2012年12月30日 星期日

奧斯卡漸近,電影業愈發焦慮 Roger Ebert/ American Film Institute unveils top 10 films of 2012

 Top 10 Movies Of 2012 (MovieMantz)Caption Top 10 Movies Of 2012 (MovieMantz)

奧斯卡漸近,電影業愈發焦慮

Top, Phil Bray/Weinstein Company; Michael Yarish, via AMC
《大師》(上)觀影人數190萬,大大低於《廣告狂人》(下)。

洛杉磯——2013年2月24日,好萊塢將揭曉奧斯卡獲獎者名單。
但是,這可能會是《最後一場電影》(The Last Picture Show)的感覺正在迎面襲來。
明年的奧斯卡頒獎典禮——自1929年以來的第85屆——將在一種焦慮不安的情緒中舉行。電影,以及電影跟流行文化之間破損的聯繫,令人感到焦慮。
去年,美國國內總共售出了12.8億張電影票,創下自1995年以來的最低記錄(今年的數字只比去年好一點點)。電影業圈內人士已經在默默努力解決一個問題,雖然這個問題的存在幾乎沒人公開承認。
這個問題就是,好萊塢對大眾想像力的掌控已經大不如前,有望獲獎的高端電影尤為如此。
一些行業團體,包括頒發奧斯卡獎的美國電影藝術與科學學院(Academy of Motion Picture Arts and Sciences),以及支持電影業發展的非營利團隊美國電影學會(American Film Institute),正在私下裡集思廣益,試圖展開大眾宣傳攻勢,讓人們相信電影仍然具有重要性。
僅僅在幾年前,這似乎還是一件顯而易見的事情。但當電影業人士看到人們的注意力持續轉向電視時,他們已經變得憂心忡忡。甚至電影業最重要的頒獎典禮 也在利用這一趨勢:學院(指奧斯卡獎的主辦方“美國電影藝術和科學學院”,下同——譯註)已經安排了著名的電視編劇兼製片人塞思·麥克法蘭(Seth MacFarlane)擔綱奧斯卡頒獎典禮主持人。
“莎士比亞寫十四行詩的時候,十四行詩早已經不再流行,”詹姆斯·沙姆斯(James Schamus)在上周的一封電子郵件中說。沙姆斯是電影編劇兼製片人,也是焦點電影公司(Focus Features)的首席執行官。
美國電影學會的創始人小喬治·史蒂文斯(George Stevens Jr.)說,當他在12月1日的主席獎(Governors Awards)晚宴上接受榮譽奧斯卡獎項時,他不會“像預言女神卡珊德拉一樣”對學院成員發表演講。
“我覺得他們會找到自己的方法,但這是一個變化非常大的時期。”史蒂文斯先生說。上周他在電話中表示,讓人們在手機和平板電腦上觀看電影的做法正在 削弱電影業的元氣,他對此感到擔心。他說,在過去——他列舉了《良相佐國》(A Man for All Seasons)、《八部半》(8½)和《日落狂沙》(The Searchers)的例子——電影有一種恢弘的氣勢,它們在非常大的屏幕上講述長篇故事。
但在如今這個時代,人們在更纖薄的設備上觀看影片,廣為播放的電影往往缺乏深度,一部電影很難再像《亂世佳人》(Gone With the Wind)或《教父》(Godfather)系列那樣嵌入美國公眾的文化和歷史意識之中。
隨着奧斯卡頒獎季的來臨,電影的影響力仍然在持續減小。《大師》(The Master)是一部講述人物經歷的70毫米電影,備受評論界讚揚;在影院放映六個星期後,它的觀影人數大約有190萬,大大低於《廣告狂人》(Mad Men)或《行屍走肉》(The Walking Dead)等熱門有線電視節目的單集收視量。
《逃離德黑蘭》(Argo)是另一部奧斯卡獎參賽影片,它這個周末的觀影人數大約是760萬。如果人們對它的興趣能保持下去,最終它的觀眾總數會跟《歡樂合唱團》(Glee)一個晚上的觀眾人數差不多。
電影勢力的削弱有幾個方面的原因。
你需要買票才能進入影院看電影;看電視則是免費的,只要每月交收視費即可。而且至少從《黑道家族》(The Sopranos)開始,一些複雜的電視連續劇也學會了用人物的長期發展歷程來吸引觀眾。電影則主要在《暮光之城》(Twilight)系列這樣的魔幻作 品中這麼做。
盜版等因素造成了家庭影碟銷售收入大幅下滑,進而降低了電影業的薪酬。與此同時,電視業的薪酬卻在增長,吸引了像阿爾·帕西諾(Al Pacino)、達斯汀·霍夫曼(Dustin Hoffman)、勞拉·琳妮(Laura Linney)、克萊爾·丹尼斯(Claire Danes)和西格妮·韋弗(Sigourney Weaver)這樣的明星。
像《颶風營救2》(Taken 2),或者是麥克法蘭先生的搞笑喜劇《泰迪熊》(Ted)這樣的類型電影,仍然獲得了相當高的票房收入。而且,不斷增長的國際觀眾,尤其是中國觀眾,也給 像Marvel公司的《復仇者聯盟》(Avengers)或《蝙蝠俠:黑暗騎士崛起》(Dark Knight Rises)這樣的動作英雄大片帶來了光明前景。
但是,美國電影協會(Motion Picture Association of America)的資料顯示,大牌製片廠的專門部門,比如發行奧斯卡獎最佳影片《貧民窟的百萬富翁》(Slumdog Millionaire)的福克斯探照燈公司(Fox Searchlight),它們推出的影片數量,已經從2002年的82部降至去年的區區37部,降幅高達55%。
這種狀況讓很多觀眾感到痛苦。
“他們感到困惑,”評論家大衛·登比(David Denby)說,“他們有點迷惑不解。”他指的是那些贊同他的論點的人——登比先生在《新共和》雜誌上的一篇文章《好萊塢是否謀殺了電影》(Has Hollywood Murdered the Movies?),以及他的新書《電影還有未來嗎》(Do the Movies Have a Future?)中聲稱,電影的長期實力取決於製片廠的目光是否會回到預算適度、但文化內涵豐富的電影上。
“如果他們不給自己修築未來,那他們就是在給自己挖掘墳墓,”登比先生說。
麥克法蘭先生,奧斯卡頒獎典禮製作人克雷格·扎丹(Craig Zadan)和尼爾·梅倫(Neil Meron),以及學院主席霍克·科奇(Hawk Koch),通過學院的一位女發言人表示拒絕討論頒獎禮面臨的挑戰。
私下裡,學院的一些成員說,選擇麥克法蘭擔綱主持人讓他們感到震驚,此舉似乎是想吸引麥克法蘭的那些熱門電視節目的觀眾,尤其是《惡搞之家》(The Family Guy)的粉絲。
但Q Scores公司的執行副總裁亨利·謝弗(Henry Schafer)說:“如果這樣做的目的是吸引年輕觀眾,我認為他們選對了人。”Q Scores是一家測量名人吸引力的公司。
另一方面,丹尼爾·托什(Daniel Tosh)也道出了懷疑者的心聲。托什是“喜劇中心”(Comedy Central)知名節目《托什》(Tosh. O)的主持人,這個節目播放可笑的網絡視頻,譏諷視頻里的人物。在播放了兩名俄羅斯男子在自己的小船旁邊投下一枚手榴彈致使小船爆炸的視頻後,托什面無表 情地說:“這也比讓塞思·麥克法蘭來主持奧斯卡頒獎典禮強。”
麥克法蘭曾執導過電影《泰迪熊》,並給裡面滿嘴髒話的泰迪熊配了音,這就是他對故事片的主要貢獻。選擇麥克法蘭擔任頒獎禮主持人的同時,學院也在努 力尋找方法,吸引公眾重回影院,觀看學院推崇的那類電影。例如,學院的工作人員一直在試圖讓奧斯卡最佳影片的製作班底參加在影院里舉辦的宣傳活動。學院還 在洛杉磯修建了一個電影博物館,希望向人們展示電影這種媒介。
此外,美國國家影院業主協會(National Association of Theater Owners)最近也要求公關和廣告顧問們提交類似的促進建議。
美國電影學會主席鮑勃·加扎勒(Bob Gazzale)說,董事會成員們也一直在想辦法增進人們對故事片的興趣。他還說現在討論細節仍然為時過早,但其他知道內情的人說,該組織的思路延伸得非 常之遠,他們考慮過邀請著名的政治家——比如,比爾和希拉里·克林頓——來擔任電影獎項的監事。這些計劃的目的,是跟那些轉向其他地方尋找文化指向的觀眾 重新建立聯繫。
本月在科羅拉多州立大學進行的一場討論中,學生記者艾莉森·塞爾特(Allison Sylte)說,學院2011年選擇的最佳影片是向後回顧的《國王的演講》(The King’s Speech),而不是朝前發展的《社交網絡》(The Social Network),這也是造成她這一代人和高端電影之間聯繫破裂的因素之一。
如果優質影片消失,它們可能會留下一片文化真空,塞爾特問:“對於我們的文化來說,這片真空意味着什麼呢?”
在聽到別人轉述這個問題時,加扎勒先生說,那片真空會很大。
“電影讓我們想起我們共同的心跳。”他說。
Brooks Barnes對本文有報道貢獻。
本文最初發表於2012年10月29日。
翻譯:楊洋 

美國權威影評人:《少年PI》力壓《林肯》

2012年12月30日 10:48
  • ▲《少年PI》更勝《林肯》一籌。(劇照)

記者翁新涵/綜合報導

講到影評人羅傑艾伯特(Roger Ebert),好萊塢無人不知無人不曉,他是首位因分析影評得到普立茲獎的影評人,其權威性連奧斯卡都要馬首是瞻,尤其是他每年年底選出的「十大佳片」, 更是入圍金像獎的最佳跳板。2012年的「十大佳片」出爐了,李安《少年PI的奇幻漂流》,在他的名單中更勝史蒂芬史匹伯的《林肯》,令此二雄對決,李安 搶先拿下一局。

艾伯特說2012年真是看電影最好的一年,他在今年破紀錄寫了300篇影評,由於許多電影表現優異,想要選出十大超級困難,但他還是傷透腦筋選出十部電 影,尤其還要列出排名順序,更是困難重重,不過也幸虧他「列名次」,才能讓那些具有奧斯卡投票身分的電影人,看到第二名李安的《少年PI的奇幻漂流》,比 第三名史匹伯的《林肯》更優。

感謝艾伯特,讓大家知道《林肯》略遜《少年PI》一籌。(劇照)
▲感謝艾伯特,讓大家知道《林肯》略遜《少年PI》一籌。(劇照)

他形容《少年PI》是「不可思議的成就」(miraculous achievement),太多人都說這部電影絕對拍不出來,李安竟能克服萬難拍出來,令人佩服!甚至讓電影的視覺影像,因《少年PI》邁進另一個里程 碑,說它是一種成就也不為過。此部電影予人精神層面上的感動,更令人訝異。

艾伯特還特別強調,《林肯》中丹尼爾戴路易斯(Daniel Day-Lewis)的表演,雖然非常強而有力,但卻不若《少年PI》的全面性,感覺似乎意指《林肯》只有男主角較有可看性。

當大家都以為,李安拚奧斯卡的死對頭,會是史匹伯時,艾伯特輕易點出,美國人更愛《亞果出任務》,他把此片名列「2012十大好片」冠軍,因為它就是美國 人最愛看的「好萊塢式驚悚片」,尤其又是真人真事改編,更大大加分,就別提片中處處充滿驚喜,故事情節緊湊充滿效果,根本就是驚悚片和喜劇片的最佳結合。 而這一切都是沖奧的最佳利器。

原來,《少年PI》在最佳影片和導演上的勁敵,是《亞果出任務》。(劇照)
▲原來《少年PI》在最佳影片和導演上的勁敵,是班艾佛利克的《亞果出任務》。(劇照)

如此看來,大家恐怕得要禱告那些奧斯卡評審,都能看得懂《少年PI》的奧妙,才不會被好萊塢式的《亞果出任務》給比下去。以下是羅傑艾伯特選出,第一到十名的「2012十大佳片」~~~

1. 《亞果出任務》(Argo)
2. 《少年PI的奇幻漂流》(Life Of Pi)
3. 《林肯》(Lincoln)
4. 《火線赤子情》(End Of Watch)
5.《情慾華爾街》(Arbitrage)
6. 《機密真相》(Flight)
7. 《性福療程》(The Sessions)
8. 《南方野獸樂園》(Beasts of the Southern Wild)
9.《八月三十一日,我在奧斯陸》(Oslo, August 31)
10. 《桃姐》(A Simple Life)




LOS ANGELES, Calif. -- Another moviegoing year has come and gone, but never before has a year been as bottom-heavy with quality films as 2012, thanks to a plethora of great movies that came out during the fall season.
It’s a release pattern that’s common practice among film distributors, due to the false impression that Academy voters will only remember the last movies they saw while filling out their Oscar ballots.
But that ritual of saving the best for last became glaringly obvious to me while I rounded out my best-of list for 2012, which included just one studio film that came out before the fall. (Can you guess which one it is?)
10) “End of Watch”: Written and directed by David Ayer (who wrote “Training Day”), this gritty, violent and visceral look at the professional and personal lives of two LAPD officers was intense from start to finish. But what really made it the best cop thriller in years was the authentic chemistry between Jake Gyllenhaal and Michael Pena, who played the devoted partners who had each other’s backs at all costs.
9) “Wreck-It Ralph”: A sweet, clever and funny animated gem from Disney that did for classic video games what “Toy Story” did for, well, toys. Without question, it’s the best animated film since “Toy Story 3.”
8) “Life of Pi”: More than just being a groundbreaking technological achievement with the best visual effects to hit the big screen since “Avatar,” director Ang Lee’s fully immersive 3D adaptation of the best-selling novel was a magical, compelling and deeply profound meditation about the nature of survival, faith and existence.
7) “Searching for Sugar Man”: A documentary so incredible and unbelievable, it’s hard to believe that it really happened. But it did, and the true story of a lost 1970’s singer-songwriter from Detroit who got a hero’s welcome from adoring fans in South Africa – where he was more popular than Elvis – was a beauty to behold.
6) “Amour”: Winner of the Palme d’Or at the Cannes Film Festival, director Michael Haneke’s haunting and wholly absorbing drama about an elderly French couple faced with declining health was touching, intimate, delicate, harrowing, scary, devastating and powerfully acted by Jean-Louis Trintignant and Emmanuelle Riva.
5) “The Dark Knight Rises”: The crowning achievement of Christopher Nolan’s landmark Batman trilogy was intelligent, relevant, grounded, epic, exciting and full of surprises. Upon its release in July, it brought this trailblazing series to the rousing and unforgettable conclusion that it deserved.
4) “Skyfall”: Nobody did it better than James Bond’s excellent 23rd installment, a reboot of sorts that effectively did for Bond what “The Dark Knight” did for superheroes. Daniel Craig’s third outing as Agent 007 collectively paid tribute to Bond’s 50-year-old past, made him relevant for the present and paved the way for his future.
3) “Silver Linings Playbook”: Writer-director David O. Russell’s charming, funny, smart and very moving follow-up to “The Fighter” cast an irresistible spell, thanks to stellar performances from a terrific ensemble cast (Bradley Cooper, Jennifer Lawrence, Robert De Niro and Jacki Weaver) and a razor-sharp screenplay that infused family dysfunction, mental illness, romance and hilarity.
2) “Zero Dark Thirty”: This gripping and incredibly intense procedural thriller about the hunt for Osama bin Laden came from director Kathryn Bigelow and screenwriter Mark Boal, the Oscar-winning team behind 2009’s Best Picture-winner “The Hurt Locker.” If the intelligence-gathering build-up wasn’t engrossing enough, the visceral 35-minute raid scene all but sealed the deal for their return visit to the Academy Awards.
1) “Argo”: After proving his prowess as a director with 2010’s gritty crime thriller “The Town,” director Ben Affleck upped his game in just about every way for his third time behind the camera. More than being a fascinating, informative, riveting, tense, funny and very entertaining crowd-pleaser, “Argo” also represented a seamless shift in tones before culminating with a rousing conclusion.
Honorable mentions that came really, really close to making this list: “Beasts of the Southern Wild,” “Lincoln,” “The Master,” “Flight,” “The Queen of Versailles,” “Room 237,” “Safety Not Guaranteed” and “Arbitrage.”
-- Scott Mantz

 

 

American Film Institute unveils top 10 films of 2012

Jessica Chastain Zero Dark Thirty star Jessica Chastain won best actress at the National Board of Review awards

Related Stories

The American Film Institute (AFI) has named Kathryn Bigelow's Zero Dark Thirty and Iran hostage drama Argo among its top 10 films of the year.
AFI president Bob Gazzale said the list, chosen by critics, AFI trustees and TV and film artists, "celebrates America's storytellers".
Quirky comedy Silver Linings Playbook and The Dark Knight Rises also feature on the list.
However notable absences included The Master and The Hobbit.
Ang Lee's big screen version of the award-winning novel Life of Pi, Steven Spielberg's Lincoln, Les Miserables, Wes Anderson's Moonrise Kingdom, Quentin Tarantino's Django Unchained and Beasts of the Southern Wild made up the rest of the top 10.
AFI's picks come ahead of the Screen Actors Guild and Golden Globe nominations later this week. All three are likely to indicate the front-runners for the Oscars in February.
Zero Dark Thirty, which is not in cinemas yet but has been tipped for Oscar success, has already picked up accolades from the New York-based National Board of Review and the New York Film Critics Circle.
Zero Dark Thirty focuses on the role of a female CIA operative in the hunt for Osama Bin Laden
It is therefore notable The Master was absent from the AFI's list because the Los Angeles Film Critics Association honoured Joaquin Phoenix, Amy Adams and director Paul Thomas Anderson for their work on the film.
The AFI has also revealed its top 10 television shows of the year which include Mad Men, Breaking Bad, The Walking Dead, Homeland, American Horror Story and Lena Dunham's cult series Girls.
Modern Family, fantasy thriller Game of Thrones, political TV film Game Change and comedian Louis CK's show Louie were also acknowledged.
No overall winner is chosen from the lists but the creators of the films and TV shows will be celebrated at a Los Angeles event on 11 January.


 
凱薩琳畢格羅繼「危機倒數」後再以「00:30凌晨密令」問鼎奧斯卡的呼聲極高。(龍祥提供)
悲慘世界
「少年PI的奇幻漂流」在台灣拍出絕世奇景,全台票房超越「色﹒戒」的2.8億,成為李安在台最賣座的電影作品。 (福斯提供)
亞果出任務

記者封以恩/綜合報導
「少 年PI的奇幻漂流」再破紀錄!昨天台灣票房以2億8790萬正式超越「色﹒戒」的2.8億,成為李安在台最賣座的電影,全球更狂賣48.5億台幣;美國電 影學會昨天凌晨公布今年度10大佳片,「少年PI的奇幻漂流」和「林肯」、「00:30凌晨密令」、「悲慘世界」等明年奧斯卡大熱門都並列榜上,為李安再 下一城。
新宗教大師大遺珠 意外落榜
美國電影協會這次 選出的10部年度最佳電影,依官網順序分別為「亞果出任務」、「南方野獸樂園」、「黑暗騎士:黎明昇起」、「決殺令」、「悲慘世界」、「少年PI的奇幻漂 流」、「林肯」、「月昇冒險王國」、「派特的幸福劇本」和「00:30凌晨密令」;意外的是同為奧斯卡熱門選項之一的「新宗教大師」並未入列,成為遺珠。
凌晨密令超夯 愛‧慕最強外語片
接下來將進入如火如荼的奧斯卡頒獎熱季,美國電影學會的名單與今、明兩天將陸續揭曉的美國演員工會獎及金球獎提名都是著名風向球,奧斯卡女導凱薩林畢格羅執導的「00:30凌晨密令」已拿下4座影評人協會最佳影片獎項,問鼎聲勢極高。
今年坎城金棕櫚得主「愛‧慕」也勢如破竹,再度奪下華盛頓影評人協會最佳外語片,連同之前拿下的「紐約影評人協會」、「紐約線上影評人協會」、「波士頓影評人協會」及「美國國家評論協會」獎項,已在美國奪下5座最佳外語片大獎,以及「洛杉磯影評人協會」的最佳影片大獎。

2012年12月24日 星期一

Saul Steinberg

 E. H. Gombrich 有 "The Wit of  Saul Steinberg "等文 : 恰到好處
An Essay on Criticism /decorum
---溝通
complicity
(kəm-plĭs'ĭ-tē) pronunciation
n., pl., -ties.
Involvement as an accomplice in a questionable act or a crime. 文化上的可共鳴或溝通也可稱之 譬如說 Saul Steinberg 說他的圖訴之有共同文化經驗的讀者

complicity in murder
殺人の共犯.


Saul Steinberg (June 15, 1914 – May 12, 1999) was a Jewish Romanian-born American cartoonist and illustrator, best known for his work for The New Yorker, most notably View of the World from 9th Avenue.

Contents

Biography

Steinberg was born in Râmnicu Sărat, Romania. He studied philosophy for a year at the University of Bucharest, then later enrolled at the Politecnico di Milano, studying architecture and graduating in 1940. During his years in Milan he was actively involved in the satirical magazine Bertoldo.
Steinberg left Italy after the introduction of anti-Semitic laws by the Fascist government.[1] He spent a year in the Dominican Republic awaiting a U.S. visa; in the meantime, he submitted his cartoons to foreign publications. In 1942, The New Yorker magazine sponsored his entry into the United States, and thus began Steinberg's lifelong relationship with the publication. Through well over half a century working with The New Yorker, Steinberg created nearly 90 covers and more than 1,200 drawings.[2]
During World War II, he worked for military intelligence, stationed in China, North Africa, and Italy. After the war's end, he returned to work for American periodicals, merging an encyclopedic knowledge of European art with the popular American art form of the cartoon, to pioneer a uniquely urbane style of illustration.[3] Although best remembered for his commercial work, Steinberg did exhibit his work throughout his career at fine art museums and galleries. He married Romanian born abstract expressionist painter Hedda Sterne in 1944. In 1946, Steinberg, along with artists such as Arshile Gorky, Isamu Noguchi, and Robert Motherwell, was exhibited in the critically acclaimed "Fourteen Americans" show at The Museum of Modern Art.[2] He has also enjoyed a retrospective at the Whitney Museum of American Art (1978) and another posthumous one at the Institute for Modern Art in Valencia (IVAM), Spain (2002).[2]
After Steinberg's death in 1999, the Saul Steinberg Foundation was established in accordance with the artist's will. In addition to functioning as Steinberg's official estate, the Foundation is also a non-profit organization with a mission "to facilitate the study and appreciation of Saul Steinberg's contribution to 20th-century art" and to "serve as a resource for the international curatorial-scholarly community as well as the general public."[4] The Foundation has been instrumental in organizing the Saul Steinberg: Illuminations travelling exhibition, which will display original Steinberg works at various museum and galleries around the world, including Fondation Cartier-Bresson, Paris (May 6-July 27, 2008), Kunsthaus Zürich (August 22-November 2, 2008), Dulwich Picture Gallery, London, (November 26, 2008-February 15, 2009) and Museum für Kunst und Gewerbe Hamburg, (March 13-June 1, 2009).[5] The U.S. copyright representative for the Saul Steinberg Foundation is the Artists Rights Society.[6] The Saul Steinberg Foundation is represented by The Pace Gallery in New York.

See also

References

External links




索爾·斯坦伯格英語Saul Steinberg,1914年6月15日-1999年5月12日)是一個出生於羅馬尼亞美國漫畫家插畫家,他最出名的作品為《紐約客》之《從第九大道看世界》。

生平

1914年,斯坦伯格出生在羅馬尼亞,他曾在布加勒斯特大學學習一年的哲學,之後進入了米蘭理工大學學習建築,1940年畢業。在米蘭的時候,斯坦伯格積極參加社會實踐,在一個雜誌工作。
斯坦伯格離開義大利之後,義大利變成法西斯獨裁和反猶太人政府。[1]他花了一年時間在多明尼加等待美國簽證,與此同時,他給外國出版物提交了他的漫畫以獲得經濟來源。
1942年,《紐約客》雜誌贊助他進入美國,此後,斯坦伯格和《紐約客》是終身合作關係。在《紐約客》經過半個多世紀的工作,斯坦伯格創作了近90個封面和超過1200的插圖。[2]
二戰期間,他曾為美國軍隊搜集軍事情報,他駐紮在中國北非義大利。戰爭結束後,他回到美國《紐約客》期刊工作,把歐洲藝術美國藝術合併為一種卡通藝術,開創了一種獨特風格的插圖。[3] 儘管人們印象最深的是他的商業作品,但是他也經常在美術博物館和畫廊展示他的作品和創作生涯。
1944年,斯坦伯格娶了羅馬尼亞抽象表現主義畫家海達赫達·斯特恩(Hedda Sterne)。
1946年,斯坦伯格、阿希爾·戈爾基野口勇、羅伯特等的作品在現代藝術博物館被展現並且廣受好評,被譽為「十四個美國人」。[2] 他還在惠特尼美術館西班牙瓦倫西亞現代藝術研究所展出過作品。[2]
1993年,斯坦伯格逝世,隨後成立了一個非營利基金會,服務於醫藥學???。[4]




ルーマニアルムニク・サラト Râmnicu Săratブザウ県)でユダヤ人の家庭に生まれ、ブカレスト大学で1年だけ哲学を学んだ後、イタリアミラノ工科大学に転じて建築を専攻、1940年に卒業した。ミラノでは諷刺雑誌『ベルトルド』に積極的に関与したが、1942年ファシスト政権下の反ユダヤ的なイタリアを逃れて渡米。
『ニューヨーカー』誌のために表紙を85回描き、漫画やイラストを642点発表した。中でも有名なのは、同誌1976年3月29日号の表紙となったイラスト「9番街からの世界観」で、ニューヨーク市民の独善性を皮肉った内容となっている。
アメリカやヨーロッパで何度も個展を開き、漫画家とアーティストの双方に属する、ほぼ初めての作家となった。
日本でも久里洋二鈴木義司藤子不二雄真鍋博古川タク柳原良平横山泰三和田誠など多くの漫画家・イラストレーターに影響を与えた。

邦訳書 [編集]

  • 新しい世界 みすず書房 1970年 


René Clair

From Wikipedia, the free encyclopedia
Jump to: navigation, search
René Clair

René Clair and Eric Satie, 1924
Born René-Lucien Chomette
11 November 1898
Paris, France
Died 15 March 1981 (aged 82)
Neuilly-sur-Seine, Hauts-de-Seine, Île-de-France, France
Years active 1924 - 1976
René Clair (11 November 1898 – 15 March 1981) born René-Lucien Chomette, was a French filmmaker and writer. He first established his reputation in the 1920s as a director of silent films in which comedy was often mingled with fantasy. He went on to make some of the most innovative early sound films in France, before going abroad to work in the UK and USA for more than a decade. Returning to France after World War II, he continued to make films that were characterised by their elegance and wit, often presenting a nostalgic view of French life in earlier years. He was elected to the Académie française in 1960.


Feature films

Short films

  • Entr'acte (1924)http://www.youtube.com/watch?v=mpr8mXcX80Q
 In 1924, with the support of the producer Henri Diamant-Berger, Clair got the opportunity to direct his own first film, Paris qui dort (The Crazy Ray), a short comic fantasy. Before it had been shown however, Clair was asked by Francis Picabia and Erik Satie to make a short film to be shown as part of their Dadaist ballet Relâche; he made Entr'acte (1924), and it established Clair as a leading member of the Parisian avant-garde.[5]

Television

Book - The Decisive Moment



http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2TYRYD1D518O





Book - The Decisive Moment


Henri Cartier-Bresson

lisher: Editions Verve (Paris, 1952)
French title: Images à la sauvette


Book - The Decisive Moment


Henri Cartier-Bresson


About this album








Henri Cartier-Bresson 1938




FRANCE. The Val de Marne 'departement'. Joinville-le-Pont,...









Henri Cartier-Bresson 1932




FRANCE. Paris. Avenue du Maine. 1932.









Henri Cartier-Bresson 1938




FRANCE. Sunday on the banks of the River Marne. 1938.









Henri Cartier-Bresson 1932




FRANCE. Marseille. A café in Vieux-Port. 1932.









Henri Cartier-Bresson 1945




FRANCE. Loir-et-Cher. 1945. A peasant wine grower of...









Henri Cartier-Bresson 1951




ITALY. Basilicata. Acetura. 1951. A peasant funeral.









Henri Cartier-Bresson 1951




ITALY. Basilicata. Aliano. 1951.









Henri Cartier-Bresson 1933




ITALY. Tuscany. Sienna. 1933.









Henri Cartier-Bresson 1933




ITALY. Salerno. 1933.









Henri Cartier-Bresson 1933




ITALY. Florence. Piazza della Signoria. 1933.









Henri Cartier-Bresson 1933




SPAIN. Andalucia. Seville. 1933.









Henri Cartier-Bresson 1933




SPAIN. Valencia. 1933.









Henri Cartier-Bresson 1933




SPAIN. Andalucia. Seville. 1933.









Henri Cartier-Bresson 1933




SPAIN. Madrid. 1933.









Henri Cartier-Bresson 1933




SPANISH MOROCCO. Asilah. 1933.









Henri Cartier-Bresson 1933




SPAIN. Barcelona. Barrio Chino. 1933.









Henri Cartier-Bresson 1933




ITALY. Lazio. Tivoli. 1933.









Henri Cartier-Bresson 1933




SPAIN. Valencia. 1933.









Henri Cartier-Bresson 1933




SPAIN. Castille. 1933.









Henri Cartier-Bresson 1933




SPAIN. Andalucia. Grenada. Gypsies. 1933.









Henri Cartier-Bresson 1934




MEXICO. State of Oaxaca. Tehuantepec. 1934.









Henri Cartier-Bresson 1934




MEXICO. Mexico City. Prostituées. Calle Cuauhtemoctzin....









Henri Cartier-Bresson 1934




MEXICO. Mexico City. Prostituées. Calle Cuauhtemoctzin....









Henri Cartier-Bresson 1934




MEXICO. Mexico City. 1934.









Henri Cartier-Bresson 1934




MEXICO. Mexico City. Calle Cuauhtemoctzin. Newspaper...









Henri Cartier-Bresson 1932




FRANCE. Paris. Place de l'Europe. Gare Saint Lazare. 1932.









Henri Cartier-Bresson 1932




FRANCE. Marseille. The Allée du Prado. 1932.









Henri Cartier-Bresson 1934




MEXICO. Mexico City. 1934.









Henri Cartier-Bresson 1933




SPAIN. Madrid. 1933.









Henri Cartier-Bresson 1938




FRANCE. Paris. Montmartre. The visit of Cardinal PACELLI....









Henri Cartier-Bresson 1937




GREAT BRITAIN. England. London. Hyde Park in the grey...









Henri Cartier-Bresson 1937




GREAT BRITAIN. England. London. 12 May 1937.









Henri Cartier-Bresson 1937




GREAT BRITAIN. London. Coronation of King George VI. 12 May...









Henri Cartier-Bresson 1945




GERMANY. Dessau. A transit camp was located between the...









Henri Cartier-Bresson 1946




USA. New York City. 1947. A refugees boat coming from Europe...









Henri Cartier-Bresson 1946




USA. New Mexico. Taos. 1947. The death of a land-owner.









Henri Cartier-Bresson 1946




Los Angeles. Pershing Square.









Henri Cartier-Bresson 1946




USA. New York City. West Point cadets and their admiring...









Henri Cartier-Bresson 1946




USA. Massachusetts. Cape Cod. July 4th, 1947. Independence...









Henri Cartier-Bresson 1946




USA. Louisiana. New Orleans. 1947. A Cajun family near the...









Henri Cartier-Bresson 1935




USA. New York City. Manhattan. An alley in the Cuban...









Henri Cartier-Bresson 1946




USA. NYC. Harlem. 1947. Easter Sunday.









Henri Cartier-Bresson 1946




USA. NYC. Manhattan. 1947. Midnight on West 42nd Street.









Henri Cartier-Bresson 1946




USA. New York City. Manhattan. Downtown. 1947.









Henri Cartier-Bresson 1946




USA. Illinois. Chicago. 1947.









Henri Cartier-Bresson 1946




USA. Massachusetts. Boston. 1947.









Henri Cartier-Bresson 1946




USA. Fire in Hoboken, facing Manhattan. 1947.









Henri Cartier-Bresson 1946




USA. New York City. Manhattan. Near the Hall of Records....





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