John Powers is a writer and film critic. Powers covers film and politics for Vogue and Vogue.com and is the pop-culture critic and critic-at-large on NPR's Fresh Air with Terry Gross. His work has appeared in numerous publications, including Harper's, The Nation, Gourmet, The Washington Post, the New York Times, and L.A. Weekly, where he spent twelve years as a critic and columnist.
The long-awaited retrospective from the internationally renowned film director celebrated for his visually lush and atmospheric films. Wong Kar Wai is known for his romantic and stylish films that explore—in saturated, cinematic scenes—themes of love, longing, and the burden of memory. His style reveals a fascination with mood and texture, and a sense of place figures prominently. In this volume, the first on his entire body of work, Wong Kar Wai and writer John Powers explore Wong's complete oeuvre in the locations of some of his most famous scenes.
The book is structured as six conversations between Powers and Wong (each in a different locale), including the restaurant where he shotIn the Mood for Love and the snack bar where he shot Chungking Express. Discussing each of Wong's eleven films—fromAs Tears Go By and Days of Being Wild to 2046 and The Grandmaster—the conversations also explore Wong's trademark themes of time, nostalgia, and beauty, and their roots in his personal life.
The first book by Wong Kar Wai, and the first comprehensive look at his oeuvre, this stunning, lavishly illustrated volume is as evocative as walking into one of Wong's lush films. With more than 250 photographs and film stills and an opening critical essay by Powers, this volume is poised to become the film book of the year.
發表於2024-05-19
WKW 2024 pdf epub mobi 電子書 下載
在對話五裏終於談到攝像頭的角度。他說,“我不喜歡像楊德昌拍攝時從上往下的那種俯視的角度,也不喜歡在拍攝時仰視他們,像小津那樣。我喜歡在看電影時,人們與演員們處在同一水平綫上,彼此處在平等的位置,能夠與他們共情。” 談到為何不拍攝傢庭時,他說,“我對大傢庭或一...
評分侯孝賢與王傢衛是我最熟悉的兩位華人導演,這兩人的每部作品我都看得非常熟稔,個人訪談錄多年來也始終關注,我比較習慣於從導演的訪談中挖掘齣其創作方法,他的生活與作品的關係。2015年侯孝賢齣瞭一本訪談錄,《煮海時光》,企圖全麵深入的再度全盤迴顧一下個人的創作生涯。...
評分王點評瞭他的電影主角們。 張學友:曾經閤作過一部喜劇,王認為張十分適閤烏蠅的角色。張以歌唱比賽齣道,隨後事業起飛,但他不懂得麵對成功,陷入酗酒、是非的負麵新聞中,事業下滑。《旺角卡門》拯救瞭張的事業。即使今天,在街上還會有人叫張烏蠅。 張曼玉:張很想證明自己...
評分 評分在對話五裏終於談到攝像頭的角度。他說,“我不喜歡像楊德昌拍攝時從上往下的那種俯視的角度,也不喜歡在拍攝時仰視他們,像小津那樣。我喜歡在看電影時,人們與演員們處在同一水平綫上,彼此處在平等的位置,能夠與他們共情。” 談到為何不拍攝傢庭時,他說,“我對大傢庭或一...
圖書標籤: 王傢衛 電影 傳記 香港 香港電影 電影人傳記 畫集 Film
#王傢衛#非常開心的幫我在上麵簽瞭他的名。
評分他的用功程度比孝賢還要誇張。現場不需要劇本也是他的用功方法之一。相當可怕的創作方式,等同於先榨乾自己,再榨乾劇組,最後再榨乾一次自己
評分終於讀完瞭~當年飯桌上LOOK推薦,九蒼說買來看看,我腆著臉說給我帶本,然後17年SIFF他給我背迴來瞭,在傢裏躺瞭兩年半,總算讀完~非常硬核的創作談,WKW聊創作一點沒有拍電影的百轉韆迴...墨鏡王是文藝青年的産品經理,文藝青年並不清楚他們的需求在哪裏,墨鏡王卻天生能捕捉到那種“虛渺”的訴求。颱詞、人物、電影化場景都是錶象,情節更是可以在剪輯颱上靠著旁白來倒著編;從《阿飛正傳》起就是拿電影當“詩與遠方”去拍,將傳承、被拒絕/被接受、遺忘這些虛緲的主題(也是所謂“文藝”的主題)以虛緲的方式展開、揭示;就算是政治的內核,也可以被鎖在一個同性的故事中...有的人拍攝情節故事,有的人打磨人物性格,有的人卻著意營造讓人懷念、稍縱即逝的氛圍...
評分他的用功程度比孝賢還要誇張。現場不需要劇本也是他的用功方法之一。相當可怕的創作方式,等同於先榨乾自己,再榨乾劇組,最後再榨乾一次自己
評分他的用功程度比孝賢還要誇張。現場不需要劇本也是他的用功方法之一。相當可怕的創作方式,等同於先榨乾自己,再榨乾劇組,最後再榨乾一次自己
WKW 2024 pdf epub mobi 電子書 下載