标签为 “Drama” 的文章

  • 保持简洁的艺术:第16届伦敦电影节

    2019.02.01 · 发表评论

    夏普将随机的视觉效果和古怪的节奏拼接在一起,可以追溯到“刮花”(scratch),这是一个激进的DIY视频艺术运动,于20世纪80年代初在英国兴起,今年的电影节在一个放映和现场活动的晚上纪念了这一运动。

  • 在威尼斯双年展上,一支由50艘红色帆船组成的舰队将着眼于气候 …

    2019.01.28 · 发表评论

    The artwork on the Venice waterfront will serve as a reminder that the city’s waterways could soon endanger its existence – 威尼斯海滨的艺术作品将提醒人们,威尼斯的水路很快就会危及它的存在。

  • 凯琳·威尔逊·戈尔迪:比达耶

    2019.01.27 · 发表评论

    比达耶的故事是安静的故事,但它捕捉到了叙利亚电影制作在战争中发生的戏剧性转变的一些重要内容。

  • Looking Back 2018: Brazil and the Body-Electric – 回 …

    2019.01.08 · 发表评论

    2018 was a year marked by flames. From California’s recent wildfires to the extinction of the National Museum in Rio de Janeiro in a devastating fire this past September, this was, to say the least, a gruelling year. I suspect that the Brazilian government’s slovenliness with landmark architecture and historical preservation is not far from Trump’s biased blind eye towards climate change; their actions are the outcome of neglect and greed. – 2018年是一个充满火焰的年份。从加利福尼亚最近的野火到去年9月里约热内卢国家博物馆在一场毁灭性的大火中被扑灭,至少可以说,这是一个令人生厌的一年。我怀疑,巴西政府在标志性建筑和历史保护方面的迟缓,离特朗普对气候变化的偏见视而不见不远;他们的行为是忽视和贪婪的结果。

  • Golden Globe-winning Biopic ‘Vice’ Unwittingly Boosts Dick …

    2019.01.07 · 发表评论

    In a series of comedies that started with 2004’s Anchorman: The Legend of Ron Burgundy and culminated in its 2013 sequel, Anchorman: The Legend Continues, director Adam McKay has established himself as America’s high poet of white guy imbecility. Those two films, plus three feature-length comedies in between, all starred Will Ferrell as some sort of insufferable idiot whose obliviousness to his own destructive tendencies bordered on magical. McKay could have extended the series indefinitely, replacing one cinematic dumbass with the next, but in 2015 he opted to direct The Big Short, a complex and didactic drama starring Ryan Gosling about the 2008 financial crisis. McKay may have switched genres, but he didn’t change his true subject matter: the film is as much about clueless white men and their destructive mistakes as were any of Ron Burgundy’s adventures. If a philosophical question emerged from The Big Short, it was whether it is possible – or worthwhile – to distinguish between stupidity and criminality. As Gosling’s character challenges a room of hedge funders: ‘Tell me the difference between stupid and illegal and I’ll have my wife’s brother arrested.’ Gosling’s finance dude settles the matter himself: ‘There’s some shady shit going down [in the housing market], but it’s fuelled by stupidity.’ – 在一系列以2004年的《主持人:勃艮第传奇》开始,并在2013年的续集《主持人:传奇》中达到高潮的喜剧中,导演亚当·麦凯(Adam McKay)确立了自己是美国白人低能诗人的地位。这两部电影,加上中间三部长篇喜剧,都是威尔·费雷尔主演的,他是一个难以忍受的白痴,对自己的破坏性倾向的遗忘近乎于魔法。麦凯本可以无限期地扩展这个系列,用下一个取代一个电影中的笨蛋,但在2015年,他选择了导演一部由瑞安·戈斯林主演的关于2008年金融危机的大型短剧,一部复杂的说教剧。麦凯可能改变了风格,但他并没有改变他真正的主题:这部电影讲述的是愚蠢的白人和他们的破坏性错误,就像罗恩·勃艮第的冒险一样。如果一个哲学问题从大短句中出现,那就是区分愚蠢和犯罪是否有可能——或者值得。当戈斯林的角色挑战一屋子对冲基金的投资者时:“告诉我愚蠢和非法的区别,我会逮捕我妻子的弟弟。”戈斯林的金融专家自己解决了这个问题:“(房地产市场)有一些可疑的事情要发生,但这是由愚蠢推动的。”

  • Can Artists’ Relationships with Nature Kindle Humility and …

    2019.01.04 · 发表评论

    Quaking before the unfathomable majesty of thunderstorms, mountains and the boundless ocean, Immanuel Kant described how the formidable experience of the destructive and terrifying power of the sublime natural world exposes our ‘physical helplessness as beings of nature’. Yet, man emerges triumphant in the final moment of sublime transcendence; nature is ‘small’ and inferior compared with the ‘infinity’ of reason and the human mind. In The Ideology of the Aesthetic (1990), the Marxist critic Terry Eagleton described the sublime as a ‘phallic swelling arising from our confrontation of danger […] in the pleasurable knowledge that we cannot actually be harmed’. In our contemporary world, humankind has pushed global ecologies to the brink of collapse, provoking environmental catastrophes of our own making. This immense natural power no longer inspires poetic gratification; today, the danger is all too real. – 伊曼纽尔·康德在深不可测的雷暴、高山和无边海洋的威严面前颤抖着,他描述了崇高自然世界的毁灭性和可怕力量的可怕经历如何暴露出我们作为自然存在的“身体上的无助”。然而,在崇高超越的最后时刻,人类获得了胜利;与理性和人类心灵的“无限”相比,自然是“小”和“低等”的。在《美学思想》(1990年)中,马克思主义批评家特里·伊格尔顿将这种崇高描述为“我们在愉悦的知识中面对危险时产生的阳具膨胀,我们实际上不能受到伤害”。在当今世界,人类已经把全球生态推向崩溃的边缘,引发了我们自己造成的环境灾难。这种巨大的自然力量不再能激发诗意的满足感;今天,危险是非常真实的。

  • Announcing Frieze Projects Los Angeles – 洛杉矶Friez …

    2018.12.25 · 发表评论

    At the launch edition of Frieze Los Angeles (February 15-17, 2019), artist projects will be encountered around the New York Street backlot of Paramount Pictures Studios, in buildings, streets, and interior spaces that have been captured countless times on screen. Frieze Projects will create a disorienting atmosphere where visitors are in two places at once: an artificial New York City within Los Angeles. – 在《弗里德斯·洛杉矶》(2019年2月15-17日)的启动版上,派拉蒙电影制片厂纽约街的背景区、无数次在银幕上被捕捉的建筑、街道和室内空间中,将会遇到艺术家项目。Frieze Projects将创造一种迷惑人心的氛围,游客同时身处两个地方:洛杉矶的人造纽约市。

  • From V&A Dundee to South London Gallery, The Year in B …

    2018.12.25 · 发表评论

    ‘London is Re-Open’, an updated version of Mayor Sadiq Khan’s 2016 slogan should read, following the recent completion of renovations, refurbishments and low-key extensions across a flurry of the city’s cultural institutions. Most successful among them has been Haworth Tompkins’s 12-year project at Battersea Arts Centre, the scope of which was dramatically expanded after a catastrophic fire in 2015. The firm’s work on the Grand Hall is a masterful combination of conservation and reconstruction – the space’s charred walls remain as testament to the blaze, while the new plywood ceiling abstracts the destroyed plaster pattern of its 19th century predecessor, once part of the town hall.   – “伦敦重新开放”,这是萨迪克·汗市长2016年口号的更新版本,最近完成了整修、翻新和城市文化机构的低调扩建。其中最成功的是哈沃斯·汤普金斯在巴特西艺术中心的为期12年的项目,在2015年的一场灾难性火灾后,该项目的规模大大扩大了。该公司在大厅的工作是保护和重建的巧妙结合-空间的烧焦的墙壁仍然作为火焰的证明,而新的胶合板天花板抽象出其19世纪前任,曾经是市政厅的一部分被破坏的石膏图案。γ

  • Looking Back 2018: The Year in TV – 回顾2018年:电视年

    2018.12.25 · 发表评论

    About a decade ago, I took part in a panel discussion at Frieze Art Fair that centred on what television scholars call the ‘qualitative turn’, that which is more popularly referred to as ‘the golden age of television’. In short, TV that behaves like ‘art’, which is to say: TV that showcases the bourgeois socio-aesthetic gestures and postures that once set the novel apart from the fable, pictorialism apart from photography as mere recording, Italian neorealism from Hollywood, and so on. I was joined by the philosopher Aaron Schuster, the artist Melanie Gilligan and the BBC producer Jonty Claypole and, in spite of our individual disciplines, we all acknowledged this trend. We did not, however, see eye-to-eye on what it entailed: mode of narration, visual register, character study, tone, production values, politics? – 大约十年前,我在Frieze艺术博览会上参加了一个小组讨论,集中讨论电视学者们称之为“质变”的问题,也就是更普遍地称为“电视的黄金时代”。简而言之,表现得像“艺术”的电视,也就是说:展示曾经使小说与寓言相区别的资产阶级社会审美姿态和姿态的电视,与摄影相区别的仅作为录音的图画主义,来自好莱坞的意大利新现实主义等等。哲学家亚伦·舒斯特、艺术家梅兰妮·吉利根和BBC制片人乔蒂·克莱波尔也加入了我的行列,尽管我们各自有自己的学科,但我们都承认这种趋势。然而,我们没有就它所包含的内容达成共识:叙事模式、视觉语域、人物研究、语调、生产价值、政治?