保罗•谢奇•乌塞(Paolo Cherchi Usai),现任荷兰Haghefilm Foundation 总监,曾任澳大利亚国家视听资料馆馆长、美国乔治?伊斯曼影像博物馆电影部门高级馆员、罗彻斯特大学电影学副教授,杰弗瑞?塞茨尼克电影保护学校校长。曾与人共同创办波尔德诺默片影展及国际早期电影研究促进会(DOMITOR);他同时是美国国家电影保护局预备成员和国际电影资料馆联盟执行委员会委员。其著作有《无声电影导论》(Silent Cinema: An Introduction , 英国电影学院出版,2000)等。
发表于2024-11-18
The Death of Cinema 2024 pdf epub mobi 电子书
這本書提出電影每天在消亡的事實,我們製造的電影與默默衰亡的電影,比有見光率的電影多得多。然而我們仍然不斷地在製造。很少人體認到電影無法修復的事實,縱然有許多ambitious and deceptive claim of restoration,但是那也僅是推遲影片風化腐蝕的速度。並且,修復影片需要...
评分去年十一月读完这本书到今天,我无数次在讨论、闲聊中提起相关片段。 如同书中所言,营销专家们永远是热衷于电影的,即便他们理解不了电影的价值,他们至少很清楚,“电影是用来卖大钱”的,于是有了商业片。 现在的问题是,几乎只有商业片了。 有数以千计的电影并未得到应有的...
评分恰逢电影资料馆在放映《盘丝洞》,从挪威千里迢迢回到大陆的拷贝着实让人充满期待;再加上之前《神女》拷贝在欧洲损毁的新闻,电影修复与保护的话题算不上热门也是逐渐突显。 《电影之死—历史、文化记忆与数码黑暗时代》,一本薄的一个下午翻完的小书。每一小章节配有胶片时代...
评分数字媒体时代的到来是否会致使胶片电影的死亡?这一问题到现在或许依旧没有答案。 的确,而今大众眼中的电影大多是采用数字化技术进行呈现,但是在电影界依旧不乏对胶片电影钟情而执着之人,侯孝贤的《刺客聂隐娘》就是一个例子。在胶片电影淡出大众视线多年甚至于人们几乎已经...
评分活动影像自诞生之日起就注定了消亡的命运,而消费主义则是其加速消亡的催化剂。尽管有一次次的导评、加长和修复,但都不足以保留活动影像最原始的存在意义,而仅仅是创造了再消费的机会。 这是对活动影像、介质和时间的哲思,是对消费主义时代的反思。 虽然那52篇形而上的命...
图书标签: filmstudies PaoloCherchiUsai 电影理论 电影 美国 电影研究 理论 theory
Provocative polemic on digital media; Features foreword by Martin Scorsese, extract overleaf; It is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there was just above forty minutes of moving images to be seen, and most of them are now preserved. Today, for every film made, thousands of them disappear forever without leaving a trace. Meanwhile, public and private institutions are struggling to save the film heritage with largely insufficient resources and ever increasing pressures from the commercial world. Are they wasting their time? Is the much feared and much touted Death of Cinema already occurring before our eyes? Is digital technology the solution to the problem, or just another illusion promoted by the industry? In a provocative essay designed as a collection of aphorisms and letters, the author brings an impassioned scrutiny to bear on these issues with a critique of film preservation, an indictiment of the crimes perpetuated in its name, and a proposal to give a new analytical framework to a major cultural phenomenon of our time.
film is always on the way of erosion and destroy. Its mechanical reproduction is inaccuate since every time playing the film on the run erodes the film material. Film is impermanent.
评分死亡不可避免,需要做的就是向死而生,胶片的保存和修复或许是徒劳,但是这种徒劳仍具有意义。Usai眼里的终极意义是无法重返的原始语境,这也是他进行诗性写作的出发点,过度的消费批评和道德主义反过来又成了他的局限。
评分film is always on the way of erosion and destroy. Its mechanical reproduction is inaccuate since every time playing the film on the run erodes the film material. Film is impermanent.
评分film is always on the way of erosion and destroy. Its mechanical reproduction is inaccuate since every time playing the film on the run erodes the film material. Film is impermanent.
评分几年前先读过中文版,当时认为元影像(Model Image)只是一厢情愿。现在得思考电影修复是不是多愁善感,重返模拟、拒绝数字的态度是不是在倡导某种“衰亡美学”。
The Death of Cinema 2024 pdf epub mobi 电子书