对比 母与子 & 十个天空 | 电影景观与古典主义绘画

Question: 在过去的四个星期中，我们比较了电影和风景的绘画表现形式。 在本周的两部电影中，与诸如Caspar David Friedrich（代表Aleksandr Sokurov）和John Constable（约翰·康斯特勃）的人有关系。 ）（代表詹姆斯·本宁）画家有很多相似之处。 但是这两部电影有何相似之处？ 其中一部可以用来映射另外一部吗？(Martin Hogue)

Over the past 4 weeks, we have drawn parallels between cinematic and painterly representations of landscape. There are important parallels to be drawn in this week's 2 films with painters like Caspar David Friedrich (for Aleksandr Sokurov) and John Constable (for James Benning). But what about parallels between the 2 films? Can one be used as a lens to examine the other? (Martin Hogue)

对于这两部电影，我认为他们都探索了观众与电影的分离关系，激发了观者感知时间，和思考人与自然关系的新方式。

我非常喜欢James Benning的《Ten skies》。当场景只聚焦于16mm的浮空和云层的声音时，我对光影的细微变化，透明和不透明的移动，云层的柔和纹理以及时间的流逝能拥有更加纯粹的感受。这部电影的影像大多是云彩，代表自然以缓慢的速度变化。屏幕外的各种碰撞声，创造了无数画面之外的可能性和想象力，

麦克唐纳（MacDonald）（2007）的论文解释说，所有声音都是故意添加的，并且也是本宁思想的表达，这种思想向我们展示了“反射性的宁静”。与母子俩刻意的构图不同，我喜欢它以单一的图像元素向我展示“自然的具体图片”的方式，极大地丰富了观众的体验。在云层变化的过程中，观众可以更好地感受自己的情绪，照片和对话。相机的静止状态可以看作是故意留出发人深省的空白，从而激发了观众对超出场景的想象。地面上发生了什么，为什么咆哮的枪声和狗的声音，无论是枪声还是烟花，是否有团体在攻击团体，还是有狗，还是狗在保护某个人？

“行动展开的速度”为我们提供了宝贵的客观视角。我们正在看谁的眼睛？战场是在云层下面还是在云层后面？几千年来人类文明的发展是否像一团流动的云一样转瞬即逝？本宁为我们提供了一种独特的方式，将景观，乡村和野蛮环境视为场所，促使我们从美学和社会经济角度思考自然与人类世界之间的关系。

至于苏库洛夫的《母与子》，他非常勇于创造沉默。导演镜头中的紧张感如此直接地打动了观众的心，同时放慢了镜头移动的步伐，对痛苦和生命感到敬畏。因为寂静，空间感得到了增强；正是由于速度慢，这部电影才具有了伟大的诗意，这诱使我们产生情感来感受和充实时间。整部电影就像一块皱巴巴的帆布，或者在水浪中扭曲的反射，到处都是绿色，云朵，人流，流淌的感觉。导演为我们描绘了母亲生命的尽头时光和感觉。可移动的景深镜头增加了三维感，通过视觉上令人沮丧的疏离感，使电影的诗歌充满了巨大的孤独感和灿烂的悲剧感。死亡是瞬间的，如此之薄以至于像镜子一样。

关于放映方式，导演对色彩和光线有惊人的控制力。然而，看似无法接近的空旷荒地总是​​让人感到窒息。好像整个荒地只是一个小木屋。母亲周围的自然空间和物理空间就像监狱一样，同时又将心理投射到儿子身上。在时间感知方面，我对儿子抱着母亲走进荒原的树木和乌云的场面印象深刻。他们坐在干草堆里。儿子拥抱了这位苍白的母亲，忍不住再看一眼。母亲在儿子的肩膀上睡着了，转过头哭泣。那一刻时间被冻结了。无可挽回的无助变成永恒，只有凄凉的阵阵哀鸣。一秒钟的时间取决于我们在情绪和节奏上的感觉。

母亲和死亡的背后是人类面对死亡时人类的普遍共性，时间自然如此微弱。这位母亲说：“人们无缘无故生活，但死于某些原因。”那一刻，我内心感到恐惧。因为她的一生不再像上帝的礼物那样天赋，只有痛苦，纠缠和永无止境的日子。面对死亡，我感到自己的生活无限虚无，微弱至只有母亲的一面。

For both films, I think they both explored the viewer's sense of detachment from the film while slowing downtime in silence, the way we perceive time, perceive and think about nature has also been changed.

I love Benning ’s Ten Skies. When scenes only focused on the floating and sounds of the clouds on 16mm, I got purer feelings about subtle changes of light and shadow, the shifting of transparent and opaque, the soft textures of the clouds, the slowing flow of time. The images of this film are mostly clouds representing nature changing at a slow rate. Offscreen, the diverse clash sounds, create countless possibilities and imaginations about the hustle and bustle of this world,

MacDonald's (2007) paper explains that all sounds are intentional additions and are also expressions of the Benning's thoughts which showed us “reflective serenity”. Different from the more deliberate composition of mother and son, I love the way it showed me "a concrete picture of nature" with a very single image element, which enormously enriching the viewer’s experience. The audience can better feel their emotions, pictures and dialogue with themselves during the clouds’ changing process. The immobility of the camera can be regards as leaving a thought-provoking blankness intentionally, which catalyze the viewer’s imagination about what was going beyond the scenes. What was happening on the ground, why the roaring gunfire and dogs sounds, whether it was gunfire or fireworks, is there groups were attacking groups, or dogs, or dogs were protecting some person?

“The pace at which the action unfolds” provides a valuable objective perspective for us. Whose eyes are we looking through? Is the battlefield below or behind the clouds? Does the development of human civilization for thousands of years seem fleeting to the earth like a piece of flowing cloud? Benning provides us with a unique way to see the landscape, the rural and savage environment as places, catalyzing us to think about the relationship between nature and the human world in both aesthetical and socioeconomic terms.

As for Sokurov’s Mother and Son, he is so brave to creates layers of silence. The tension in the director's shot hit viewer’s hearts so directly while slowing down the moving of shots with a sense of awe for suffering and life. It is because of the silence, a sense of space was enhanced; it is because of the slow speed, the film has a great poetic meaning, which tempts us to generate emotions to feel and fill the time. The whole film is so like a crumpled canvas, or some twisted reflections in the water waves, with flowing green, flowing clouds, flowing people, flowing feeling everywhere. The director paints the little bit of time and feeling at the end of the mother’s life for us. The moving depth-of-field lens adds three-dimensionality, through the visually depressing alienation, the film's poetry is mixed with a huge sense of loneliness and splendid sense of tragedy. Death is instantaneous, so thin that just like a mirror.

About the way of screening, the director has amazing control over color and light. The seemingly inaccessible empty wasteland, however, always felt a low level of suffocation with people. It's as if the entire wasteland is just a small hut. The natural and physical space about the mother is so like a physical prison, while creating the mental projection onto the son. In terms of time perception, I was very impressed with the scene of flowing trees and dark clouds behind my son holding his mother into the wasteland. They sat down in the haystack. The son embraced the pale mother and couldn't bear to look at it again. The mother fell asleep on the son's shoulders and turned his head to sobly weep. Time was frozen at that moment. There was only a desolate wind whining while the irreversible helplessness becomes eternity. The length of a second depends on how we feel him in our mood and rhythm.

Behind the image of the mother and death is the ordinary commonality of humans when individuals face death, time is naturally so weak. “people live for no reasons but they die for some reasons”, the mother said. At that moment I felt horror in my heart. For her life was no longer a gift like a gift of God, only pain, entanglement and never-ending days. In the face of death, I felt my life infinitely nothingness, so faint that it could only be felt by the side of the mother.