SomethingMoreThanNight

• 清晰：BD
• 类型：
• 主演：
• 年代：2003 / 美国 / Daniel,Eisenberg
• 导演：Daniel Eisenberg
• 国家/地区：美国
• 时长：120分钟
• 语言/字幕：国语对白 中文字幕
• 年代：2003
• 更新时间：2024-04-08 00:39:00
• 详细介绍： 1.Theideathatafilmaboutacity,aquiet,architecturalf… 1.Theideathatafilmaboutacity,aquiet,architecturalfilmnoless,cantellusanythingthatwedon’talreadyknowabouturbanlifeatthispointinournewcenturyisperhapsabitarrogant.Butthecityisanorganismthatchangesconstantly;ourknowledgeofitisprovisionalatbest.Soafilmthatexaminestheurbanenvironmentunderthecloakofdarknessmustpresumetorevealarealitythatwedon’tknow,andtriestodispelprojectionsandfearsthatareforthemostpartlocatedintheimagination...inamemoryoffilm,television,orthenovel. 2.It’sunderthisgeneralprinciplethatmyworkbroughtmetoconsidertheurbanlandscapeandcontemporaryurbanconditions.BecauseIconstructimagesandsounds,ImeanthislesssociologicallythanIdosensually;thefilmworktriestomakeclearhowtheurbanenvironmentconditionsandrevealssocialspaceprimarilythroughitsreceptionbythesenses.MuchasevenIwouldliketobelieveotherwise,wearriveatallintellectualconsiderationsofthephysicalworldthroughthebody;andexperienceofthephysicalworldismediatedbythesenses.Cinema,residingasameta-experiencederivativeofthesensual,canalsorevealthroughtheuseoftime,sound,andtheconscioususeofthelanguagesofrepresentation,theactiveandunsettledspacewecallnight. 3.Inthinkingaboutourfin-de-sièclecondition,andtherelationofcinematoanincreasinglytechnologizedlandscape,itseemsthattheexperienceofdurationisquicklydisappearing,replacedinsteadbyanoverwhelmingabsenceofexperience,whichisbecomingfamiliarandcomfortable.Infact,becausetelevisionandcomputershaveaccustomedmostviewerstoanacceleratedsenseoftime,thediscomfortinwatchingdurationaltimecinematicallyrepresentedonthescreenispalpable,andsignalsanaccommodationtotheever-increasingvisualspeedofmontageandsimultaneityindailyexperience.Itperhapssignalsadiscomfortinseeingtheworldinanykindofcontinuityatall,beitsensualortheoretical. 4.Montage,becauseitissoboundupintheconditionsofmateriality,hasaparticularlyfixedpositioninrelationtorepresentationandexperience.Weknowalreadytoowellnottotrustcinemaasreality,orevenasadocumentofreality.Sothequestionofaformalmethodtoreconfigurethevisualworldkeepscomingup,andinsomewaysonealmostalwaysreturnstobeginnings,totheblankpageandthetimebeforeexperience. 5.Iamdrawnbacktothebeginningofcinema,totheLumières,totheendlessrollsoffilmstakenonstreetcornersandstreetcars,tothe‘ArchiveofthePlanet,’ofAlbertKahn(MuséeAlbertKahn,Boulogne-Billancourt),tothatmomentwhererealityandcinemaweresoconfused,andconfusing.Inreturningtothesimple,fixedcameraandlongtakeafteracenturyofcinema,onedoesn’tseetheworldinthesameway.Ofcourse,theimagestillrevealsitsmanysocial,linguistic,andsensualtexts,butitnowrevealsanabilitytoreturnustoamemoryofthepastthatisalreadydeeplyembeddedintheimage,andinthedurationalshotwecanreconsiderthesemeaningsfromanalteredperspective. 6.Durationalsorecuperatesaparallel(parallax?)ofexperience.Timecanneverbereallyreproduced,butitcanhaveaquantitativerelationtoexperience.Youcanatleastbelookingforthesamelengthoftime.Durationisempiricallythesame,andinthistime,inthe21stCentury,itallowsfortheviewertoconsidertheconventionsofreality,ofitsrepresentation,ofitslanguage,ofourprivateandpublicconstructionofspace,sensibility,memory,andnarrative...Inthiswayitcannotbeanythingbutself-conscious. 7.SomethingMoreThanNightisprimarilyshotinpublicspaces:airports,trainstations,malls,downtownoffices,industrialzones,andthemanyethnicneighborhoodsthatmakeChicagoanexemplarycityofmigrationatthebeginningofthe21stCentury.Inusingimagesofthecityatnightasafulcrumtore-conceptualizebothelapsedandhistoricaltime,itbecomesacompositeportraitofboththecontemporaryinternationalcityandourpresenttimeofmanifolddislocations...Thefilmarticulatesthedailynocturnalexperiencesofalargeinternationalurbancenter.MarcAugéhasdefinedmanyofthesespacesas“non-places,”ubiquitousreiterationsofthesamethatexistinandoutofmultipleculturalandeconomiccontexts.Theyarefamiliartoallofus,whetherweliveinBangkok,Taipei,SanFrancisco,Rome,orRiyadh.Butitalsomapsacitywithaparticularhistory,anchoredintheboomyearsoftheindustrial19thCentury,whenChicagogrewfasterthananycityinAmerica,throughthe20th,andintothe21st,whereChicagoremainsanodalcenterofworldtradeandcapital. 8.Thatthismapisdefinedthroughdarknessaccentuatestheaspectsofdislocationthatleaddirectlybacktothesenses,tothebody.Beinglostalwaysbringsonebacktothebody,toone’ssensesandtomemory:senseofdirection,naturaldefenses,adrenaline.Wholegenresofcinemahavebasedtheirnarrativelanguageontheseaspectsofthenightandthecity.Fromfilmnoirtothehorrorfilm,filmhasdrawnonthedevicesofdarkness,anticipation,anddislocationinordertoachievesomeheightenedexperience. 9.Darknessalsoattunesourremainingsenses,makesusawareofboththecapacityandlimitationofsight.Ahumanfiguredisappearsintodarkness;anotheremergesoutoftheedgeofnight,thesoundofathird,unseen,goesbyusquickly.Andsospaceismorefullyarticulatedbysound.Soundconveysspatialpresenceintheabsenceofvisualinformation;thesoundofairplanesandcars,oftelevisions,thesoundofforeignlanguages,taverns,publicaddresssystems.Itlocatestheviewermorepreciselyinrelationtotheframe. 10.Incontrasttothecity-symphonyfilmsofthe1920’s,whoseutopianvisionoftheindustrialagewasacompositionmadefromharmoniesoflight,thisfilmdescribesthecitywithourownfamiliarsensesofthenight;informedbylabor,boredom,fear,fatigue,andanticipation.ChicagohasalwaysbeenthepremierarchitecturalcityinAmerica.Morethanthat,it’sacityoflocalcommunities–hotsummernightsonneighborhoodstreetcorners,steelfactories,refineries,shippingchannels,smoke,fog,LakeMichigan,mendrinkingatbars,alleys,industrialzones,theundergroundpassagesandrunwaysofO’HareInternationalAirport,thebusstation,moneyexchanges,thetrainstation,thejail,thepoolhallandparkinglot. 11.Bynecessity,thefilmiseditedcounter-intuitively.Themindisalwaysplayingtricks.Inusingthenightasamatrix,therewasagreatdealofattentionpaidintheeditingtoavoidachronologicalsenseoftime,sothattherhythmsofthediurnalwerenottodrivetheworknarratively.Thatmeantthatthecuttingneededtoregisteraseriesofdisruptions,butdisruptionisactuallyextremelyhardtoachieve,preciselybecauseweareconditionedtoreadtheworldnarratively,evenwhenthereisnonetoberead.Somanysequencesandpassageswereeditedandre-editeduntilthetimewithintheimagemaintainedsomepriority;untilitwasdisruptedbythenextimage.Thiscounter-tendencyisbyitsverynaturenotalwayssuccessful,butingeneralthesenseisofanaccumulationofimages,ratherthanthepassageofaspecifictimeoraspecificallymappedtrailthroughplaces. 12.Whenthefilmwasinitsfine-cutstage,theeventsof11September2001unfoldedasaruptureofhistoricalproportions.Nofilmmakerorartistcouldwalkintothestudiooreditingroomthedayafterwithouthavingtoreconsidereverydetailoftheirwork-in-progress.Andnoonecouldpossiblypredictwhateffecteventscouldhaveontheworkitself.Viewingthefilmseveralweekslater,Iwasrelievedtoseethatmostpassagesinthefilmwereabletowithstandsuchahistoricaljolt.Butmyownunderstandingoftheintertwinednatureofeventsandimageswasprofoundlyaltered.It’sasifsomeVirilliantextwassetintomotion... 13.Eventsarenolongerseparatefromtheirreception;theyoccursimultaneously.Moreover,landscapes,events,visualnotationsareinscribedintoimageandsoundinmosturbancentersateverymoment;thehistoricaleventsofourowntimearebeinginscribedintomovingimagesinanticipationoftheeventstheyrecord.IsitanyaccidentthattheimagesofbothairplanesenteringthefacadesofTower1andTower2(Tower2frommanifoldperspectives)arewidelyknown,andwerewidelyknownalmostwithinminutesoftheirinscription?CouldithavebeenintentionalthattheterroristswhocommandeeredthesecondplaneenteredtheTowerwiththeassumptionthatcamerasandcrewswouldalreadybeonthescene?IsitatallstrangetousthatwewitnessedthecollapseoftheseiconictowersfromthevisualperspectiveofhelicoptershoveringintheairorattheequivalentheightatoptheEmpireStateBuilding?Istheactofwatchingitliveallovertheworld,inmycasewithaclassofstudentsstudyingcontemporarymediapracticesironic,ortragic,orsuperfluous?Thiscompression/collapsingoftime,space,andpower,aproblemwewerealreadykeenlyawareof,isdisorientingdailylifeinpreciselythewaysthattheincreasingspeedofmodernitydisorienteddailylifeonehundredyearsbefore.Andsoeveryoneturnsandreturnstotheimageasiftoanswersomedeep,secretmystery... 14.Somewhatself-consciously,Imustnotethatallthisrhetoricseemssuperfluoustotheworkitself.Itisaquietfilmthatneedsquiettosucceed.Italsorequiresawillingviewer,onewhocangiveupthespeedofdailyeventstoentersomeothertimeandspace.ButthateffortisnotsomethingIhaveanyillusionsabout.Itishardertoaskfor,hardertoachieve,andhardertojustifyinaworldthat’sinaperpetual“stateofemergency.” 15.Onelastbutimportantpoint:SomethingMoreThanNightrecallsthespecialrelationcinemahastodailylife.Dailylifedefinescinema,anddailylifeisitselfmoreandmoredefinedbycinema.It’sadancethathasbeenplayedfor107years.Neitherfictionnornon-fiction,thefilmproducestherhetoricofbothnarrativeanddocument,inallprobabilitybecauseofitsworkingprinciples.Itisanur-form,perhapstheearliestformofcinema,fromwhichallCinemaisderived:thelongobservationaltakefromafixedcamerawithafixedlens.Itisinthisnascentcinemathatweareabletoseethatcinemanotonlyrevealsitsownhistory,butalsoembraceseveryotherformoftime. 详情