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| 2008/01/21 09:17:56瀏覽1253｜回應0｜推薦0 | ||||||||||||||||||||||||||||
Film and Literature: Media, Gender, and Identity1. | ||||||||||||||||||||||||||||
Director: Ang Lee
Short story: Annie Proulx
Screenplay: Larry McMurtry
Cast and CharacterHeath Ledger ...
Jake Gyllenhaal ... Jack Twist
Randy Quaid ... Joe Aguirre
Valerie Planche ... Waitress
David Trimble ... Basque
Michelle Williams ...
Anne Hathaway ... Lureen Newsome
The Director: Ang LeeSource: from wikipedia
http://en.wikipedia.org/wiki/Ang_Lee
Many of Ang Lee films have focused on the interactions between modernity and tradition. Some of his films have also had a light-hearted comic tone which marks a break from the tragic historical realism which characterized Taiwanese filmmaking after the end of the martial law period in 1987. Lee's films also tend to draw on deep secrets and internal torment that come to the surface, such as in the gay-themed films The Wedding Banquet (1993) and Brokeback Mountain (2005), the martial arts epic Crouching Tiger, Hidden Dragon (2000) for which he was nominated for an Academy Award for Best Director, and the comic book adaptation Hulk (2003).
The director's cut of Crouching Tiger, Hidden Dragon premiered on the Ivy League campus of
Lee's film Brokeback Mountain (2005) won the Golden Lion (best film) award at the Venice International Film Festival and was named 2005's best film by the
Plot Summary from IMDbhttp://www.imdb.com/title/tt0388795/synopsis
It's the summer of 1963. Two young men first meet when they find work sheep-herding on
While sharing a cowboy's backbreaking work load, facing the toil and troubles of the weather, shortages of food and wild animal attacks, their working friendship eventually develops into something more... Breaking Joe Aguirre's (Randy Quaid) rule that one man must sleep with the sheep and one at the camp, on one night after an evening of heavy boozing and shooting the bull, they end up sharing the only tent, just to avoid freezing. The bitter cold leads to their sleeping spooned. Jack, who of the two seems more wired for attraction to other men, (and more conscious of his leanings,) initiates touching. Ennis, who is engaged to be married, seems truly naive with respect to Jack's intentions as well as his own responses, yet eventually responds to Jack, releasing his own loneliness, fear and pent-up rage into an almost violent physical passion. Over the summer the two increasingly give in to their passion for one another, building a life-long bond. Both men eventually come to acknowledge and understand the irrevocability of their bond, even if they do not both entirely accept it.
When the summer ends the men separate and continue with their lives. Ennis marries Alma (Michelle Williams) and has two daughters right off. Jack, by contrast, is still drawn to other men, and remains unmarried until he meets and has a son with feisty rodeo cowgirl Lureen Newsome (Anne Hathaway.) Lureen's father owns a bona fide money-making business selling farming machinery in
When they finally do reunite in
Jack shows up in
Ennis gets a postcard he'd sent to Jack returned with "deceased" marked across it. Jack is dead. He was thirty-nine years old. When Ennis contacts Jack's wife, Lureen, she lies about Jack's death, telling Ennis he was accidentally killed by a tire iron while changing a flat, when in fact Jack was killed for being "queer,"( just as Ennis had always said they would be if they lived together.) Lureen also tells Ennis that Jack wanted his ashes spread at his favourite place,
Ennis goes to visit Jack's childhood home, where Jack's father insists that Jack's ashes will be placed in the family burial plot. At Jack's mother's invitation Ennis visits Jack's room and sees two shirts, his and one of Jack's, worn by the two young men in the summer of 1963, and smeared with blood from a fight they'd had right before leaving Brokeback. The shirts hang together, tenderly spooned into one another on the same hanger - symbolically united in perpetuity. Ennis takes the shirts when he leaves.
After Jack's death, Ennis moves out of town into a small trailer - alone. The place is low, bare and poorly furnished. Ennis has nothing and no one. A visit from his daughter brings happy news and a sense of hope, as she is to be married. Ennis wants only to know if her boyfriend "really" loves her. She says he does, invites Ennis to the wedding and leaves. Ennis sits, beaten down by years of hard work and alcohol - weathered and aged, heart broken. With him - his and Jack's shirts, still entwined, and a postcard with a picture of
Tempting as it is to look at this film as a universal example of the repression of homosexual love , anti-gay sentiment in "macho" cowboy culture, or American culture in general, this story manages to transcend the stereotyping it naturally invites. This story is personal. It is, if nothing else, a unique story about a unique love (as all loves are:) about how love is limited by our attempts to define it; about choices and imperatives; and about the ineffable and indefinable forces which drive human beings to seek out and connect with one another... as well as the very real and irrevocable consequences of satisfying that yearning.
Top Contributors: straightmen, dean_peachey, Normski3
Script by Larry McMurtry and Diana Ossana
Scene
Description and Quotes
1
EXT: SIGNAL,
: The door to the trailer slams shut behind them. JACK walks down the three steps outside the trailer. ENNIS stops, stands on the lowest step of the trailer, looks around at the bleak surroundings. JACK smiles, sticks out his hand.
Jack
JACK Twist.
ENNIS
(shakes hands) Ennis.
A beat.
JACK
Your folks just stop at Ennis?
ENNIS
(after a moment)
JACK
Nice to know you, Ennis del Mar.
JACK
My second year up here. Last year one storm the lightnin' kilt 42 sheep.
(shakes his head) Thought I'd asphyxiate from the smell. Aguirre got all over my ass like I'm supposed to control the weather.
(drinks) But beats workin' for my old man. Can't please my old man, no way. That's why I took to rodeoin'.
(proudly knocks his rodeo belt buckle) Ever rodeo?
ENNIS
(reserved)
You know...I mean, once in a I got the entry fee in my pocket.
JACK
Yeah.
You from ranch people?
ENNIS
I was.
JACK
Your folks run you off?
ENNIS (Stiff)
No. They run themselves off. One curve in the road in 43 miles, and they miss it. Killed 'em both.
Bank took the ranch. Brother and sister raised me, mostly.
JACK
Shit. That's hard.
2
EXT:
The campfire light flickers on JACK'S face. Looks around the surrounding forest. Knows ENNIS wouldn't lag...is clearly worried. Takes a swig out of a whiskey bottle.
JACK looks up.
WE SEE ENNIS ride into camp obscured by the darkness.
JACK is more worried than angry, tries concern with indignation.
JACK
Where the hell you been? Up with the sheep all day, I get down here, hungry as hell and all I find is beans....
Silent, ENNIS walks towards the tent, fire illuminating his face. He sits on a log by the fire. WE SEE the cut on his forehead, gaping now, dried blood covering the whole side of his face.
JACK is startled by the sight of blood all over ENNIS'S cheek.
JACK (CONT'D)
what hell happened, Ennis?
ENNIS
(exhausted)
Come on a bear.
(motions to his horse)
Goddamn horse spooked, the mules took off. Scattered food everywhere.
ENNIS (CONT'D)
(beat)
Beans 'bout all we got left.
JACK hands a canteen to ENNIS, who slaps it away.
ENNIS (CONT'D)
Whiskey.
JACK picks up the whiskey bottle and hands it to ENNIS.
ENNIS grabs the bottle, takes a swig.
JACK removes the bandanna from around his neck, wads it up, takes the whiskey from ENNIS, and pours some into the bandanna. Raises the bandanna to ENNIS'S forehead.
JACK hesitates...awkward...hands the bandanna to ENNIS.
ENNIS takes the bandanna and slowly dabs it at the cut on his own temple. Winces.
JACK winces, too.
JACK
Well, we got to do somethin’ ‘bout this food situation. Maybe I’ll shoot one of the sheep.
ENNIS
What if Aguirre finds out? We’re supposed to guard the sheep, not eat ‘em.
JACK
What’s the matter with you? There’s a thousand of ‘em.
ENNIS
I’ll stick with beans.
JACK
Well, I won’t.
3
EXT:
ENNIS sits, supper finished, his back against a log, boot soles to the fire, two empty bean cans with spoons in them nearby, a few leftover fried potatoes.
JACK has just taken a piss, is buttoning his jeans.
ENNIS smokes. Takes a deep swig from a whiskey bottle
JACK walks up, flicks his rodeo belt buckle with his fingers.
Sits down across from ENNIS.
A creek gurgles nearby.
ENNIS
Don’t rodeo much myself. What's the point of ridin' some piece of stock for eight seconds?
JACK
Money’s a good point.
JACK finally fixes his buckle, again sits down next to ENNIS and grabs the whiskey bottle. JACK takes a swig.
ENNIS
(laughs for the first time since they’ve met) Ture enough, if you don’t get stomped winnin’ it.
JACK
My ol’ man was a bullrider, pretty well knowed in his day, though he kept his secrets to himself. Never taught me a thing. Never once come to see me ride.
JACK reaches over for a bean can. Begins to scrape the last beans out of the bottom.
JACK (CONT'D)(eats)
Your brother and sister do right by you?
Throws the empty can on the fire.
ENNIS
Did the best they could after my folks was gone, considerin' they didn't leave us nothin' but $
ENNIS'S tongue loosens suddenly.
ENNIS (CONT’D)
Got me a year a high school before the transmission went on the pickup. My sisleft, married a roughneck, moved to
Silence.
JACK looks over at ENNIS, smiles.
ENNIS (CONT'D)
…What?
JACK
Friend, that’s more words than you’ve spoke in the past two weeks.
ENNIS, smiles, for the first time.
ENNIS
Hell, it's the most I've spoke in a year.
(remembers)
My dad now, he was a fine roper. Didn't rodeo much, though. Thought rodeo cowboys was all fuck-ups.
JACK
The hell they are!
JACK gets up, does a pretend bull ride around the campfire, bucking and twisting.
JACK (CONT'D)
Yee-haw! Yee-haw! I'm spurrin' his guts out! Wavin' to the girls in the stands! He's kickin" to high heaven, but he can't dashboard me! No way! Yee-haw!
Finally throws himself, collapses in a heap among the saddles.
ENNIS
I think my dad was right.
Both laugh so hard, they almost cry.
4
MOUNTAIN,
Both are warm inside JACK'S bedroll.
JACK is wide awake now. ENNIS, on his back, is half-asleep. JACK, tentative, takes one of ENNIS'S big hands from outside the bedroll and guides it inside, down toward his own groin.
ENNIS, coming full awake, realizes where his hand is...jerks it away as if he’s touched fire.
ENNIS
What're you doin'?
JACK moves towards him. Takes off his jacket, unbuckles his pants.
Then ENNIS flips JACK around. Unbuckles his belt, shoves his pants down with one hand, uses the other to haul JACK up on all fours.
JACK doesn't resist.
ENNIS spits in the palm of his hand, puts it on himself.
They go at it in silence, except for a few sharp intakes of breath.
ENNIS shudders.
Then out, down, as both fall asleep.
5
EXT:
Their tent is struck, camp gear piled high: they have packed to leave.
JACK is tightening his saddle. Looks up.
ENNIS sits up on a hill, alone.
JACK takes his lariat, heads up the hill towards ENNIS.
JACK
Time to get goin', cowboy.
JACK starts horsing around with his lariat rope, pretends he’s trying to heel ENNIS by throwing a loop at his feet—nearly trips him.
ENNIS.
Hey now, this ain’t no rodeo.
JACK retrieves his lariat, but throws anther loop—this time, he gets ENNIS by the foot, pulls ENNIS’S foot out from under him. He falls.
JACK laughs.
ENNIS grabs the rope and yanks hard—JACK is pulled towards ENNIS and falls, and they start to wrestle. ENNIS is only half-playing—tense.
JACK is not quite fighting, either, but the mood quickly darkens, when ENNIS slips, trying to avoid a hold, and JACK accidentally knees him in the nose. Blood pours, getting on both of them. ENNIS jumps to his feet. JACK immediately gets up, tries to stanch the blood coming from ENNIS'S nose with his own shirt sleeve, and ENNIS reflexively cold-cocks him hard in the jaw, causing JACK to stagger back and fall on his ass.
JACK looks up at ENNIS, rubbing his jaw, too stunned to say anything.
ENNIS looks down at him, wiping his bloody nose on his denim sleeve, furious and despairing all at once, more emotion stirring in him than he can handle.
Staggers off.
6
EXT:
ENNIS has stepped out of his apartment onto a small landing at the top of the back stairs outside, closes the door behind him, as he sees JACK.
ENNIS hurries down the stairs, taking them two at a time.
Seize each other by the shoulders, hug mightily, squeezing the breath out of each other, saying sonofabitch, sonofabitch.
Then ENNIS looks around. Pulls JACK over to a small gangway. Shoves him up against the wall.
Then, as easily as the right key turns the lock tumblers, their mouths come together.
INT:
<
( 知識學習｜隨堂筆記 )
引用網址：https://classic-blog.udn.com/article/trackback.jsp?uid=Dalloway68&aid=1555143
Source: from wikipedia
http://en.wikipedia.org/wiki/Ang_Lee
Many of Ang Lee films have focused on the interactions between modernity and tradition. Some of his films have also had a light-hearted comic tone which marks a break from the tragic historical realism which characterized Taiwanese filmmaking after the end of the martial law period in 1987. Lee's films also tend to draw on deep secrets and internal torment that come to the surface, such as in the gay-themed films The Wedding Banquet (1993) and Brokeback Mountain (2005), the martial arts epic Crouching Tiger, Hidden Dragon (2000) for which he was nominated for an Academy Award for Best Director, and the comic book adaptation Hulk (2003).
The director's cut of Crouching Tiger, Hidden Dragon premiered on the Ivy League campus of
Lee's film Brokeback Mountain (2005) won the Golden Lion (best film) award at the Venice International Film Festival and was named 2005's best film by the
Plot Summary from IMDbhttp://www.imdb.com/title/tt0388795/synopsis
It's the summer of 1963. Two young men first meet when they find work sheep-herding on
While sharing a cowboy's backbreaking work load, facing the toil and troubles of the weather, shortages of food and wild animal attacks, their working friendship eventually develops into something more... Breaking Joe Aguirre's (Randy Quaid) rule that one man must sleep with the sheep and one at the camp, on one night after an evening of heavy boozing and shooting the bull, they end up sharing the only tent, just to avoid freezing. The bitter cold leads to their sleeping spooned. Jack, who of the two seems more wired for attraction to other men, (and more conscious of his leanings,) initiates touching. Ennis, who is engaged to be married, seems truly naive with respect to Jack's intentions as well as his own responses, yet eventually responds to Jack, releasing his own loneliness, fear and pent-up rage into an almost violent physical passion. Over the summer the two increasingly give in to their passion for one another, building a life-long bond. Both men eventually come to acknowledge and understand the irrevocability of their bond, even if they do not both entirely accept it.
When the summer ends the men separate and continue with their lives. Ennis marries Alma (Michelle Williams) and has two daughters right off. Jack, by contrast, is still drawn to other men, and remains unmarried until he meets and has a son with feisty rodeo cowgirl Lureen Newsome (Anne Hathaway.) Lureen's father owns a bona fide money-making business selling farming machinery in
When they finally do reunite in
Jack shows up in
Ennis gets a postcard he'd sent to Jack returned with "deceased" marked across it. Jack is dead. He was thirty-nine years old. When Ennis contacts Jack's wife, Lureen, she lies about Jack's death, telling Ennis he was accidentally killed by a tire iron while changing a flat, when in fact Jack was killed for being "queer,"( just as Ennis had always said they would be if they lived together.) Lureen also tells Ennis that Jack wanted his ashes spread at his favourite place,
Ennis goes to visit Jack's childhood home, where Jack's father insists that Jack's ashes will be placed in the family burial plot. At Jack's mother's invitation Ennis visits Jack's room and sees two shirts, his and one of Jack's, worn by the two young men in the summer of 1963, and smeared with blood from a fight they'd had right before leaving Brokeback. The shirts hang together, tenderly spooned into one another on the same hanger - symbolically united in perpetuity. Ennis takes the shirts when he leaves.
After Jack's death, Ennis moves out of town into a small trailer - alone. The place is low, bare and poorly furnished. Ennis has nothing and no one. A visit from his daughter brings happy news and a sense of hope, as she is to be married. Ennis wants only to know if her boyfriend "really" loves her. She says he does, invites Ennis to the wedding and leaves. Ennis sits, beaten down by years of hard work and alcohol - weathered and aged, heart broken. With him - his and Jack's shirts, still entwined, and a postcard with a picture of
Tempting as it is to look at this film as a universal example of the repression of homosexual love , anti-gay sentiment in "macho" cowboy culture, or American culture in general, this story manages to transcend the stereotyping it naturally invites. This story is personal. It is, if nothing else, a unique story about a unique love (as all loves are:) about how love is limited by our attempts to define it; about choices and imperatives; and about the ineffable and indefinable forces which drive human beings to seek out and connect with one another... as well as the very real and irrevocable consequences of satisfying that yearning.
Top Contributors: straightmen, dean_peachey, Normski3
Script by Larry McMurtry and Diana Ossana
Scene
Description and Quotes
1
EXT: SIGNAL,
: The door to the trailer slams shut behind them. JACK walks down the three steps outside the trailer. ENNIS stops, stands on the lowest step of the trailer, looks around at the bleak surroundings. JACK smiles, sticks out his hand.
Jack
JACK Twist.
ENNIS
(shakes hands) Ennis.
A beat.
JACK
Your folks just stop at Ennis?
ENNIS
(after a moment)
JACK
Nice to know you, Ennis del Mar.
JACK
My second year up here. Last year one storm the lightnin' kilt 42 sheep.
(shakes his head) Thought I'd asphyxiate from the smell. Aguirre got all over my ass like I'm supposed to control the weather.
(drinks) But beats workin' for my old man. Can't please my old man, no way. That's why I took to rodeoin'.
(proudly knocks his rodeo belt buckle) Ever rodeo?
ENNIS
(reserved)
You know...I mean, once in a I got the entry fee in my pocket.
JACK
Yeah.
You from ranch people?
ENNIS
I was.
JACK
Your folks run you off?
ENNIS (Stiff)
No. They run themselves off. One curve in the road in 43 miles, and they miss it. Killed 'em both.
Bank took the ranch. Brother and sister raised me, mostly.
JACK
Shit. That's hard.
2
EXT:
The campfire light flickers on JACK'S face. Looks around the surrounding forest. Knows ENNIS wouldn't lag...is clearly worried. Takes a swig out of a whiskey bottle.
JACK looks up.
WE SEE ENNIS ride into camp obscured by the darkness.
JACK is more worried than angry, tries concern with indignation.
JACK
Where the hell you been? Up with the sheep all day, I get down here, hungry as hell and all I find is beans....
Silent, ENNIS walks towards the tent, fire illuminating his face. He sits on a log by the fire. WE SEE the cut on his forehead, gaping now, dried blood covering the whole side of his face.
JACK is startled by the sight of blood all over ENNIS'S cheek.
JACK (CONT'D)
what hell happened, Ennis?
ENNIS
(exhausted)
Come on a bear.
(motions to his horse)
Goddamn horse spooked, the mules took off. Scattered food everywhere.
ENNIS (CONT'D)
(beat)
Beans 'bout all we got left.
JACK hands a canteen to ENNIS, who slaps it away.
ENNIS (CONT'D)
Whiskey.
JACK picks up the whiskey bottle and hands it to ENNIS.
ENNIS grabs the bottle, takes a swig.
JACK removes the bandanna from around his neck, wads it up, takes the whiskey from ENNIS, and pours some into the bandanna. Raises the bandanna to ENNIS'S forehead.
JACK hesitates...awkward...hands the bandanna to ENNIS.
ENNIS takes the bandanna and slowly dabs it at the cut on his own temple. Winces.
JACK winces, too.
JACK
Well, we got to do somethin’ ‘bout this food situation. Maybe I’ll shoot one of the sheep.
ENNIS
What if Aguirre finds out? We’re supposed to guard the sheep, not eat ‘em.
JACK
What’s the matter with you? There’s a thousand of ‘em.
ENNIS
I’ll stick with beans.
JACK
Well, I won’t.
3
EXT:
ENNIS sits, supper finished, his back against a log, boot soles to the fire, two empty bean cans with spoons in them nearby, a few leftover fried potatoes.
JACK has just taken a piss, is buttoning his jeans.
ENNIS smokes. Takes a deep swig from a whiskey bottle
JACK walks up, flicks his rodeo belt buckle with his fingers.
Sits down across from ENNIS.
A creek gurgles nearby.
ENNIS
Don’t rodeo much myself. What's the point of ridin' some piece of stock for eight seconds?
JACK
Money’s a good point.
JACK finally fixes his buckle, again sits down next to ENNIS and grabs the whiskey bottle. JACK takes a swig.
ENNIS
(laughs for the first time since they’ve met) Ture enough, if you don’t get stomped winnin’ it.
JACK
My ol’ man was a bullrider, pretty well knowed in his day, though he kept his secrets to himself. Never taught me a thing. Never once come to see me ride.
JACK reaches over for a bean can. Begins to scrape the last beans out of the bottom.
JACK (CONT'D)(eats)
Your brother and sister do right by you?
Throws the empty can on the fire.
ENNIS
Did the best they could after my folks was gone, considerin' they didn't leave us nothin' but $
ENNIS'S tongue loosens suddenly.
ENNIS (CONT’D)
Got me a year a high school before the transmission went on the pickup. My sisleft, married a roughneck, moved to
Silence.
JACK looks over at ENNIS, smiles.
ENNIS (CONT'D)
…What?
JACK
Friend, that’s more words than you’ve spoke in the past two weeks.
ENNIS, smiles, for the first time.
ENNIS
Hell, it's the most I've spoke in a year.
(remembers)
My dad now, he was a fine roper. Didn't rodeo much, though. Thought rodeo cowboys was all fuck-ups.
JACK
The hell they are!
JACK gets up, does a pretend bull ride around the campfire, bucking and twisting.
JACK (CONT'D)
Yee-haw! Yee-haw! I'm spurrin' his guts out! Wavin' to the girls in the stands! He's kickin" to high heaven, but he can't dashboard me! No way! Yee-haw!
Finally throws himself, collapses in a heap among the saddles.
ENNIS
I think my dad was right.
Both laugh so hard, they almost cry.
4
MOUNTAIN,
Both are warm inside JACK'S bedroll.
JACK is wide awake now. ENNIS, on his back, is half-asleep. JACK, tentative, takes one of ENNIS'S big hands from outside the bedroll and guides it inside, down toward his own groin.
ENNIS, coming full awake, realizes where his hand is...jerks it away as if he’s touched fire.
ENNIS
What're you doin'?
JACK moves towards him. Takes off his jacket, unbuckles his pants.
Then ENNIS flips JACK around. Unbuckles his belt, shoves his pants down with one hand, uses the other to haul JACK up on all fours.
JACK doesn't resist.
ENNIS spits in the palm of his hand, puts it on himself.
They go at it in silence, except for a few sharp intakes of breath.
ENNIS shudders.
Then out, down, as both fall asleep.
5
EXT:
Their tent is struck, camp gear piled high: they have packed to leave.
JACK is tightening his saddle. Looks up.
ENNIS sits up on a hill, alone.
JACK takes his lariat, heads up the hill towards ENNIS.
JACK
Time to get goin', cowboy.
JACK starts horsing around with his lariat rope, pretends he’s trying to heel ENNIS by throwing a loop at his feet—nearly trips him.
ENNIS.
Hey now, this ain’t no rodeo.
JACK retrieves his lariat, but throws anther loop—this time, he gets ENNIS by the foot, pulls ENNIS’S foot out from under him. He falls.
JACK laughs.
ENNIS grabs the rope and yanks hard—JACK is pulled towards ENNIS and falls, and they start to wrestle. ENNIS is only half-playing—tense.
JACK is not quite fighting, either, but the mood quickly darkens, when ENNIS slips, trying to avoid a hold, and JACK accidentally knees him in the nose. Blood pours, getting on both of them. ENNIS jumps to his feet. JACK immediately gets up, tries to stanch the blood coming from ENNIS'S nose with his own shirt sleeve, and ENNIS reflexively cold-cocks him hard in the jaw, causing JACK to stagger back and fall on his ass.
JACK looks up at ENNIS, rubbing his jaw, too stunned to say anything.
ENNIS looks down at him, wiping his bloody nose on his denim sleeve, furious and despairing all at once, more emotion stirring in him than he can handle.
Staggers off.
6
EXT:
ENNIS has stepped out of his apartment onto a small landing at the top of the back stairs outside, closes the door behind him, as he sees JACK.
ENNIS hurries down the stairs, taking them two at a time.
Seize each other by the shoulders, hug mightily, squeezing the breath out of each other, saying sonofabitch, sonofabitch.
Then ENNIS looks around. Pulls JACK over to a small gangway. Shoves him up against the wall.
Then, as easily as the right key turns the lock tumblers, their mouths come together.
INT:
<
( 知識學習｜隨堂筆記 )
引用網址：https://classic-blog.udn.com/article/trackback.jsp?uid=Dalloway68&aid=1555143
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