,乔振宇,常华森,杨雨潼,孔雪儿,章时安,耿乐,张铎,侯长荣,张睿,黑子,言杰,赵子琪,郭军,沈保平,刘昱晗,聂子皓,张维娜,白澍,黄毅,李岱昆,曹煜辰,戴景耀,李晨浩,郭迦南,严屹宽,夏之光,代露娃
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张若瑜,李欣,程玉珠,杜晴晴,虞晓旭,于凯隆,高嗣航,张恒,王宇航,刘宇轩,唐昊
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杨祐宁,邵雨薇,范少勋,宋芸桦,简嫚书
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内详
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钱文青,杨天翔,杨默,歪歪,谷江山,乔诗语,佟心竹
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沈腾,白敬亭,金晨,贾冰,王安宇,胡先煦,范丞丞,黄景瑜
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廖凡,尹昉,刘琳,富大龙,黄米依,赵阳,马苏,张桐,房子斌,张帆,王艺禅,白志迪,李丛喜,段博文,林沐然,赵佳丽,陶慧,陈玺旭
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唐国强,关晓彤,宋亚轩,沙溢,杨迪,金靖,于洋,彭昱畅,沈涛,沈腾,杨幂,欧豪,张天阳,蓝盈莹,张海宇,贾冰,李梦,李乃文,冯满,小沈阳,马嘉祺,丁程鑫,刘耀文,张真源,严浩翔,贺峻霖,黄渤,范丞丞,常远,李嘉琦,付航,闫妮,黄晓明,张予曦,徐明浩
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内详
Alexander Kluge: The Power of Feeling
When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster.
The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public.
The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim.
I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.