Wim Wenders: 4 Real & True 2!

出版者:Schirmer/Mosel

作者:Wim Wenders

页数:336

出版时间:2015-7-23

价格:0

装帧:Paperback

isbn号码:9783829606974

具体描述

Wim Wenders' fame stems primarily from his motion pictures such as Paris, Texas, Wings of Desire, and Pina, yet the filmmaker admits: "Photography is the other half of my life." In honor of his 70th birthday in 2015, the Dusseldorf Museum Kunstpalast is exhibiting large-format photographs and landscape panoramas. "When you're on the go a lot," Wim Wenders writes, "when you like to meander in order to lose yourself, you can end up in the strangest places. It must be a sort of built-in radar that often guides me into areas that are either peculiarly quiet or else peculiar in a quiet way." Unlike the filmmaker, Wenders dispenses with modern technical contrivances as a photographer. He prefers analog photography, without artificial lght or a tripod. The exhibition catalogue will feature his series Written in the West, Buena Vista Social Club, Once, Pictures from the Surface of the Earth, and Journey to Onomichi, among others.

用户评价

老实说，初看这部作品时，我一度感到有些迷茫，因为它完全打破了我对传统叙事结构的预期。它的节奏极其缓慢，仿佛时间本身都被拉伸了，很多镜头长得令人难以置信，但正是这种“慢”，逼迫你不得不慢下来，去观察那些平时被我们匆忙略过的细节——比如人物眼神中一闪而过的犹豫，或者一束光线落在空旷街道上的微妙变化。这更像是一种沉浸式的体验，而不是单纯的观看故事。其中几段长镜头，几乎没有对白，全靠环境音和背景音景来推动情绪，这种大胆的尝试非常成功，营造出一种近乎冥想的状态。我特别欣赏他对“距离感”的拿捏，主角们总是处于一种疏离的状态，与周围环境、与其他角色，甚至与观众之间都保持着一种微妙的、难以逾越的鸿沟，这种孤独感是如此真实和具有穿透力。这是一部需要耐心，但回报丰厚的作品，它挑战了观众的习惯，要求你用一种全新的、更开放的心态去接纳它所呈现的世界观。

这部作品给我带来的震撼，很大程度上来自于其对“真实性”的探讨。它似乎在不停地质问：我们所见的究竟是现实，还是被精心构建的幻象？导演巧妙地模糊了虚构与纪实的边界，让观众始终处于一种“这是真的吗？”的悬而未决的状态中。影片中人物的对话往往非常简短，但信息密度极高，充满了潜台词和象征意义，每一个词都像是经过千锤百炼才说出口的。我尤其欣赏它对美国文化符号的解构与重构，那些经典的场景元素被赋予了全新的、略带超现实的语境。摄影风格的冷峻和疏离感，完美地烘托了影片对现代社会异化现象的批判。这是一部需要静下心来，关掉一切外界干扰才能真正进入其精神世界的作品。它不仅仅是影像的堆砌，更是一种哲学思辨的载体，让人在回味中不断获得新的感悟。

我必须承认，这部电影的艺术性是毋庸置疑的，但它的门槛也确实比较高。它不是那种提供即时满足感的娱乐产品，更像是一部需要被“解码”的文献。影片中穿插的那些看似不相关的片段，比如对某种工业景观的长时间凝视，或者对一段重复性劳动的细致记录，初看之下会让人觉得突兀，但细想之下，它们都是构成导演宏大主题的微观单元。这种碎片化的结构，反而更贴近真实生活的本质——我们的人生也是由无数不连贯的瞬间组成的。最让我印象深刻的是其对“时间流逝”的描绘，它没有用时钟来衡量，而是通过光线角度的微妙变化、人物面容的细微沧桑来体现，这种处理手法极其高明，给人一种历史的厚重感。总而言之，它是一次对传统电影制作规范的有力挑战，非常值得那些追求电影艺术深度和实验性的观众去深入探索。

这部作品的魅力在于它对“旅途”这一母题的全新诠释。它不只是简单的地理位移，更是一场漫长而艰辛的自我发现之旅。影片中那些广袤而荒凉的风景，不仅是物理上的背景，更是角色内心世界的投射。那些一望无际的公路、废弃的建筑，都承载着失落、漂泊与追寻的重量。导演似乎对现代社会的疏离感有着深刻的洞察，他用大量的空镜头和留白，来描绘人在大环境下的渺小与无助。其中几次关键的相遇和分离，处理得极其克制和诗意，没有煽情的对白，只有眼神和肢体语言的微妙交流，却比任何激烈的冲突都更能打动人心。看完后，我感觉自己也完成了一段长途跋涉，内心被洗涤了一遍，对“家”和“归属”这两个概念有了更复杂、更辩证的理解。这是一部充满诗意和哲学意味的公路电影的杰出代表。

这部电影合集真是让人大开眼界，从头到尾都充满了惊喜。导演的镜头语言实在是太独特了，每一个画面都像是一幅精心构思的油画，色彩的运用和光影的捕捉简直达到了出神入化的地步。我尤其喜欢他处理人物内心挣扎的方式，那种细腻入微的刻画，让人仿佛能直接感受到角色灵魂深处的颤动。剧情的推进不是那种传统的好莱坞式线性叙事，反而更像是意识流的片段组合，需要观众主动去拼凑和解读，这为影片增添了许多值得回味的深度。看完之后，我花了很长时间来整理思绪，反复咀嚼那些标志性的场景和台词。特别是其中关于“记忆与遗忘”的主题，探讨得极其深刻，触及了存在主义的核心困境。而且，配乐的选择也极其考究，每一段旋律都恰到好处地烘托了当时的情绪氛围，简直是视听盛宴的完美结合。这部作品毫不留恋于表面的华丽，而是沉潜于人性的幽微之处，看完之后会留下持久的震撼感，迫使你重新审视自己对世界的认知。

终于在忘带手机的情景下好好读完，文老师自认被时代抛弃的悲歌233。文老师这么纠结的相片与真实之间的关系，跟他的片传达到的不一样啊。。。我感受到的恰恰是isolation and obedience to alienation，而不是rebellion against it啊，还是对他来说电影designated to be fake?

in retrospect, he definitely helped me rediscover the power of nature. this book makes me recall the lake i wrote about when i applied to uchicago. this time i don't judge. i like his photos. and i like his struggle with perception of reality. i'd rather consider myself an exploiter rather than a consumer. stop consuming reality. stop.

in retrospect, he definitely helped me rediscover the power of nature. this book makes me recall the lake i wrote about when i applied to uchicago. this time i don't judge. i like his photos. and i like his struggle with perception of reality. i'd rather consider myself an exploiter rather than a consumer. stop consuming reality. stop.

in retrospect, he definitely helped me rediscover the power of nature. this book makes me recall the lake i wrote about when i applied to uchicago. this time i don't judge. i like his photos. and i like his struggle with perception of reality. i'd rather consider myself an exploiter rather than a consumer. stop consuming reality. stop.

in retrospect, he definitely helped me rediscover the power of nature. this book makes me recall the lake i wrote about when i applied to uchicago. this time i don't judge. i like his photos. and i like his struggle with perception of reality. i'd rather consider myself an exploiter rather than a consumer. stop consuming reality. stop.