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机动战士Z高达Ⅱ:恋人们
日本日语2005
  宇宙世紀 0087 年、地球連邦軍のエリート組織「ティターンズ」と、反地球連邦組織「エゥーゴ」の内戦は続いていた。エゥーゴに身を投じたカミーユは地球降下作戦後、エゥーゴの支援組織「カラバ」のハヤト・コバヤシらと接触。ティターンズの追撃をかわしつつ、再び宇宙へと還る機会をうかがっていた。  そんな折り補給のために立ち寄ったニューホンコンで、カミーユは、神秘的な少女フォウと運命的な出会いをする。だが、フォウはティターンズの強化人間。禁じられた二人の出会いは、カミーユの心を愛と苦悩に引き裂く。哀しみに満ちた戦いの果て、フォウは決死の覚悟で、カミーユを宇宙へと送り出す。  宇宙へと戻ったカミーユを待ち受ける激しさを増した戦場と、新型モビルスーツ“Z(ゼータ)ガンダム”だった。非道なコロニー落とし作戦や月面都市への爆弾テロなど、激しさを増すティターンズの戦法。そして大きく変転を始める政治状況。エゥーゴは指導者ブレックス准将を暗殺で失い、一方ティターンズ内部では木星帰りの男シロッコが勢力を拡大しつつあった……。  そして、ついに動きを見せ始める第三勢力――それは旧ジオン軍の残党、アクシズだった。カミーユの新たな力、Zガンダムが、混迷の戦場を切り裂いて飛ぶ!

高清影院

盲目的丈夫们
美国英语1919
  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.

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