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试想这样一种情况:
数字艺术家用触感笔在屏幕上画出了一幅画,这幅画来自他精巧的构想,他尽自己可能的将这些感受用轻重和颜色表达出来,他的思想和手法共同塑造了这个作品的「表现」,他将自己的想法保存为一种可以被感受的形式,同时也允许了人们基于这样的「表现」进行的解读。
接下来他复制了原稿,以数据的形式,数据记载了每一个像素上颜色的深浅变化,并重新在屏幕上展现出来,而这是一种仿制。电脑这个历史上最成功的仿画大师并非以思考加手法的方式重新创建了一次「表现」,而是不加思考的记录了这个固化的「表现」的每一个细节,并原原本本的展现给观众看,这分明是两幅画,但当肉眼无法辨别出原稿和副本的差异时,副本是手绘的还是原稿数据的具象化的对人们又有什么区别呢。
在我看来,这就是仿制画的本质,绘画者的想法和电脑一样在仿制时无法对作品造成任何的影响,因为成功的仿制的目的是接近原画的「表现」,而艺术的本质却不是色彩的搭配或人物的形态,艺术在于作品包含的想法和传递的感受,在于引人思考的部分,是艺术家抛出的那个问题,而「表现」只是想法的载体而非艺术本身。
那么我们是否可以这样认为:那些成功的在「表现」层面做到以假乱真的作品,那些画家本人都无法分辨的仿品,和电脑复制的数字艺术在某些程度上是一样的,都是重现了思想和手法固化后的「表现」,而观众们依旧可以按照一贯的观赏方式,透过「表现」接收到艺术家抛出的那个问题,从仿品和原作中获得一样的启发,无论这幅作品出自哪只手?
基于这样的想法,「艺术」的部分在「艺术市场」中便出现了缺席,艺术交易市场成了一种基于收藏癖和纪念意义而建立起来的「非艺术环境」,在这样的情况下,市场真正在意的往往是其「纪念价值」或「历史价值」,「艺术」则只成了一些「有迹可循的知识」。
所以,艺术是什么呢?
本学期最爱的片。
What is the relationship between a filmmaker and his/her documentary? If compared with various food and cuisines, the documentary is like salad. The materials are raw and fresh, but it tastes distinctive with different seasoning and dressing. People chase for truth that remained in documentary films and probably that is the only reason they savor it. However, if filmmakers enter the frames and become a part of the documentary, would this undermine the credibility or would this become the icing on the cake? This essay will investigate the relationship among a filmmaker, documentary and the audience by analyzing the presence of the filmmaker in F for fake, a documentary made by Orson Welles in 1973, explaining specifically how Orson Welles used the presence of filmmaker to manipulate the narrative.
Typical observational documentaries seek for ideally representing the reality, “stressing the non-intervention of the filmmaker” (Nichols, 2010), as “audiences value the truthfulness of factual programming. The more fictionalized factual programming becomes, the less the viewers value it.”(Chapman and Allison, 2009) Observational documentary like Chronicle of a summer(1960) and High School(1968), unfolding as a realism painting, disclose a series of ordinary people’s everyday life, whereas in Man with a movie camera(1923), an experimental documentary film of Dziga Vertov, initially displays a film language of “self-exposure”(Kolchevska et al., 1986), which is a trial to the filmmaker stepping in front of the camera. Subsequently, in the reflexive documentary, the presence of filmmaker becomes to be an irreplaceable part of the documentary, and even a reflection of credibility to the audience. For example, in Louis Theroux’s documentary, his imposing figure is familiar to the audience, who are fully prepared to watch the interaction between Louis and other social actors. The presence of filmmaker appears to be an ontological issue. More specifically, the authority of determining what to be presented in a frame belongs to the filmmaker instead of the audience. Besides, it is not an arbitrary decision whether to be presented in a film, when dose the filmmaker present, or how dose the filmmaker present. Ironically the audience is accustomed with this spectacles and believe all of these truly and firmly.
Unlike other directors who regard the audience as God, Orson Wells regarded himself as the rule-maker and indulged in manipulating the audience, like a magician gains a sense of accomplishment. He was a typical narcissist and at any moment when appearing he would call himself as “Great Orson”. Accordingly, F for fake, the last Orson Welles’s film to be published, in which the presence of filmmaker is really important. As what he proposed at the beginning, this is a film “about trickery, fraud, about lies.” The film mainly consists of found footages bought from a BBC documentary of the art fakery(Houston, 1982), Elmyr de Hory. However, Orson Welles was discontented with making a biographical documentary. He interweaved them with a fake science fiction about aliens invading the earth, fake Picasso’s affairs, and shots of his own presence.
Trent Griffiths argues, the presence of the filmmaker as a subject in the documentary frame represents a unique relationship between documentary film and history, where the filmmaker engages with social history through their personal experience of authoring a representation of it. (Griffiths, 2013). In F for fake, Orson Welles made three different types of presence. The first of these is a figure of a presenter. Just like in TV programs, the presenter in documentary mainly plays a role in interlinking different parts and their development. The presence and other footages appear alternately, but in terms of time, the duration of presence of the filmmaker is much less than the duration of the material. Orson showed up at the beginning as a magician, wearing a black hooded cloak and a bowler hat, introducing that “During the next hour, everything you hear from me is really true and based on solid facts.” At the end of the film, he responded it. “At the beginning, I did make you a promise, that for one hour I will tell you the truth, and ladies and gentleman, for the past 17 minutes, I have been lying. ” Besides, after the girl watching sequence, he explained it and then smoothly move into the next part. Without his presence, it is not able to be organized. The presence of the filmmaker makes the entire film like a Mobius strip, with two ends glued together.
The second character of filmmaker’s presence in a film is to eliminate the sense of wariness and hostility of the viewers. Again, at the beginning of the film, Orson Welles talks about fakery and truth while he performing the tricks with a little boy. A key vanished, appearing again in the kid’s pocket, and then it turned into a handful of coins. As a presenter, he was performing, walking and talking, in order to bring his audience into the scene. During the presence, Orson obscures the difference between the subjective and objective reality, confuses the boundary between reality and illusion, and alarms his audience, it is not easy to distinguish fraud from the truth(Johnson, 1976). Also, about 5 to 6 times, he invited the audience into his editing room, unveiling more about truth or fake throughout the found footages with him together. It effectively shortens the distance between the audience and the filmmaker.
Another effect addressed in F for fake is that the filmmaker could become the embodiment of the audience, asking questions they are concerned with and reacting what the audience would react when they are in that circumstance. For example, in the last 17 minutes, when Orson claiming as a fake sequence, he talked to Oja not only on behalf of himself but people who are interested in this story. He then seriously asked Oja some questions, such as “can you tell us more about Picasso? ”, “Is that just a forgery?” and so on. The audience will assume they are present at the very moment and will be built a sense of immediacy by watching the presence of the filmmaker.
Appearing is a kind of presence while disappearing is another. The voice over is another kind of “disappeared” presence of the filmmaker. It runs throughout the whole film so that sometimes the audience even forget its presence, but genuinely it plays a profound role in the film with introducing the background, mending up details, and making commentary. It helps with presenting content vividly and reinforcing the diversity of factors in a film.
In general, the filmmaker in F for fake presented as a witnesses, a participant, and even an actor.In the case of the filmmaker present within the frame as a specific subject – revealing their emotional and material investment in the story as a subject alongside rather than apart from the people they film – this kind of ‘intersubjective objectivity’ underpins the work in a more fundamental way (Griffiths, 2013). The key point here is that “the figure of the filmmaker introduces this tension, which can have productive implications for representing reality”. As a rule, MacGuffin in fictions appears commonly as a certain stuff, for example, in Orson Welles’s previous film Citizen Kane, “Rosebud” is a typical MacGuffin. However, in a documentary, the MacGuffin is the presence of the filmmaker which undertake the responsibility to lead the audience into the story and make them being immersed in the story. It is more likely to be a tool of seducing, or fishing, to make sure the audience’s heart swelling with the waves made by filmmakers.
As to F for fake, Some critics still take delight in arguing if it should be cataloged as a documentary because by the time documentary are supposed to be totally authentic. At the first glance, it seems like a documentary because it is a story about Elmyr de Hory, the art forger. However, in any case, when being looked in-depth, it is a hybridized film in which heterogeneous footages can be found and mixed here. In my opinion, It doesn’t make any sense to figure out whether or not it is a documentary because the boundary of art is blurred and the ambiguity precisely shows the glamour of art. The history world in documentary is for people to seek for the truth, but at the same time, is for people to misunderstand the truth.Like what Orson Welles proposed at the end of the film F for fake, art is a lie, a lie that makes us realize the truth.
References
Nichols, B. (2010). Introduction to documentary. Indiana University Press.
Chapman, J. and Allison, K. (2009). Issues in contemporary documentary. Cambridge: Polity.
Kolchevska, N., Vertov, D., Michelson, A. and O'Brien, K. (1986). Kino-Eye: The Writings of Dziga Vertov. The Slavic and East European Journal, 30(1), p.118.
Johnson, W. (1976). F for Fake Orson Welles. Film Quarterly, 29(4), pp.42-47.
Griffiths, T. (2013). Representing history and the filmmaker in the frame. [online] Doc.ubi.pt. Available at: http://www.doc.ubi.pt [Accessed 27 Oct. 2017].
Houston, B. (1982). Power and Dis-Integration in the Films of Orson Welles. Film Quarterly, 35(4), pp.2-12.
Filmography
Wells, Orson(1975) F for fake.The USA.
Rouch, Jean (1960) Chronicle of a summer. France.
Wiseman, Frederick (1968) High School. The USA.
Vertov, Dziga(1923) Man with a movie camera. Soviet Union
如果要用一句话来形容这部影片的重要的话,那就是:
最伟大的天电影天才,在人生后半截完成的几乎唯一一部电影。
他把他的生涯,还有浪子的生活,艺术创作,造假世界,演艺秀,全部结合在一块...
。你甚至不敢说,那一定就是纪录片,他创造了一种新的文体,亦真亦假亦幻,但是假假真真,却能教会我们很多东西。
我至今仍然被那些用粗粒质感表现的赝品画家的陈述。所吸引。
如何来判断真和假,这个问题充满在世界的任何一个角落,因此有宇宙意义。
享受它!
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这部电影是真的还是假的
直呼卧槽!又是一部关于元电影的作品,层层嵌套叙事,想不明白的真假关系,在探寻Elmyr赝品画作的价值中提问艺术的真谛。站在镜头前打破第四面墙直接和观众对话的奥逊威尔斯,也是在试图打破影像的可操纵性,甚至go so far to 保证“这部影片的第一个小时都是真实的” (or is it?)。对Elmyr(赝品的始作俑者)的作品的伪造让人直呼好家伙禁止套娃,Elmyr和Clifford Irving的关系——后者甚至有时候喧宾夺主——恰恰是画家们和Elmyr关系的镜像。奥逊威尔斯本人在嵌套式的结构中穿梭让观众晕头转向:究竟什么是“真的”?艺术的价值取决于什么——作品的真假、罕见程度、还是狗屁专家的意见?打破常规的剪辑和对footage的重组让影片彻底变成一场游戏。与阿巴斯《特写》、《合法副本》媲美,个人纪录片前十。
这是一部关于欺骗和诡计的影片。
说实话我没完全看懂
累。
《赝品》从内容到叙事到形式都游移于真假的界限之间,故事与故事穿插,人物与人物交错,不仅是电影剪接技术的一个新台阶,更是纪录片的一种新可能。
看过奥森·威尔斯的5部作品,每一部都有惊人的创意,这就是天才,不必重复自我,永远超越自我。赝品,是一个模仿大师的故事,也是标准与人心的故事,更是戏谑与审视的故事。影片像是一个马赛克拼贴的作品,而贯穿其中的是艺术创作的魔术和对真相的无休止的追问。
奥逊·威尔斯真会玩儿!
记得我刚说的是下面“一个小时”说的都是真的吗 刚才那17分钟可全是假的
我從不給紀錄片評分數。這樣說你們就懂了吧?
這個片子太有意思了,得再看一遍。reality is but a fake fake?
奥逊威尔斯永远是这么装逼
伪造者的超级传奇——毕加索你完了
多棒啊,巴布罗毕加索,奥讯威尔斯,还有那个伪造艺术品的艺术家。
A / 同样也是一种“元作者电影”。关于“伪造”的虚实之辨其实是奥逊·威尔斯早已不断进行的提炼了。倒是影像上的进一步转变着实令人欣喜:如何通过剪辑将各种立体的扁平的、开放的封闭的空间贯通?如何营造不同于以往叙述性的以人物为核心的雀跃节奏?这大概才是从《审判》到《风的另一边》中真正令人目眩神迷的实验。
很有意思的一部纪录片,但是整部影片对于不是太清楚当时情况的人有点点混乱,但是像是一部极好地辩论,导演像是在讲述一件严肃的历史事实却又用以很戏谑的台词和镜头,不停重复着“it is beauty, but is it art?”站在新的角度从新思考,不知道导演看到今日的大芬油画村会有什么样的感受?
fake exists not as an opposition to real, it exists only because of the capital market. 但我最想说的是,欢迎大家去纽泽西参观1938年火星人入侵地球大恐慌的纪念碑!
剪辑甚赞
有點散漫的紀錄片,但是很有趣~
奥逊·威尔斯最后一部由他本人完成的电影。1.一部让人眼花缭乱的论文电影,打破纪录片与剧情片界限,反思艺术的真与假、原作与赝品的区隔。奥胖将BBC纪录片素材打乱重组,加上自己的串场叙述与表演、少数新拍照片或视频。前一小时信守承诺将影像基本建立在真实素材与事实上,之后便悄然利用剪辑的库里肖夫效应与不可靠叙事戏耍观众。2.一个充满自反与套层的影像游戏,任观者在无尽拼贴与扮演之迷宫中泥足深陷:艾米尔创作赝品,欧文采访并写成[赝品]一书,莱辛巴赫拍出纪录片,奥胖再重新创作出[赝品]一片……3.首尾呼应的硬币钥匙(火车进站开篇)&大变活人戏法,致敬卢米埃尔开创的幻想与游乐电影传统,奥胖则过足了癫狂表演与魔术师之瘾。4.UFO与火星人入侵的电影片段移花接木。5.毕加索:艺术是一种谎言,一种让我们意识到事实的谎言。(8.5/10)