100 PHIM CHÂU Á XUẤT SẮC
1. Tokyo Story (Ozu Yasujiro, 1953) – Japan
2. Rashomon (Kurosawa Akira, 1950) – Japan
3. In the Mood for Love (Wong Kar Wai, 2000) – Hong Kong
4. The Apu Trilogy (Satyajit Ray) – India
5. A City of Sadness (Hou Hsiao-hsien, 1989) – Taiwan
6. Seven Samurai (Kurosawa Akira, 1954) – Japan
7. A Brighter Summer Day (Edward Yang, 1991) – Taiwan
8. Spring in a Small Town (Fei Mu, 1948) – China
9. Still Life (Jia Zhang Ke, 2006) – China
10. The Housemaid (Kim Ki-young, 1960) – Korea
11. Close Up (Abbas Kiarostami, 1990) – Iran
12. A One and a Two (Edward Yang, 2000) – China
13. Spring, Summer, Fall, Winter… and Spring (Kim Ki-duk, 2003) – Korea
14. Oldboy (Park Chan-Wook, 2003) – Korea
15. Late Spring (Ozu Yasujiro, 1949) – Japan
16. A Taste of Cherry (Abbas Kiarostami, 1998) – Iran
17. Uncle Boonmee Who Can Recall His Past Lives (Apichatpng Weerasethakul, 2010) – Thailand
18. Ugetsu Monogatari (Mizoguchi Kenji, 1953) – Japan
19. The Music Room (Satyajit Ray, 1958) – India
20. The Cloud-capped Star (Ritwik Ghatak, 1960) – India
21.Where is the Friend’s Home (Abbas Kiarostami, 1987) – Iran
22. Raise the Red Lantern (Zhang Yimou, 1991) – China
23. Sopyonje (Im Kwon Taek, 1993) – Korea
24. Crouching Tiger Hidden Dragon (Ang Lee, 2000) – Taiwan
25. Spirited Away (Miyazaki Hayao, 2001) – Japan
26. Tropical Malady (Apichatpong Weerasethakul, 2004) – Thailand
27. Mother (Bong Joon-ho, 2008) – Korea
28. Poetry (Lee Chang-dong, 2010) – Korea
29. A Separation (Asghar Farhadi, 2011) – Iran
30. A Touch of Zen (King Hu, 1969) – Taiwan
31. Manila in the Claws of Light (Lino Brocka, 1975) – Philippines
32. Mandala (In Kwon Taek, 1981) – Korea
33. A Moment of Innocence (Mohsen Makhmalbaf, 1981) – Iran
34. Happy Together (Wong Kar Wai, 1997) – Hong Kong
35. The River (Tsai Ming-Liang, 1997) – Taiwan
36. Blissfully Yours (Apichatong Weerasethakul, 2002) – Thailand
37. Awaara (Raj Kapoor, 1951) – India
38. Floating Clouds (Naruse Mikio, 1955) – Japan
39. Pyaasa (Guru Dutt, 1957) – India
40. The Lonely Wife (Satyajit Ray, 1964) – India
41. The Cow (Dariush Mehrjui, 1969) – Iran
42. Red Sorghum (Zhang Yimou, 1987) – China
43. Days of Being Wild (Wong Kar Wai, 1990) – Hong Kong
44. Farewell My Concubine (Chen Kaige, 1993) – China
45. Vive l’amour (Tsai Ming Liang, 1994) – Taiwan
46. The Adopted Son (Aktan Abdykalykov, 1998) – Kyrgyzstan
47. Peppermint Candy (Lee Chang-dong, 1999) – Korea
48. I Was Born, But… (Ozu Yasujiro, 1932) – Japan
49. The Story of the last Chrysanthemums (Mizoguchi Kenji, 1939) – Japan
50. Living [Ikiru] (Kurosawa Akira, 1952) – Japan
51. Sansho The Bailiff (Mizoguchi Kenji, 1954) – Japan
52. The House is Black (Forough Farrokhzad, 1963) – Iran
53. Woman in the Dunes (Teshigahara Hiroshi, 1964) – Japan
54. Scattered Clouds (Naruse Mikio, 1967) – Japan
55. Daughter in Law (Khodzhakuli Narliyev, 1972) – Turkmenistan
56. Dersu Uzala (Kurosawa Akira, 1975) – Japan
57. In the Realm of the Senses (Oshima Nagisa, 1976) – Japan
58. A time to live and a time to die (Hou Hsiao-hsien, 1985) – Taiwan
59. Through the Olive Trees (Abbas Kiarostami, 1994) – Iran
60. Children of Heaven (Majid Majidi, 1997) – Iran
61. Osama (Siddiq Barmak, 2003) – Afghanistan
62. West of Tracks (Wang Bing, 2003) – China
63. Paradise Now (Hany Abu Assad, 2005) – Palestine
64. Mukhsin (Yasmin Ahmad, 2006) – Malaysia
65. Secret Sunshine (Lee Chang-dong, 2007) – Korea
66. The Goddess (Wu Yonggang, 1934) – China
67. Humanity and Paper Balloons (Yamanaka Sadao, 1937) – Japan
68. Street Angels (Yuan Mizhi, 1937) – China
69. The Life of Oharu (Mizoguchi Kenji, 1952) – Japan
70. Mother India (Mehboob Khan, 1957) – India
71. Floating Weeds (Ozu Yasujiro, 1958) – Japan
72. Good Morning (Ozu Yasujiro, 1959) – Japan
73. Paper Flowers (Guru Dutt, 1959) – India
74. The Naked Island (Shindo Kaneto, 1960) – Japan
75. Intentions of Murder (Imamura Shohei, 1964) – Japan
76. A Man Vanishes (Imamura Shohei, 1967) – Japan
77. Holiday (Lee Man-hee, 1968) – Korea
78. The Cruel Sea (Khaled Al Siddiq, 1972) – Kuwait
79. Insiang (Lino Brocka, 1976) – Philippines
80. Vengeance Is Mine (Imamura Shohei, 1979) – Japan
81. Batch ’81 (Mike de Leon, 1982) – Philipines
82. Taipei Story (Edward Yang, 1984) – Taiwan
83. The Runner (Amir Naderi, 1985) – Iran
84. My Neighbor Totoro (Miyazaki Hayao, 1988) – Japan
85. Ju Dou (Zhang Yimou, 1990) – China
86. Life, and Nothing More (and Life Goes on…) (Abbas Kiarostami, 1992) – Iran
87. The Puppetmaster (Hou Hsiao-hsien, 1993) – Taiwan
88. Chungking express (Wong Kar Wai, 1994) – Hong Kong
89. The Scent Of Green Papaya (Tran Anh Hung, 1994) – Vietnam, France
90. Gabbeh (Mohsen Makhmalbaf, 1995) – Iran
91. The White Balloon (Jafar Panahi, 1995) – Iran
92. The Day a Pig Fell into The Well ( Hong Sangsoo, 1996) – Korea
93. Hana-bi (Kitaro Takeshi, 1997) – Japan
94. Flowers of Shanghai (Hou Hsiao-hsien, 1998) – Taiwan
95. Chunhyang (Im Kwon Taek, 1999) – Korea
96. The Color of Paradise (Majid Majidi, 1999) – Iran
97. The Poet (Garin Nugroho, 1999) – Iran
98. Blackboards (Samira Makhmalbaf, 2000) – Iran
99. The Circle (Jafar Panahi, 2000) – Iran
100. The Day I became a Woman (Marzieh Meshkini, 2000) – Iran
#whatever
同時也有3部Youtube影片,追蹤數超過8萬的網紅Cuộc Sống Cần Thơ Hậu Giang,也在其Youtube影片中提到,Cách Trồng rất đơn giản, không phân thuốc, ngày phun nước 2 lần, trong 5 đến 7 ngày ta có rau mầm non sạch cho bữa ăn gia đình nha các bạn...
malady 在 民報 Facebook 的最佳解答
【#民意論壇】真相能使人自由
文/陳逸南(台灣北社理事)
美國歷史學者提摩希﹒史奈德(Timothy Snyder)著《OUR MALADY》,中譯本《#重病的美國》(2020年12月出版),敘述大疫情時代的關鍵4堂課,我們如何反思醫療、人權與自由。第3堂課的前言指出,「如果人們不去承認威脅的存在並做好準備,就會失去生命和自由。不去面對真相,就等著被壓迫。」
該書第53頁指出,「自由就是做我們自己,依循自己的價值觀和慾望生活在世界上。我們每個人都有權利追求幸福並留下屬於自己的故事。當重病到無法想像幸福,身體虛弱到無法追求幸福,我們就不可能自由。如果缺乏知識,尤其是健康方面的知識,而無法做出有意義的選擇,我們也不可能自由。」
#真相 #武漢病毒的起源 #黃媽媽爭取台灣軍中人權
#太極門志工黃媽媽
malady 在 Charles Mok 莫乃光 Facebook 的最佳貼文
【Timothy Snyder:沒有健康,何來自由?】
2019年很多香港人愛上了美國耶魯大學歷史學教授Timothy Snyder的《暴政:二十世紀的二十個教訓》(On Tyranny: Twenty Lessions From the Twentieth Century) 一書。不久前,我在本地書店發現了他的新作:《Our Malady: Lessons in Liberty from a Hospital Diary》,同《On Tyranny》一樣,也是細細的小書一本,當作一口氣讀數篇雜誌文章,很快可以讀完。
Malady就是病,但在英語使用上也常用作形容身體疾病以外的「病」,例如社會上的「弊病」。事源2019年12月初時,Snyder教授在德國講學時患了盲腸炎,當時求醫,當地醫生沒診斷出來,結果盲腸爆裂,感染了其他內臟,特別是肝臟,手術後仍然感到不適,返國後他在聖誕期間到訪佛羅里達州時再次入院,仍然找不到病因,最後回家到康涅狄格州的醫院,最終才確診已經染上敗血病,已經延誤多時,元氣大傷,結果留院長達三個多月。
Snyder教授把他的經歷,和留院期間所寫下的筆記,整理成這本書。本書的立論很簡單:美國本來代表自由,但疾病和恐懼減少了他們的自由;當人們因為疾病而不能感受快樂,或者是沒有追求快樂的體力和精神,自由就不可能了。是誰令美國人不能得到健康的保障?Snyder教授把矛頭指向美國政府和商業化的醫療制度。
教授指出,1948年聯合國通過世界人權宣言,美國有分推動,當中包括要求人民的健康屬於基本人權,甚至美國推動二次大戰的戰敗國德國和日本的憲法時,都包括這保障,但美國自己反而沒有做到。的確,教授在留院時,中國疫情正在傳往美國,當時我曾經聽過一種說法,是不少美國人不肯接受病毒測試,原因除了因為初期測試要收費外,他們更擔心的是,萬一確診,自己沒有保險,或者保險範圍未必包醫治,因美國是沒有全民醫療制度的。至今美國疫情大爆發,備受討論的多個成因中,包括去年年初沒有作大規模檢測,當中固然包括這系統性理由。
美國社會重大本土政治議題中,全民醫療保險是重中之重,奧巴馬好不簡單推動了所謂ObamaCare,擴大了醫保的覆蓋,特朗普就要推翻它。事實上,即使做到擴大甚至全民醫保,與全民醫療保障,還有很大差別,Snyder教授明言,保險公司根本有極大的誘因去否決為我們的診斷和醫療「找數」。他也提到自己曾經在奧地利工作時的經驗,就是身為外國人,都能享受當地免費和優質的醫療。美國繼續依賴保險作中介,只會令其醫療成本越來越高,人民得到的保障越來越少;然而,要「解決」保險業這個既得利益者,談何容易!
對我們在醫療保障的期望理解來說,美國人真的奇怪,不少人竟然真的認為,如果提供全民保障,就等於社會主義,只會「益」了那些窮人、黑人、穆斯林、新移民等等。Snyder教授說,這種想法,就像把別人推落懸崖,跟著自己跳下去。我想,這種損人不利己的心態,背後多少是自我中心的自由主義,多少是美國根深蒂固的種族歧視問題使然?
Snyder教授在書中也有提及去年起疫情和特朗普政府處理的災難,他說:「暴君把疫情視為契機,令自己成為人們生死的決定者。」要利用疫情達到政治目的的領袖,當然不只特朗普,雖然他應該是最有此心但最無能的一個。教授書中還有一句話:「公共衛生需要民主,但一個公共衛生危機,可以把一個像美國現在虛弱的民主推倒。」過去一個星期所發生的事,正好證實教授的預測正確。
《On Tyranny》談的是最大的題目,《Our Malady》卻是集中教授身歷其境的痛楚,引申出最合時的呼喚,在美國甚至全世界在同時面對疫情及社會分裂和兩極化的時候,是個有力的控訴。然而,「沒有健康,何來自由?」,在美國民主社會一個意義,在極權世界只會有完全不同的體會。
同場加讀:Snyder教授剛在紐約時報發表的文章,回到他最專業的研究範圍,以民主、法西斯、暴政和歷史的教訓,了解今天美國面對的深淵。
The American Abyss
A historian of fascism and political atrocity on Trump, the mob and what comes next.
By Timothy Snyder
https://www.nytimes.com/2021/01/09/magazine/trump-coup.html
#和你讀
#光讀書 #書評 #讀書
malady 在 Cuộc Sống Cần Thơ Hậu Giang Youtube 的最佳貼文
Cách Trồng rất đơn giản, không phân thuốc, ngày phun nước 2 lần, trong 5 đến 7 ngày ta có rau mầm non sạch cho bữa ăn gia đình nha các bạn
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malady 在 Cuộc Sống Cần Thơ Hậu Giang Youtube 的最佳解答
Tôi sinh ra và lớn lên ở Hậu Giang, sống và làm việc tại TP. Cần Thơ, Tôi muốn chia sẽ các hoạt động của người dân như nuôi trồng các món ăn dân giã tại Cần Thơ và Hậu Giang, cuộc sống hàng ngày của tôi
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