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Le Monde de Paul Delvaux

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片名: Le Monde de Paul Delvaux
其它片名: 保罗德尔沃的世界/The world of Paul Delvaux
导演: Henri Storck
摄影: Henri Storck
声音: Marthe Jaubert
剪辑: Henri Storck
音乐: André Souris
片长: 11分钟
年份: 1944年
类型: 纪录片
国别: 比利时
语言:
格式: 35毫米/黑白

影片概述 . . . . . .

This is an historic film since it is the first that Henri Storck made
about art. It is an original success that places the exploration of the
painting in the foreground and accompanies it with a text and music of
great quality. It is a cinematographic poem wherein the director has
instinctively felt that which he will make the focus of his work: the
painting is king. He will always take the role of decoder of a
pictorial universe, in which the world of the painter and his work are
more important than his biography. In Le Monde de Paul Delvaux the
camera follows the bodies, the architecture, the perspectives by
accompanying and revealing their story, what they show and the emotions
they summon. The camera runs over the paintings like an eye reads a
story. The music and the text also play on the principle of equivalence
that echoes the force of the image and gives the soundtrack the role of
poetical amplifier. Meditation, incantation, elegy, this setting in
motion of an immobile world uncovers the sensuality of the big
beautiful distracted women and the psychoanalytical echoes of the
painter's world. The height of daring was to film this in black and
white. Yet this lack of colour, which could have been the death of the
painting, in fact gives it an added, secret dimension, that of a
reading where meaning is as important as the pictorial aspect.
"This film is more about Paul Delvaux's world than about his work
itself… This is also a psychological document, an essay of incursion into zones where the cinema, alas, rarely ventures."

André Thirifays, Le Soir, June 10, 1949

"The figurative world is observed and traveled over as if it was a
real world. Storck deliberately ignores the painting as medium, as
object exhibited, and directly confronts the invention of Paul
Delvaux's specific space-time. He stages a mobile way of looking that
settles into this space, sometimes lingering over a detail, a worrying
link that emerges from the apparent naturalness of Delvaux's
perspective, sometimes traveling over the trajectories of memory and
desire within the spatial syntax of his architects."

Antonio Costa, Henri Storck, il litorale belga, Campanotto Editore,
Udine, 1994.
这是亨利斯托克第一次拍摄关于艺术的电影,因而具有历史意义。这是一次成功而有新意的尝试,将关于绘画作品的探索置于前景,伴随着音乐和旁白,一首电影诗歌展现在观众眼前。导演跟随本能去感受并判断他镜头的焦点:画作即为核心。他持续地为那些绘画进行解读,在他看来画家的内心世界与作品远比他的个人生平更为重要。在保罗德尔沃的世界里,摄影机追随着那些人体、建筑和远处的风景,同时不忘表现它们所传达出的虚拟境界以及所唤起的情感。摄影机就像是一只正在阅读的眼睛,浏览过每幅画作。音乐和旁白也在对应的原则下与影像的力量相互呼应,音效被赋予了诗意的作用。本片极为大胆地使用了黑白胶片,色彩的丧失原本会是对绘画作品的谋杀,但在这里反而为作品的读解增添了某种神秘性,图像与其所表达的内涵其实是同等重要的。“相对于其作品,本片更多是关注保留德尔沃的精神世界本身…它同样是一份有关心理分析的文献,是一篇关于进入一个电影极少敢于涉及的领域的论述。”

André Thirifays, 《晚报》, 1949年6月10日

“影片以观察和体验真实世界的方式去观察体验一个图画的世界。斯托克刻意地忽视作为媒介和展品而存在的画作,而是直接进入保罗德尔沃特殊的时空想像里去。导演设计了一只游弋的眼睛去进入这个空间,时而徘徊在某个细节处,某个从德尔沃透视的自然表象中跳脱出来的环节,时而又沿着记忆和欲望的轨道,在画家所缔造的空间序列内部遨游。”

导演阐述 . . . . . .


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诗歌: Paul Eluard,由导演本人朗诵
出品 : 艺术研讨会 (负责人:Luc Haesaerts)
本片为1944年12月-1945年1月期间在布鲁塞尔大美术馆举办的画家作品回顾展特别拍摄制作。
——2009-05-19 14:37:21,4444上传

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