-
从极点到赤道 Dal Polo all'Equatore(1987)
- 标签：
- 纪录片
- 类型：
- 电影
- 导演：
- 伊凡·吉亚尼谦
- 主演：
- 评分：
- 9
- 剧情：
- The film starts with a very long section of footage that shows a journey by railroad in a beautiful mountainous region, it's quite beautiful but not immediately apparent what the relevance is. It may be that attention is being drawn to the actual track itself (the final sequence is exclusively looking down at the tracks), perhaps slave labour that went into building it, and bla......
8。导演有种延长时间的魔力，太神奇了
此片部分影像在另一边已被一些文字敷衍。感觉导演可以添加更多值得放进去的影像，就算三小时我都不嫌无聊。
这个是真的牛逼，只可惜没找到品质好的完整版，改色彩真的把人惊艳到了。
Deathasspectrality.
虽然影像原料只是些风光默片，但在时间隧洞深处客体凝视般灵幽萦绕的氛围电子乐配合之下那种被调慢至是否足以引发视觉暂留效应边界的临界帧率，使得影像本体建立时矛盾性的虚假运动得以祛魅并又形成新的综合：这是一种贪婪的观看和穿梭的观看之并存，是无数静止油画快速切换和直接影像的结合与不辨，也是被摄物背后的已逝而又回返的主体性幽灵(或生命影像自己)那自生成-差异与宿命机械重放两者迷人的交互作用，在一种参与代入进纤微动势与主体性的喜悦与一种无法挽回的逝去和无可救药的怀旧之间我们抹着惊叹的泪水，综合出来的鸡尾酒效果是那种被凝固在时间的冻土中的人物艰难缓慢用尽力气克服来自绝对衰亡的巨大阻尼，不时从隧洞之底以黑暗之眸凝视遥不可及的你，而这种运动也成了时间本身的皱褶，时间这种生命体反刍自身后呕心吐出的一道道皱褶。
Hiddenseaburieddeep
牛
spectrum
神作
拓荒者、殖民者視角影像的「再書寫」。“Analyticalcamera”（theoriginalfootageisnowtheobjecttobemanipulatedatthenewauthors’will），針對LucaComerio（義大利國王御用攝影師，後親法西斯）的影片，只用放大、慢鏡頭、重播、著色等手法處理。
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