A withdrawn young girl joins an unpopular sorority in college. It turns out she has psychic and telekinetic powers, and she uses them against a rival sorority.
第80届奥斯卡颁奖典礼于美国时间2008年2月24日(北京时间25日上午)在柯达剧院举行,各大奖项一一揭晓。《老无所依》无悬念摘取最佳影片、导演、改编剧本、男配角4项大奖,成为当晚最大赢家。《谍影重重3》以100%的获奖率爆冷!四大表演奖则将国际化进行到底——丹尼尔·戴·刘易斯和蒂尔达·斯温顿来自英国,贾维尔·巴丹来自西班牙,玛丽昂·歌迪亚来自法国。
★第80届奥斯卡金像奖★获奖名单
(相关【豆列】
http://www.douban.com/doulist/121117/
)
【最佳影片】老无所依(No Country for Old Men)
【最佳导演】科恩兄弟《老无所依》/ Joel and Ethan Coen, No Country for Old Men
【最佳男主角】丹尼尔·戴·刘易斯《血色将至》/ Daniel Day Lewis, There Will Be Blood
【最佳女主角】玛丽昂·歌迪亚《玫瑰人生》/ Marion Cotillard, La Vie en Rose
【最佳男配角】贾维尔·巴丹《老无所依》/ Javier Bardem, No Country for Old Men
【最佳女配角】蒂尔达·斯温顿《迈克尔·克莱顿》/ Tilda Swinton, Michael Clayton
【最佳原创剧本】达波罗·科迪 《朱诺》/ Diablo Cody, Juno
【最佳改编剧本】科恩兄弟《老无所依》/ Joel and Ethan Coen, No Country for Old Men
【最佳摄影】血色将至(There Will Be Blood)
【最佳剪辑】谍影重重3(The Bourne Ultimatum)
【最佳音响效果】谍影重重3(The Bourne Ultimatum)
【最佳音效剪辑】谍影重重3(The Bourne Ultimatum)
【最佳视觉效果】黄金罗盘(The Golden Compass)
【最佳艺术指导】理发师陶德(Sweeney Todd)
【最佳化装】玫瑰人生(La Vie en Rose)
【最佳服装设计】伊丽莎白:黄金时代(Elizabeth: The Golden Age)
【最佳歌曲】"Falling Slowly" -《曾经》(Once)
【最佳配乐】达里奥·马利安那利 《赎罪》/ Dario Marianelli, Atonement
【最佳外语片】伪钞制造者(The Counterfeiters,奥地利)
【最佳纪录长片】开往暗处的的士(Taxi to the Dark Side)
【最佳动画长片】料理鼠王(Ratatouille,迪士尼/皮克斯)
【最佳动画短片】彼德与狼(Peter & the Wolf)
【最佳真人短片】扒手莫扎特(Le Mozart des Pickpockets/The Mozart of Pickpockets)
【最佳纪录短片】同志争平权(Freeheld)
【终身成就奖】罗伯特·博伊尔
获奖统计——
4 老无所依
3 谍影重重3
2 血色将至
2 玫瑰人生
1 赎罪
1 迈克尔·克莱顿
1 料理鼠王
1 朱诺
1 理发师陶德
1 伊丽莎白:黄金时代
1 黄金罗盘
1 曾经
1 伪钞制造者
1 开往暗处的的士
1 彼德与狼
1 扒手莫扎特
1 同志争平权
Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.