下一个秋天 El Próximo Otoño (1967)
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下一个秋天影片简介
《下一个秋天》是西班牙导演Antonio Eceiza的代表作之一，也是Víctor Erice早年参与编剧的电影。Eceiza是60年代新西班牙电影运动中巴斯克地区的重要导演，他的一生都在为巴斯克电影的成长和发展做着努力。这部影片属于典型的新写实主义风格，影片由著名制片家Elías Querejeta监制，摄影是Luis Cuadrado，他后来是Erice的《蜂房的精神》的摄影师。
Director, screenwrit...展开er, and producer Antonio Eceiza has spent the latter part of his career working in and promoting the growth of Basque cinema. After Eceiza obtained a law degree from the Universidad de Valldolid, he studied film direction at the Instituto de Investigaciones y Experiencias Cinematográficas in the late '50s, though he never graduated. Eceiza worked as a film critic and an assistant director before teaming up with influential producer Elías Querejeta to produce a pair of short documentaries in the early '60s. Thereafter, Querejeta produced all of Eceiza's early films. Due to his radical political associations, Eceiza moved to Mexico in 1973, where he made two films and lectured at Mexico's Centro Universitario de Estudios Cinematográficos. In 1978, he returned to Spain to work in Basque cinema. Eceiza has subsequently used the Basque spelling of his name in the film credits, Antxon Exeiza.
Long regarded as central to the development of art cinema in Spain, the Nuevo Cine Espanol/New Spanish Cinema movement of the 1960s is currently being reconsidered in the light of recent scholarship. These interviews contribute to this reassessment by bringing to our attention the experiences of two directors who were peripheral to the movement as a whole. Antxón Eceiza, author of the Neorealist El próximo otono/Next Autumn (1963) and formally eclectic De cuerpo presente/Present in Body (1965), reveals these anti-Francoist directors' contradictory experiences of accepting subsidies from the state and representing Spain at foreign film festivals.
Director, screenwrit...展开er, and producer Antonio Eceiza has spent the latter part of his career working in and promoting the growth of Basque cinema. After Eceiza obtained a law degree from the Universidad de Valldolid, he studied film direction at the Instituto de Investigaciones y Experiencias Cinematográficas in the late '50s, though he never graduated. Eceiza worked as a film critic and an assistant director before teaming up with influential producer Elías Querejeta to produce a pair of short documentaries in the early '60s. Thereafter, Querejeta produced all of Eceiza's early films. Due to his radical political associations, Eceiza moved to Mexico in 1973, where he made two films and lectured at Mexico's Centro Universitario de Estudios Cinematográficos. In 1978, he returned to Spain to work in Basque cinema. Eceiza has subsequently used the Basque spelling of his name in the film credits, Antxon Exeiza.
Long regarded as central to the development of art cinema in Spain, the Nuevo Cine Espanol/New Spanish Cinema movement of the 1960s is currently being reconsidered in the light of recent scholarship. These interviews contribute to this reassessment by bringing to our attention the experiences of two directors who were peripheral to the movement as a whole. Antxón Eceiza, author of the Neorealist El próximo otono/Next Autumn (1963) and formally eclectic De cuerpo presente/Present in Body (1965), reveals these anti-Francoist directors' contradictory experiences of accepting subsidies from the state and representing Spain at foreign film festivals.
