往科索沃灌水.塞尔维亚防长参观空24师了解歼10性能

塞尔维亚 很熟悉又陌生的名字

南斯拉夫解体前, 和中国军工的关系很不错的.

现在哪个国家最能代表前南？

里小大 发表于 2010-8-24 12:24


    塞尔维亚

里小大 发表于 2010-8-24 12:24
——都代表不了了，塞尔维亚也许可以沾点边。塞空军装备了MIG-29和MIG-21，难道他们想换换口味了吗？！

发财很合适他们

最近看了套讲南内战的电影, 应是塞族人拍的反战片. 看来南国以前很富足, 欧洲生活水平.:L

囊中羞涩，就等无息贷款。

回复 7# T-54坦克


    塞子要的是10爷

塞尔维亚空军一年有多少军费啊......

屠城校尉 发表于 2010-8-24 13:51


求片名

塞尔维亚空军将是第三个拥有歼10的用户？

回复 13# liuwanchen


    一二是谁

国家太小了，飞机加一下油门就出国境了。不看好歼十出口到塞尔维亚。

貌似和那边关系一直还行

回复 8# 屠城校尉


    南斯拉夫是欧洲最富裕的10国之一

Vukovar (1994)
February 2, 1996
FILM REVIEW;Serb Is Romeo, a Croat Juliet
By STEPHEN HOLDEN
Published: February 2, 1996
Boro Draskovic's devastating antiwar film, "Vukovar," moves so swiftly from scenes of joy into the pits of hell that watching it feels a little like being pushed off a cliff and discovering that there is no bottom. As the film opens, the people of Vukovar, a Croatian town of 50,000 on the Serbian border, deliriously unite to celebrate the fall of Communism. Amid the euphoria, Anna (Mirjana Jokovic), a Croatian woman, marries her Serbian lover Toma (Boris Isakovic), with the blessings of both their families. But the newlyweds have barely enough time to paint their house before their idyll is shattered.

Almost overnight, the powder keg of ethnic hostilities that had been held in check by Communist rule begins to blow. In disbelief, the couple watch televised reports of angry demonstrations spreading across Yugoslavia. The hatreds rapidly mushroom into full-scale civil war. Toma soon finds himself drafted into the Serbian-dominated Yugoslav Army. Anna, who is pregnant, moves in with her parents after her neighborhood turns into a war zone. But there is no escape. One afternoon while Anna is out trading gold for bread, her parents are killed when a stray shell blows up their home.

The most shocking thing about "Vukovar," which opens today at the Quad Cinema, is the utterly matter-of-fact way in which it presents the horrors of war. There is no logic to events. One moment, Anna and Toma are living a comfortable suburban life, the next Anna is foraging for survival in bombed-out rubble crawling with snipers. Toma eventually finds himself shooting at the house in which she is hiding.

The movie has moments that are hard to take. In one scene, Anna and her best friend, Ratka (Monica Romic), are brutally raped by several Serbian soldiers while Ratka's young daughter is forced to watch. Every now and then, the camera moves away from the action to show the tranquil Danube River bobbing with corpses and body parts.
(注 : 这个影评此处有误, 那些强奸犯不是 Serbian Soldiers, 而应是一班乘乱抢掠的 Croatian 小混混, 其中一个後来躲进被奸两女藏身的 Croatian 族人防空洞, 在黑暗中被女的利刃穿心. )

For all its harrowing scenes, "Vukovar" is an oddly dispassionate film. Anna and Toma, although well acted by Ms. Jokovic a'd Mr. Isakovic, are largely symbolic figures in a Romeo-and-Juliet-like scenario that is too thinly developed to have much dramatic impact. Who they are, what their story is, what they dream of becoming beyond a happily married couple are left to the imagination.

The movie has strange discrepancies of tone. In one expressionistic sequence, three cackling crones, like the three witches from "Macbeth," stir a giant pot of soup that is made, one woman explains, with pigs that have feasted on human flesh. The scene seems glaringly out of place in a film whose most pronounced quality has been the almost perfunctory manner with which it has presented one horror after another.

Most disturbing is the film's nearly complete absence of political background. In endeavoring to make a transcendent antiwar film, the director has remained so studiously nonpartisan that only a few drips and drabs of Balkan politics have been allowed to leak into the movie, and they are carefully balanced to make both sides seem equal'y culpable. Strife born of historical wounds is presented as erupting in a historical vacuum.

The film's objectivity hasn't precluded controversy. Last December the Croatian Government blocked a United Nations screening of the film and denounced it as pro-Serbian "propaganda." The executive producer, Steven North, insisted that the film makers did not take sides and that the director, a Serbian who is the son of Croatian and Bosnian parents and lives in Belgrade, "tried to depict both sides as guilty."

The movie's stunning final sequence almost makes up for its frustrating skittishness. As the camera surveys what's left of Vukovar and environs, it finds mile after mile of charred wasteland with nary a sign of life.

VUKOVAR


Directed by Boro Draskovic; written (in Serbo-Croatian, with English subtitles) by Maja Draskovic and Boro Draskovic; director of photography, Aleksandar Petkovic; edited by Snezana Ivanovic; produced by Danka Muzdeka Mandzuka; released by Tara Releasing. At the Quad Cinema, 13th Street west of Fifth Avenue, Greenwich Village. Running time: 94 minutes. This film is not rated.

WITH: Mirjana Jokovic (Anna), Boris Isakovic (Toma), Monica Romic (Ratka), Nebojsa Glogovac (Fadil) and Svetlana Bojkovic

Vukovar (1994)
February 2, 1996
FILM REVIEW;Serb Is Romeo, a Croat Juliet
By STEPHEN HOLDEN
Published: February 2, 1996
Boro Draskovic's devastating antiwar film, "Vukovar," moves so swiftly from scenes of joy into the pits of hell that watching it feels a little like being pushed off a cliff and discovering that there is no bottom. As the film opens, the people of Vukovar, a Croatian town of 50,000 on the Serbian border, deliriously unite to celebrate the fall of Communism. Amid the euphoria, Anna (Mirjana Jokovic), a Croatian woman, marries her Serbian lover Toma (Boris Isakovic), with the blessings of both their families. But the newlyweds have barely enough time to paint their house before their idyll is shattered.

Almost overnight, the powder keg of ethnic hostilities that had been held in check by Communist rule begins to blow. In disbelief, the couple watch televised reports of angry demonstrations spreading across Yugoslavia. The hatreds rapidly mushroom into full-scale civil war. Toma soon finds himself drafted into the Serbian-dominated Yugoslav Army. Anna, who is pregnant, moves in with her parents after her neighborhood turns into a war zone. But there is no escape. One afternoon while Anna is out trading gold for bread, her parents are killed when a stray shell blows up their home.

The most shocking thing about "Vukovar," which opens today at the Quad Cinema, is the utterly matter-of-fact way in which it presents the horrors of war. There is no logic to events. One moment, Anna and Toma are living a comfortable suburban life, the next Anna is foraging for survival in bombed-out rubble crawling with snipers. Toma eventually finds himself shooting at the house in which she is hiding.

The movie has moments that are hard to take. In one scene, Anna and her best friend, Ratka (Monica Romic), are brutally raped by several Serbian soldiers while Ratka's young daughter is forced to watch. Every now and then, the camera moves away from the action to show the tranquil Danube River bobbing with corpses and body parts.
(注 : 这个影评此处有误, 那些强奸犯不是 Serbian Soldiers, 而应是一班乘乱抢掠的 Croatian 小混混, 其中一个後来躲进被奸两女藏身的 Croatian 族人防空洞, 在黑暗中被女的利刃穿心. )

For all its harrowing scenes, "Vukovar" is an oddly dispassionate film. Anna and Toma, although well acted by Ms. Jokovic a'd Mr. Isakovic, are largely symbolic figures in a Romeo-and-Juliet-like scenario that is too thinly developed to have much dramatic impact. Who they are, what their story is, what they dream of becoming beyond a happily married couple are left to the imagination.

The movie has strange discrepancies of tone. In one expressionistic sequence, three cackling crones, like the three witches from "Macbeth," stir a giant pot of soup that is made, one woman explains, with pigs that have feasted on human flesh. The scene seems glaringly out of place in a film whose most pronounced quality has been the almost perfunctory manner with which it has presented one horror after another.

Most disturbing is the film's nearly complete absence of political background. In endeavoring to make a transcendent antiwar film, the director has remained so studiously nonpartisan that only a few drips and drabs of Balkan politics have been allowed to leak into the movie, and they are carefully balanced to make both sides seem equal'y culpable. Strife born of historical wounds is presented as erupting in a historical vacuum.

The film's objectivity hasn't precluded controversy. Last December the Croatian Government blocked a United Nations screening of the film and denounced it as pro-Serbian "propaganda." The executive producer, Steven North, insisted that the film makers did not take sides and that the director, a Serbian who is the son of Croatian and Bosnian parents and lives in Belgrade, "tried to depict both sides as guilty."

The movie's stunning final sequence almost makes up for its frustrating skittishness. As the camera surveys what's left of Vukovar and environs, it finds mile after mile of charred wasteland with nary a sign of life.

VUKOVAR


Directed by Boro Draskovic; written (in Serbo-Croatian, with English subtitles) by Maja Draskovic and Boro Draskovic; director of photography, Aleksandar Petkovic; edited by Snezana Ivanovic; produced by Danka Muzdeka Mandzuka; released by Tara Releasing. At the Quad Cinema, 13th Street west of Fifth Avenue, Greenwich Village. Running time: 94 minutes. This film is not rated.

WITH: Mirjana Jokovic (Anna), Boris Isakovic (Toma), Monica Romic (Ratka), Nebojsa Glogovac (Fadil) and Svetlana Bojkovic

瓦尔特估计没钱买.......:(

塞尔维亚...
远程火箭炮使者都浪费..歼10..
买发财吧..有钱再投点资,搞个双座得了..