ISBN编号: 9787112209392作者: John Powers纸质: 铜版纸版本: 精装开本: 16出版社名称: Rizzoli
WKW: The Cinema of Wong Kar Wai 王家卫电影艺术画册
Hardcover: 304 pages Publisher: Skira Rizzoli; 01 edition (6 Jun. 2015) Language: English ISBN-10: 0847846172 ISBN-13: 978-0847846177 Product Dimensions: 23.8 x 3.4 x 31.5 cm
内容简介:
Wong Kar Wai is known for his romantic and stylish films that explore-in saturated, cinematic scenes-themes of love, longing, and the burden of memory. His style reveals a fascination with mood and texture, and a sense of place figures prominently. In this volume, the first on his entire body of work, Wong Kar Wai and writer John Powers explore Wong's complete oeuvre in the locations of some of his most famous scenes. The book is structured as six conversations between Powers and Wong (each in a different locale), including the restaurant where he shot In the Mood for Love and the snack bar where he shot Chungking Express. Discussing each of Wong's eleven films, the conversations also explore Wong's trademark themes of time, nostalgia, and beauty, and their roots in his personal life. This first book by Wong Kar Wai, lavishly illustrated with more than 250 photographs and film stills and featuring an opening critical essay by Powers, is as evocative as walking into one of Wong's lush films.
当看到新跟知名的艺术时尚出版社Rizzoli出版的这本《WKW: The Cinema of Wong Kar Wai》这本书时如获至宝,就来和大家仔细介绍一下这本书,相信会刷家王家卫认识。王家卫是比侯孝贤更为依赖「感觉」去创作的作者。这本访谈录的发起者便是他自己,是他送给他二十一岁儿子的一份礼物,想让他这位心爱的就读于加州伯克利大学工学专业的儿子了解下父亲三十年来究竟在干些什么──在这本书出版之前,父亲的作品,儿子只看过《一代宗师》与《花样年华》。主动出书的动机决定了王家卫必然是以敞开心扉的态度畅聊自己的人生与作品,访谈者约翰·鲍尔斯(John Powers)也是王家卫精心挑选的人。文化批评家鲍尔斯是王家卫相识几十年的挚友,他是《Vogue》《纽约时报》《华盛顿邮报》《洛杉矶周报》的专栏作者,电影与政治是他特别擅长的两个批评领域。王家卫选择用英语来作人生回顾,这里面可能也有一些特别的原因。我猜测,王家卫的英语水平当然没有到杨德昌那样可以用来思维的程度──那么爱写对白的他无比遗憾地没有亲自为《蓝莓之夜》写对白,就是因为语言还没掌握自如到那个程度──但他用英语来交流、表达内心想法基本无碍。而通过非母语的方式来回顾人生,其实带有一种强烈的客观自省意味,同时还有一种王家卫式的朦胧感,酷似他那些带有强烈印象主义风格的模糊镜头。当然因为这本书是献给他儿子的,对他儿子的成长背景来说,英语应该是更容易被接受。以上几个要素决定了这本访谈录的珍贵价值,对于渴望了解王家卫生平与创作轨迹的读者来说,这本书是不容错过的饕餮大餐。本书的结构与通常的导演访谈录大体相当,篇章是鲍尔斯亲自撰写的由37篇小短文构成的王家卫作品综述,。演员对王家卫来说至关重要,他永远是先确定演员,再确定演员演什么。《上海来的女人》后之所以搁浅,就是因为妮可·基德曼实在没有档期,而王家卫不愿意换演员,因为他当时构思的发生在上海的俄国间谍「故事」就是围绕基德曼展开的,基德曼那张脸给了他无限的灵感(这有点类似费里尼的创作方法了,本书有个章节就叫《阿玛柯德》)。王家卫喜欢明星,但更喜欢让明星去除表演,当被问道为何不直接用非职业演员时,他说让明星不表演和非职业演员不表演,这是两回事。 他训练演员的方法也很特别,他喜欢在片场放音乐,演员身体的节奏根据音乐来自动调节。对王家卫来说,影片开拍的过程,就是寻找能够带给他灵感的空间,让角色在这个空间中活动。所以就像王家卫自己说的,他所有的电影其实都是公路电影,都是在漫游寻找的过程。