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1983年情感的力量在西德上映，HD。情感的力量是一部精彩倫的劇情片。情感的量的主演Hannelore,Hoger,Alexandra,Kluge,Edgar,M.,B?hlke將整個(gè)故事演得生動(dòng)形象，使情感的力量起了全球的愛(ài)好者的注。情感的力量的劇是ThePowerofEmotionexplainsthatemotionisn’ttobeconfusedwithsentimentality.Emotionisancientandmorepowerfulthananyartform.Thefilmlooksatyoungcoupleswhorunintodifficultiesastheytrytotranslatetheirexperiencesofloveintocleardecision-making.Awomanwhohasshotherhusbandprovidesajudgewithapuzzle.Thosewholovecanbringthedeadbacktolifebymeansofco-operation.That’sthefocusoftheopera, ThePowerPlantofEmotions andthe Operaofthe20thCentury cinema.AlexanderKluge:ThePowerofFeelingWhenIstartedworkingonThePowerofFeeling,Iwasnotinarationalstate.Ididnotsay,IhaveasubjectandnowIwillmakeafilmaboutit.InsteadIwasspellboundandobservedinmydirectsurroundings,forexample,howfeelingsmove.Ihavenotreallydealtwiththethemeofmymother’sdeathandthefactthatshewastheonewhotaughtme howfeelingsmove. NorhaveIdealtwithhowshedied.Thatwasanentirepaletteoffeelings: Allfeelingsbelieveinahappyend, andeveryonebelievestacitlythattheywillliveforever:Theentirepaletteissomehowoptimistic,apositiveattitudetowardslifehavingbeenputontheagendaaslongasshewasyoung,aslongasherbodyheldout,fromonedaytothenextshecollapsed.Shejustsuddenlycollapsed,likeinanoperawheredisastertakesthestageinthefifthact.ItfeltasifIhadobservedanairraidoradisaster.ThefilmThePowerofFeelingisnotaboutfeelings,butrathertheirorganization:howtheycanbeorganizedbychance,throughoutsidefactors,murder,destiny;howtheyareorganized,howtheyencounterthefortunetheyareseeking.Whatisallthisorganizationoffeelingsabout?Generallyfeelingstendtobeadictatorship.Itisadictatorshipofthemoment.ThestrongfeelingIamhavingrightnowsuppressestheothers.Forthoughtsthiswouldnotbethecase.Onethoughtattractsotherslikeamagnet.Peoplethereforeneedaffirmationbyotherpeopletobesureabouttheirownfeelings(tocounteracttheacquisitionoftheirfeelingsthroughoutsideforces).Throughtheinteractionofmanypeople,forexample,inpublic,thevariousfeelingsalsohaveamagneticattractiontooneanotherjustlikethoughtsdo.Feelingscommunicatethroughtheirmanifestationinpublic.Thecinemaisthepublicseatoffeelingsinthe20thcentury.Theorganizationissetupthusly:Evensadfeelingshaveahappyoutcomeinthecinema.Itisaboutfindingcomfort:Inthe19thcenturytheoperahousewasthehometofeelings.Anoverwhelmingmajorityofoperashadatragicend.Youobservedavictim.Iamconvincedthatthereisamoreadventuresomecombination:Feelingsinboththeoperaandtraditionalcinemaarepowerlessinthefaceofdestiny’smight.Inthe20thcenturyfeelingsbarricadedthemselvesbehindthiscomfort,inthe19thcenturytheyentrenchedthemselvesinthevalidityofthelethalseriousness.?