It’s again, double-bill time! Two seminal documentaries invite us back to the 1980s, Jennie Livingston’s PARIS IS BURNING is an eye-opening watershed to survey Harlem’s drag ball subculture, and by extension, queer existence, meanwhile Hiroshi Teshigahara’s ANTONIO GAUDÍ lingers mesmerically in Barcelona mostly, to arrange a grand tour of the starchitect’s jaw-dropping achievements.
Japanese avant-garde filmmaker Teshigahara’s treatment of Catalan modernist architect Antoni Gaudí (1852—1926) is a crackerjack of a different approach, if PARIS IS BURNING attempts to give the voice of a particularly voiceless bracket existing on the fringe, Teshigahara opts for total abandonment (sans voice-over) of exposition in his pilgrimage to Gaudí’s creation, so much so that we practically know nothing about Gaudí the artist himself, save for the vast and astonishing works which he munificently bequeaths us.
Only through the alternately eerie and euphonious score, Teshigahara seems to inject some hints of personal commentaries to the rapt viewers, whereas his camera dutifully observes, peers, scopes from varied distances and angles to establish a comprehensive visual overview of Gaudí’s grotesque, sui generis, multifaceted art pieces, juttedly ensconcing themselves among our temporal existence and simultaneously distinguishing themselves from any possible angle of our collective gaze, and the most crucial impression is that Gaudí’s buildings are never off-limits, they are built for the mass to gawp at, to spend time with, to dwell in, only occasionally, Teshigahara draws on imagery to suggest the possible inspirations which lead Gaudí’s creative juice flow (the neo-Gothic influence for instance).
The pièce-de-résistence is, without doubt, Barcelona’s landmark, The Basílica de la Sagrada Família, which has been eternally under construction since 1882 and still remains unfinished, and for sizzle, it speaks volumes of Gaudí’s deathless, unforgettable contributions to both our mundanity and spirituality, and invites viewers to delve further into the architect’s world, for that purpose, Teshigahara’s documentary roundly hits the mark.
p.s. Both films run a bit over 1 hour (78 minutes vs. 72 minutes), and feel too short for their immensely intriguing subject matters, coincidentally, the former reflects an urgency for fleeting figures to leave a mark in the world while the latter, a testimony that what essentially leaves the mark is a creator’s silent, inanimate creations, but to Gaudí, to any departed phantom,nothing in our world truly matters.
the world is still so much big, and I have to say that Spain is quite different country with the UK’s, although in Spain there isn’t many wonderful authors like Jane Austin, J.R.R Tolkien or Charles dickens or Willam Shakespeare, but in Spain people can enjoy the enjoyment itself like the beach, the sunshine or the drinks.
nowadays there are some very specific Spanish artists like Picasso, Goya, Velazquez or Gaudi, those people let me feel admire to the Spanish people and the Spanish culture.
It's kind of like watching "请您欣赏" on CCTV in old times without having a damn narrator.
勅使河原宏拍摄的有关建筑师安东尼奥·高迪的纪录片,叙述很少,主要通过建筑来表现。安东尼奥·高迪,西班牙建筑师,塑性建筑流派的代表人物,属于现代主义建筑风格。设计过很多作品,主要有古埃尔公园、巴特罗公寓、圣家族教堂等。“只有疯子才会试图去描绘世界上不存在的东西!”
这片比较适合在博物馆播放。即使对我有触动那也是来自高迪建筑本身而不是来自电影
南尼·莫莱蒂说,要是有一部只拍建筑物的电影多好,这就是。画面质感一流,两个超级讲究形式感、想象力爆炸的天才艺术大师的碰撞,又酷又精致,不用解说、声效渲染,让建筑物说话,在奇异的色彩、线条、造型里沉浸。真想去西班牙看看。看完片子再看细江英公摄影集《高迪の宇宙》,又一个陌生的高迪。
云游览~ 因为高迪太谜了其实还是希望来点细节讲解的。不过虽然无旁白但敕使河原用了画面来交代他认为可作为高迪灵感的东西:海鲜、高迪老家雄伟神奇的石头山(叫我看过书才知道那山是哪儿- -)等等。武满彻这个配乐仿佛另类的教堂圣乐。有一个石头房子村是哪儿啊?唉新村半地下教堂还没来得及去,市内还有一两个只能看外观的私人房子,不过跟84年比现在开放的点多得多了!当时圣家堂只有塔楼连大堂都没个顶呢
【补记】还是高中的时候和我妈一起看的。最大的印象是音效超级奇特,到后面一些比较不那么有名的建筑(比如纺织村)的时候,简直到了诡异的程度,有种嗡嗡嗡的迷幻感,配上高迪光怪陆离的设计,就更... 但高迪不需要任何语言音乐来衬托,本就是上帝与美的化身。镜头非常沉静。
我对敕使河原宏完全不给予任何旁白的影片方式并不满意。但安东尼奥•高迪的设计风格真是太让人无语了,匪夷所思的建筑,只有天才能设计得出!巴塞罗那的骄傲!
勅使河原君要我们相信他和安部公房和高迪其实是同一挂的,虽用冲击力巨大的形式感营造悲观、疏离、冷酷的世界,主旨却完全相反,乃在关怀人类的爱与自由.....
他的建筑没有直线,我的世界也没有直线.这是相同点吧.音效非常好.画画出身的构图确实好.
http://www.youku.com/playlist_show/id_1868087.html
相当Amazing 的高迪纪录片
版权归作者所有,任何形式转载请联系作者。作者:昊子(来自豆瓣)来源:https://movie.douban.com/review/9214657/绝妙的电影,武满彻的音乐,具有灵性,而且变化多端。不著一字,尽得风流,没法想象,这么复杂的电影,却没有一句介绍的语言。
十年前我还很欣赏高迪的,结果读大学了就开始讨厌高迪,建学杜老头很不屑地说过高迪就是一半吊子,实在太囧了。话说这纪录片拍得真是……跟幻灯片一样干巴巴的
好资料,烂影片。。。不是普及片gaudi除了圣家族之外,别的都是童话的yy产物,那胡乱的曲线令我觉得恶心。。。但是还是不得不佩服gaudi背后的奸夫,出巨资让他乱玩
一件件令人感动的艺术杰作,各种细节和想象力让人叹为观止,只可惜死的也如此神奇
看完此片才认识高迪的表示,其中大多作品都算开眼界,小有启发,武满彻继续吊诡。
高迪的建筑确实都是一件件令人感动的艺术杰作,各种细节和想象力让人叹为观止,可惜我只是建筑学爱好者,并非专业人士,没办法多吸收什么信息。就纪录片而言,中规中矩啦,它确实可以把高迪作品的美呈现出来,但就观众感受来说,过于特立独行和寡言少语了,所以看此片的时候会产生游离感。
“遠離我的作品和思想”。天外飛仙,您一定很想念自己的星球
西班牙。看这个疯子的天才建筑杰作。然后 天哪 怎么忍心 砸碎那么多历史曾经馈赠的 无价之宝 还没有意识到让这个国家丧失了什么 空荡荡的历史 无处兑现 分出去 保住自己的文明 愤怒被悲哀淹没 还有惋惜 惋惜和痛心
“盘盘焉,囷囷焉,廊腰缦回,檐牙高啄,蜂房水涡,离方遁圆…请你用大理石,用黑铁,用琉璃建造一个梦,建造一千零一夜的一千零一个梦”