در فیلم‌هایم همیشه می‌خواستم تماشاگران را وادار کنم که عمیق ببینند.
من نمی خواهم چیزها را نشان دهم، بلکه می خواهم در تماشاگر،
میلِ به دیدن را بر انگیزانم.
In my films I always wanted to make people see deeply.
I don't want to show things, but to give people the desire to see.
#AgnesVarda
#DocsOnCinema
@DocsOnArtAndArtists
من نمی خواهم چیزها را نشان دهم، بلکه می خواهم در تماشاگر،
میلِ به دیدن را بر انگیزانم.
انیس وارداIn my films I always wanted to make people see deeply.
I don't want to show things, but to give people the desire to see.
#AgnesVarda
#DocsOnCinema
@DocsOnArtAndArtists
دنیا به من تعلق داشت،
(ولی) فکر نمی کنم که شغلی داشتم.
#AgnesVarda
#DocsOnCinema
@DocsOnArtAndArtists
(ولی) فکر نمی کنم که شغلی داشتم.
انیس واردا#AgnesVarda
#DocsOnCinema
@DocsOnArtAndArtists
📎🎬
جمله‌ای منتسب به همفری بوگارت هنرپیشه مشهور دوران کلاسیک سینماست که در کنایه به مارلون براندو گفته؛
«…ما که با کت‌وشلوار تاکسیدو و اسموکینگ وارد سینما شدیم، سرانجام‌مون این شد، اینا که با عرق‌گیر و شلوار پاره‌وپوره اومدن چه عاقبتی خواهند داشت…!»
اگر بخشی از این حرف‌های بوگارت را به حساب «حسادت» نگذاریم، به یک واقعیت ملموس در سینما می‌رسیم که پس از دوران کلاسیک و عصر طلایی‌اش، وارد عرصه سینمای اجتماعی شد که قهرمانانش، دیگر توجهی به ظاهر و پوشش خود نداشتند. 👇
#DocsOnCinema
جمله‌ای منتسب به همفری بوگارت هنرپیشه مشهور دوران کلاسیک سینماست که در کنایه به مارلون براندو گفته؛
«…ما که با کت‌وشلوار تاکسیدو و اسموکینگ وارد سینما شدیم، سرانجام‌مون این شد، اینا که با عرق‌گیر و شلوار پاره‌وپوره اومدن چه عاقبتی خواهند داشت…!»
اگر بخشی از این حرف‌های بوگارت را به حساب «حسادت» نگذاریم، به یک واقعیت ملموس در سینما می‌رسیم که پس از دوران کلاسیک و عصر طلایی‌اش، وارد عرصه سینمای اجتماعی شد که قهرمانانش، دیگر توجهی به ظاهر و پوشش خود نداشتند. 👇
#DocsOnCinema
📎🌫
امیر نادری (زادهٔ ۷ خرداد ۱۳۲۴)
https://fa.wikipedia.org/wiki/امیر_نادری
#DocsOnCinema
@DocsOnArtAndArtists
امیر نادری (زادهٔ ۷ خرداد ۱۳۲۴)
https://fa.wikipedia.org/wiki/امیر_نادری
#DocsOnCinema
@DocsOnArtAndArtists
Wikipedia
امیر نادری
کارگردان و فیلمنامه نویس سرشناس
Lumière!
The Adventure of Cinema Begins
Thierry Frémaux
(پستِ بالا جدا از سنگینی‌ِ فایل،
زیرنویس انگلیسی هم ندارد)
Anyone interested in the history of cinema and the power of the filmed image should watch Lumiere!, a fascinating montage of restored 50-second movies shot by the Lumiere brothers and their team of cameramen between 1895 - the year of their first public screening in Paris - and 1905.
Edited and commented by Cannes artistic director, Thierry Fremaux, this eye-opening selection of 108 films, ranging from documentary sequences, to staged comic sketches to what could be the first-ever car stunt (prosthetics included), is essential to understanding both the origins of moviemaking and how much the Lumieres contributed to the birth of a new art form.
Silent film purists may take issue with the fact that Fremaux - who heads up the Lumiere Institute film preservation center in Lyons - opted to provide a running commentary for all the footage, along with a musical score with works by French Romantic composer, Camille Saint-Saens (whose Le Carnaval des Animaux accompanies the animated logo for the Cannes festival).
But Lumiere! is perhaps less destined for specialists of early cinema, than for students or cinephiles, allowing them to see some of the world’s first movies on the big screen, while learning a few things in the process.
To that extent, Fremaux’s analysis and explanations are very much welcome, beginning with details about how Louis and August Lumiere - two Lyonnais brothers who, along with their father, ran a photographic plate manufacturing business - tested their prototype movie camera (the Cinematograph) by filming workers exiting their factory at the close of the day.
That movie, entitled Sortie des Usines Lumiere a Lyon, is now considered the first in a series of 1,422 films they would shoot over the following decade - although Fremaux demonstrates that there are actually three different versions of the “first film,” and that what was supposed to be a simple documentary scene, was shot several times in order to get it just right.
The notion that the Lumieres didn’t randomly shoot things, but that they paid specific attention to staging, framing, lighting, perspective, and camera movement - that they were, in essence, directing - runs through the rest of the movies presented, with Fremaux pointing out details of the mise-en-scene techniques on display.
In one film, featuring August Lumiere’s daughter playing with a cat, we see an early use of the close-up well before D.W. Griffith employed it in The Birth of a Nation.
In films shot in Paris and Marseilles, we see how the Lumieres designed the first lateral tracking shots, by fixing the camera on a train, boat, or streetcar to reveal the passing landscape (the shots were known as “panoramas”).
Other movies, such as a flood scene in Lyon or a scene of laundresses working by a river, underline the crucial importance of camera position and placement in capturing the totality of an event.
Fremaux also shows how the Lumieres were some of the first filmmakers to direct comedy, beginning with the famous The Gardner, sketch that they would shoot several versions of over the years, with each one improving on the precedent.
For those movies timing was essential, and in several other early comedies - including a few where they inserted knee-slapping spectators into the frame, in what looks like a primitive example of the laugh track - we can see how the directors made the most out of the short time frame, their film stock allotted them.
Fremaux makes anything clear in his survey, it’s that the Lumieres were not only cinema pioneers — they were perhaps the first auteurs.
Stream with Eng Sub:
https://www.youtube.com/watch?v=UnwXtqhEvxw
#DocsOnCinema
@DocsOnArtAndArtists
The Adventure of Cinema Begins
Thierry Frémaux
(2016 - 90 min - Eng Sub)
(پستِ بالا جدا از سنگینی‌ِ فایل،
زیرنویس انگلیسی هم ندارد)
Anyone interested in the history of cinema and the power of the filmed image should watch Lumiere!, a fascinating montage of restored 50-second movies shot by the Lumiere brothers and their team of cameramen between 1895 - the year of their first public screening in Paris - and 1905.
Edited and commented by Cannes artistic director, Thierry Fremaux, this eye-opening selection of 108 films, ranging from documentary sequences, to staged comic sketches to what could be the first-ever car stunt (prosthetics included), is essential to understanding both the origins of moviemaking and how much the Lumieres contributed to the birth of a new art form.
Silent film purists may take issue with the fact that Fremaux - who heads up the Lumiere Institute film preservation center in Lyons - opted to provide a running commentary for all the footage, along with a musical score with works by French Romantic composer, Camille Saint-Saens (whose Le Carnaval des Animaux accompanies the animated logo for the Cannes festival).
But Lumiere! is perhaps less destined for specialists of early cinema, than for students or cinephiles, allowing them to see some of the world’s first movies on the big screen, while learning a few things in the process.
To that extent, Fremaux’s analysis and explanations are very much welcome, beginning with details about how Louis and August Lumiere - two Lyonnais brothers who, along with their father, ran a photographic plate manufacturing business - tested their prototype movie camera (the Cinematograph) by filming workers exiting their factory at the close of the day.
That movie, entitled Sortie des Usines Lumiere a Lyon, is now considered the first in a series of 1,422 films they would shoot over the following decade - although Fremaux demonstrates that there are actually three different versions of the “first film,” and that what was supposed to be a simple documentary scene, was shot several times in order to get it just right.
The notion that the Lumieres didn’t randomly shoot things, but that they paid specific attention to staging, framing, lighting, perspective, and camera movement - that they were, in essence, directing - runs through the rest of the movies presented, with Fremaux pointing out details of the mise-en-scene techniques on display.
In one film, featuring August Lumiere’s daughter playing with a cat, we see an early use of the close-up well before D.W. Griffith employed it in The Birth of a Nation.
In films shot in Paris and Marseilles, we see how the Lumieres designed the first lateral tracking shots, by fixing the camera on a train, boat, or streetcar to reveal the passing landscape (the shots were known as “panoramas”).
Other movies, such as a flood scene in Lyon or a scene of laundresses working by a river, underline the crucial importance of camera position and placement in capturing the totality of an event.
Fremaux also shows how the Lumieres were some of the first filmmakers to direct comedy, beginning with the famous The Gardner, sketch that they would shoot several versions of over the years, with each one improving on the precedent.
For those movies timing was essential, and in several other early comedies - including a few where they inserted knee-slapping spectators into the frame, in what looks like a primitive example of the laugh track - we can see how the directors made the most out of the short time frame, their film stock allotted them.
Fremaux makes anything clear in his survey, it’s that the Lumieres were not only cinema pioneers — they were perhaps the first auteurs.
Stream with Eng Sub:
https://www.youtube.com/watch?v=UnwXtqhEvxw
#DocsOnCinema
@DocsOnArtAndArtists
YouTube
Lumière! (2016)
Cannes topper Thierry Fremaux presents and comments a selection of restored 50-second films made by cinema pioneers the Lumiere brothers between 1895 and 1905.
Anyone interested in the history of cinema and the power of the filmed image should watch Lumiere!…
Anyone interested in the history of cinema and the power of the filmed image should watch Lumiere!…
📎🎬
آلیس گی-بلاشی (فرانسوی: Alice Guy-Blaché؛ ۱ ژوئیهٔ ۱۸۷۳ – ۲۴ مارس ۱۹۶۸) تهیه‌کننده، هنرپیشه و کارگردان اهل فرانسه بود. وی بین سال‌های ۱۸۹۴ تا ۱۹۲۲ میلادی فعالیت می‌کرد.
او که نخستین کارگردان زن به شمار می‌آید، آثاری خیال‌انگیز پدید آورد و حتی استودیوی فیلم‌سازی خود را بنا نهاد.
او اولین کارگردان زن سینما بوده، و از اولین کارگردانان سینما نیز محسوب می‌شود. برخی منابع ساخت اولین فیلم داستانی سینما را نیز به او نسبت می‌دهند.
https://fa.wikipedia.org/wiki/آلیس_گی-بلاشی
https://www.dw.com/fa-ir/آلیس-گی-نخستین-فیلمساز-زن-جهان/a-50065151
https://en.wikipedia.org/wiki/Alice_Guy-Blaché
#DocsOnCinema
@DocsOnArtAndArtists
آلیس گی-بلاشی (فرانسوی: Alice Guy-Blaché؛ ۱ ژوئیهٔ ۱۸۷۳ – ۲۴ مارس ۱۹۶۸) تهیه‌کننده، هنرپیشه و کارگردان اهل فرانسه بود. وی بین سال‌های ۱۸۹۴ تا ۱۹۲۲ میلادی فعالیت می‌کرد.
او که نخستین کارگردان زن به شمار می‌آید، آثاری خیال‌انگیز پدید آورد و حتی استودیوی فیلم‌سازی خود را بنا نهاد.
او اولین کارگردان زن سینما بوده، و از اولین کارگردانان سینما نیز محسوب می‌شود. برخی منابع ساخت اولین فیلم داستانی سینما را نیز به او نسبت می‌دهند.
https://fa.wikipedia.org/wiki/آلیس_گی-بلاشی
https://www.dw.com/fa-ir/آلیس-گی-نخستین-فیلمساز-زن-جهان/a-50065151
https://en.wikipedia.org/wiki/Alice_Guy-Blaché
#DocsOnCinema
@DocsOnArtAndArtists
Wikipedia
آلیس گی-بلاشی
بازیگر، تهیه‌کننده، و کارگردان فرانسوی
Forwarded from Take II (برداشت ۲ )
📎
https://t.me/DoCumentarieSTake2/8980
از چند روز پیش صدها عکس از آرشیو کاخ گلستان در ایران به بیرون درز کرد. عکس‌هایی از دوران قاجار که سال‌ها فقط به بعضی پژوهشگران و افراد خاص اجازه دسترسی به آنها داده شده بود. این عکس‌ها از اولین تصاویر موجود بعد از اختراع دوربین عکاسی به شمار می‌روند و توجه زیادی به خود جلب کرده‌اند.
در ادامه. حدودِ ۳۰ پست در موردِ عکاسی و سینما
(و شاملِ ۴ فیلم) از دوران قاجار
#DocsOnPhotography
#DocsOnCinema
@DocsOnArtAndArtists
https://t.me/DoCumentarieSTake2/8980
از چند روز پیش صدها عکس از آرشیو کاخ گلستان در ایران به بیرون درز کرد. عکس‌هایی از دوران قاجار که سال‌ها فقط به بعضی پژوهشگران و افراد خاص اجازه دسترسی به آنها داده شده بود. این عکس‌ها از اولین تصاویر موجود بعد از اختراع دوربین عکاسی به شمار می‌روند و توجه زیادی به خود جلب کرده‌اند.
در ادامه. حدودِ ۳۰ پست در موردِ عکاسی و سینما
(و شاملِ ۴ فیلم) از دوران قاجار
#DocsOnPhotography
#DocsOnCinema
@DocsOnArtAndArtists
Telegram
maani petgar in DoCs, TakE II (مستند، برداشت ۲)
🔻از چند روز پیش صدها عکس از آرشیو کاخ گلستان در ایران به بیرون درز کرد. عکس‌هایی از دوران قاجار که سال‌ها فقط به بعضی پژوهشگران و افراد خاص اجازه دسترسی به آنها داده شده بود. این عکس‌ها از اولین تصاویر موجود بعد از اختراع دوربین عکاسی به شمار می‌روند و توجه…