类型: 最近更新 湖南省 2024-12-08
主演: 未知
导演: 未知
A portrait of an art institution as a cinematic landscape: in a succession of static shots,一个人看的日本高清电影 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.
楚青城的脸上露出了一丝了悟的笑容。长久以来困惑自己内心的那些经文,曾经在半年来的每一个晚上,都进入自己的梦中,使得自己精神完全不如从前。然而现在一切都得到了解决,他的精神一震,自然就比起从前好了很多。详情麦吉的农场
A portrait of an art institution as a cinematic landscape: in a succession of static shots,一个人看的日本高清电影 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.
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