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乐比TV为您提供1968年由让·雷诺阿,亨利·朗格卢瓦主演,埃里克·侯麦导演的《路易斯·卢米埃尔》/原名《Louis Lumière》纪录片 电影在线观看完整版,《路易斯·卢米埃尔》百度云网盘资源以及《路易斯·卢米埃尔》高清蓝光mp4迅雷下载,《路易斯·卢米埃尔》BT下载资源,希望您能喜欢!
Eric Rohmer导演关于Louis Lumière的纪录片。访谈了法国导演Jean Renoir与电影手册创始人Henri Langlois。其中有很多珍
Plot Summary:Eric Rohmer leads a conversation with Jean Renoir and Henri Langlois on the art of filmmaker Louis Lumière. The cinematographic pioneer Lumière produced thousands of documentaries in the end of the 19th century, but also some short comedies with amateur actors. The films are done in one shot and are only 1 minute in length. Lumiére and his operators chose a place, put up the camera and then recorded what happened in front of the lens. In spite of this both Renoir and Langlois argue that the films of Lumière are not simply reproductions of reality, but pieces of art. Renoir points out that Lumiére didn't just reproduce the externals of what he saw, but also its spirit and inner life. The films are not only showing a piece of contemporary reality, but Lumière's vision of that reality. Langlois remarks that the films of Lumière were not made at random, but out of a consciously chosen dramaturgy and composition. Lumiére and his team chose, after long deliberations, the motif of the film as well as the camera-angle. There is usually some kind of beginning and end of the film. The main action never occurs in the center of the screen, but either at the right or the left side of it. This means that the main movements happen along a diagonal across the screen, which produces a dynamic impression. The films are made in one shot, but the shots are usually very deep, which means that you get some close-ups in the foreground at the same time as you see something happen in full scale behind that and something else even more far away. The conversation with Renoir and Langlois is interspersed with some of Lumière's films, to underline the arguments.
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“后来我们见到很多腾空的虚构,完全脱离现实的虚构,你有时就会怀念卢米埃尔电影里,电影起初的现实性。因为就像阿巴斯说:如果我不相信一部电影,我就会和它失去联系。而现实性是连接电影和生活最可靠的纽带之一”。(转)
没看懂
Henri Langlois的評述很好,chance/science。
对比德莱叶的采访,雷诺阿和朗格卢瓦忆卢米埃尔影史;早期电影的困难属于开创性的困难,60年代来看19世纪至今的现代艺术和电影结合是一种循序渐进的艺术发展过程,就好像对前作“与马拉美对话”中现代主义的背景,不禁会思考为何偏偏选取这个时代的人物?诗歌可以引申之后的达达主义、超现实主义,尤其偏执于押韵对标了随后终成熟并同时代的雷蒙格诺的“百万亿首诗”,不难发现卢米埃的题材同样代表了“开创和启蒙的意义”,发现它的美才能够更好理解当下(60年代)电影所应具有的品质;反推之也可见侯麦深厚的艺术功底在帮助他梳理艺术/电影史,于雷诺阿或朗格卢瓦的时代/电影人身份见证,确定电影基调上是一项需要充分设计创造的“艺术品”。
【#1800(手动滑稽)】侯麦/雷诺阿/朗格卢瓦谈卢米埃尔,片子自身的动力是不太好的,也仅限到采访而非制造对话,比较可惜;朗格卢瓦谈到电影保存与艺术价值,如果从1968年的本片到2016年质量惊艳的修复《冒险开始》,我们能有底气说:电影一直不断在进步,而对于奠基之作的回望都是在看向未来。
对卢米埃尔实则兴趣缺缺的雷诺阿的勉力而“为”新浪潮,侯麦不为“朗格卢瓦事件(及至五月风暴)”所动后的唯一反应。前一次看应为Jeudi 10 avril 2014, 17h00 - Salle Henri Langlois.
国别电影913
纪录 让雷诺阿和朗格卢瓦谈卢米埃尔和电影
影像与真实并存,事实得以即时呈现。世界纪录片从卢米埃尔开始。
侯麦和让·雷诺阿,亨利·朗格卢瓦三人关于卢米埃尔电影的对谈。边插入影像边对其进行分析。难得且珍贵。 值得一提的是,早期的影像构图是三角形为前提。,一切以斜线来制造纵深而服务。
好多珍贵影像.对Lumièr的肯定和提出保护其作品.论帕斯卡是可以文本存在的,但Lumiè必须结合影像.关于米兰,Lumiè没有关注建筑,建筑是会长存的,而人/马车/服饰这些是会变的.关于“观众参与/想像”大概点出了Lumière和Méliès的分别,梅里爱是给观众故事,Lumière是给观众生活影像,剧情自行脑补.