TimeFlies

• 清晰：BD
• 类型：
• 主演：
• 年代：1944 / 英国 / 沃尔特·福德
• 导演：沃尔特·福德
• 国家/地区：英国
• 时长：120分钟
• 语言/字幕：国语对白 中文字幕
• 年代：1944
• 更新时间：2024-04-08 01:02:44
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• 详细介绍： RobertBreer'scareerasartistandanimatorspans50years… RobertBreer'scareerasartistandanimatorspans50yearsandhiscreativeexplorationshavemadehimaninternationalfigure.HebeganhisartisticpursuitsasapainterwhilelivinginParisfrom1949-59.UsinganoldBolex16mmcamera,hisfirstfilms,suchasFormPhases,weresimplestopmotionstudiesbasedonhisabstractpaintings. Breerhasalwaysbeenfascinatedbythemechanicsoffilm.Perhapshisfather'sfascinationwith3-DinspiredBreertotinkerwithearlymechanicalcinematicdevices.HisfatherwasanengineeranddesignerofthelegendaryChryslerAirflowautomobilein1934andbuilta3-Dcameratofilmallthefamilyvacations.AfterstudyingengineeringatStanford,Breerchangedhisfocustowardhandcraftedartsandbeganexperimentingwithflipbooks.Theseanimations,doneonordinary4"by6"filecardshavebecomethestandardforallofBreer'swork,eventothisday. Influences Likemanyofhisgeneration,Breer'searlyworkwasinfluencedbythevariousEuropeanmodernartmovementsoftheearly20thcentury,rangingfromtheabstractformsoftheRussianConstructivistsandthestructuralistformulasoftheBauhaus,tothenonsensibleuniverseoftheDadaists.ThroughhisassociationwiththeDeniseRenéGallery,whichspecializedingeometricart,hesawtheabstractfilmsofsuchpioneersasHansRichter,VikingEggeling,WalterRuttmanandFernandLéger.Breeracknowledgeshisrespectforthispurist,"cubist"cinema,whichusesgeometricshapesmovingintimeandspace.In1955,hehelpedorganizeandexhibitedinashowinParisentitled"LeMouvement"(TheMovement),whichpavedthewayfornewcinemaaesthetics.Duringthisperiod,BreeralsometthepoetAlanGinsbergandintroducedhimtohisfilmRecreation(1956),whichmadeuseofframe-by-frameexperimentsinanon-narrativestructure.AlthoughBreerdisdainsbeinglabeledabeatnik,thefilmdoescapturesomeaspectsofbeatpoetryandmusic. WhenBreerreturnedtotheUnitedStatesinthelate1950s,theAmericanavant-gardewasthrivingandfilmsbyKennethAnger,StanBrakhage,PeterKubelkaandMariaMenkenwerecreatinganewvisionarymovement.BreerfoundkindredspiritswithintheNewYorkexperimentalscene.AsPopArtemergedasaphenomenoninthe1960s,BreerbefriendedClaesOldenburgandothers.HeworkedontheTVshow,DavidBrinkley'sJournal,filmingpiecesonartshowsinEurope;atthesametime,hemadehisdebutdocumentaryonthesculptorJeanTinguelyin1961,HomagetoTinguely.ScreenedattheMuseumofModernArt,itreflectsBreer'sinterestinmechanicalformsandthefineartofmovingsculpture;techniquesheusedinhiswork,ashisownkineticsculpturewassparkedbyTinguely'skeeninterestinmechanicalgadgets,kineticmovementandabstractforms. Breerwasinfluencedbythenewperformanceartand"happenings"makingwavesintheavant-gardeofEuropeandNewYork.HeworkedbrieflywithClaesOldenburgandhisperformancepiecesresultingina13minutefilm,Pat'sBirthday(1962).BreeralsobefriendedartistslikeNamJunePaik,CharlotteMormonandothersexposedtothenewtrendsinmultimediaevents. WhilehewasworkingonthefilmFistFight,hemetStockhausen,thenworkinginCologneonOriginale,aperformancepiece.Thecomposer'sworksooncameintovogueinAmericancirclesandhewasaskedtoperformhispieceinNewYork'sJudsonHallin1964.BreerpresentedFistFightaspartofthisperformance,makingthefilmavisualeventinitsownright. Alwayswhimsical,BreersoondevelopedalinetechniquerelatedtothefreeformworkofSwisspainterPaulKlee.SuchshortnarrativepiecesasAManwithhisDogOutforAir(1958)andInnerandOuterSpace(1960)usethedynamicsofdrawingandlinetocapturetheessenceofhumorandmotion.Timeandtimeagain,hereliesontherootsofsimpletechniquesofpencilsor4x6cardsforinspiration.WhileBreerrarelyusesconventionalstorytellingtechniques,thesefilmshaveasenseofthequickmovementsofaTexAverycartoonandthewitofanelectriccomicstrip. HistoricalPerspectives BreercontinuedtosearchforhistoricalperspectivesinhisworkanddiscoveredthecolortheoriesofChevreulandRood.Healsobeganaseriesofminimalistpiecesbasedonnumberseries,whichwerenonfigurativeandbasedongeometryandformalissues.66,69and70relyonformalistimagesfromhisearlyresearchintocolorpaintings. The1970sbroughtBreerintoamorecommercialworldofanimationandheworkedfortheChildren'sTelevisionWorkshopin1971doinganimationforTheElectricCompany.HispopularGullsandBuoysrelatesbackbothtothepoetryofWilliamCarlosWilliamsandtheearlyrotoscopingtechniquesdevisedbyMaxFleischerbackin1916.Breerexploredthelattermethodinordertogivealive-actionsensetotheanimatedform.Disneyandothercommercialstudiosstillusethismethodtoanimatereality-basedscenes.Withhisnewinterestintechnology,BreerwasinvitedtoJapanwithotherartiststoworkonthePepsiPavilion,makingasetofmobilesculptures.WhileinJapan,hemadeFuji,againusingrotoscopingcombinedwithJapanesetexturalimagery. ReturningtotheUnitedStates,forhisnextwork,LMNO(1978),heonceagainsoughtouthistoricalreferences.Ahomagetooneofthefathersofanimation,émileCohl,itusesasimpleFrenchpolicemanasamaincharacter.CohlbecamefamousforhisFantochestickfigure,whichpredatedMickeyby20years.Usingthesimpletechniqueof4x6indexcards,thisfilmusedeveryimaginabletechniquefromspraypainttopencils.Hisnextfilm,TZ,continuesthislineofenergeticexperimentsandisaportraitofhisnewlivingspacethenneartheTappanZeebridge,inNewYork'sHudsonRiverValley.Breeroftenusesdomesticimageryinhiswork,incorporatingobjectssurroundingtheartisttofantasysequencesusingPolaroidphotographsreworkedwitherasablemarkerpens.Thecompositions,asalwayson4x6indexcards,areenhancedbykitchenclatterinafreestreamofconsciousnessapproach. Breer'sworkcontinuedhisexperimentswithvarioustechniquesandmaterialswithSwissArmyKnifewithRatsandPigeons(1980),whichagainincludeslive-actionandlinetechniques. Raisingafamilythroughoutthe1980s,Breerbegantoworkwithwhatheconsiders"children'sanimation,"resultinginAFrogonaSwing(1988),whichisdedicatedtohisdaughter.HealsoexperimentedwithassociativespontaneityinTrialBalloons,ametaphorforanythingexperimental. Inrecentyears,Breercontinuedtomakeonefilmperyear.HisSparkillAve!(1993)isahomeystudyonhisnewneighborhoodusinghundredsofstillphotographs,combinedwithindexcarddrawings.Asalways,heprefersanimation"closetohome." Today,BreercontinuesexploringanimatedformswhileteachinganimationatCooperUnioninNewYorkCity.Whenaskedabouthiscurrentwork,hesaysthathestillreliesonthehistoryofcinemaandearly"gadgets"asthesourceofhisinspiration.HismostrecentworkNowYouSeeIt(1996),nowonexhibitattheAmericanMuseumoftheMovingImage,inNewYork,usesatwosidedpanelwhichspinsintoananimatedfilmmuchlikeaThaumatrope,thefirstcinematicdevicethatusedpersistenceofvisionbackin1826.Liketwoslidesflippingbackandforth,itisacontinuousanimationbasedonhisexplorationsintothedevicesofcinema'searlyhistory(andprehistory),whichdazzledaudiencesbycreatingvisualkinesis. Attheheartofhisworkistheimaginationoftheartistmixedwiththeinquisitivemindofthemadscientist,delvingintolostarchivesofcinematoreviveforgottenartformsandgivingthemnewlifeforgenerationstocome.ThisisthesecrettoBreer'suniqueworld. 详情