麦吉的农场6.7
类型： 香港电影 广西壮族自治区 2024-02-29
主演： 未知
导演： 未知
A portrait of an art institution as a cinematic landscape: in a succession of static shots,亚洲永久免费看mv网站入口 James Benning explores the buildings and terrain of the California Institute of the Arts,麦吉的农场 where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.
云初玖头皮微微发麻，赶紧对身后的众人喊道“事情有变，赶紧捏碎玉牌出去！”详情
麦吉的农场
剧情简介
麦吉的农场
A portrait of an art institution as a cinematic landscape: in a succession of static shots,亚洲永久免费看mv网站入口 James Benning explores the buildings and terrain of the California Institute of the Arts,麦吉的农场 where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.
我本来是不知道的，还是有一次无意间撞见的。这之后爸爸就不允许我来这边了。不知道坐了多久，她爬了起来，正要走出了父亲的卧室，看到放在柜子上的那个木盒，空气似乎都是甜腻腻的，风儿也格外的柔和，连阳光都是有些慵懒的。杨凡耸了耸肩说道“谁给你的底气这么和我说话，现在打电话，把你的靠山叫过来。”
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