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《苏菲的广场》(Sophie's.Place)1983-1986 美国动画[DVDRip]

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  • 摘要:
    发行时间1986年
    语言英语
  • 时间: 2009/10/04 10:21:55 发布 | 2009/10/08 00:34:25 更新
  • 分类: 动漫  剧场动画 

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中文名苏菲的广场
英文名Sophie's.Place
资源格式DVDRip
版本1983-1986 美国动画
发行时间1986年
导演Larry.Jordan
地区美国
语言英语
简介

IPB Image




一部很是艺术的动画。很难看得懂讲些什么。

这部动画是从国外转过来的,我也正在下载中。喜欢的就看看吧,源有点少。

Larry Jordan - Sophie"s Place (1983-86).avi
Tamaño....: 699 MB (or 716,316 KB or 733,507,584 bytes)
------------------ Video ------------------
Codec.....: XviD
Duración..: 01:21:14 (121,848 fr)
Resolución: 576x432 (1.33:1) [=4:3]
Bitrate...: 1105 kb/s
FPS.......: 25.000
------------------ Audio ------------------
Codec.....: 0x0055(MP3) ID"d as MPEG-1 Layer 3
Bitrate...: 90 kb/s (45/ch, stereo) VBR


拉里约旦

心灵的神奇景观是什么使旧金山的漫画家拉里约旦独特的工作,引人注目。 由于为工作的复杂又怀旧的浪漫味道跨世纪插图,乔丹创造了一个神奇的宇宙工作使用旧钢版画和珍藏的纪念品。他50到潜意识年的追求使他在电影史上的地方作为一个多产在启航动画到超现实主义的内在的自我心理。

在科罗拉多州丹佛市,出生于1934年,约旦被介绍给电影制作的斯坦克基,对美国实验电影的开拓者之一。 作为同学,他们开始调查拍摄“心理剧”,这是自由联合的梦想图像的形式使用的可能性。 约旦最早的电影, 其中爱德华 (1952) 浪漫之旅的一个使用在当时的风格组装色情视觉提述,时尚经典学校“俄罗斯蒙太奇。” 克基在这片他的演艺生涯,同时试行心理冒险在整个20世纪50年代一样,其他早期的实验电影,如玛雅黛伦。

超现实主义和拼贴
约旦出席了1951至1953年,他成为吸引最多的超现实主义画家恩斯特工作的哈佛大学。 他还回忆说,由于他与大学电影社会的积极参与,正由另一超现实主义,让科克托,特别是诗人的血液工作的影响。 但它是通过他的恩斯特的拼贴小说, 女性阅读无头/女100头和幸福的一周,启发他收集版画,然后refilming到了后来成为他的第一个实验,他们的拼贴画。 当时,实验电影制片人常常看着他们寻求艺术和诗歌的世界,创造一个新的薄膜类的语言使用的历史参考。



在20世纪50年代,约旦花费在纽约下东城的斯坦克基时间/的亭院,在那里他有机会会见美国collagist和超现实主义约瑟夫康奈尔。 1955年至1965年间,约旦研究与讨论,康奈尔,谁一直是他的精神导师工作的一种合作。康奈尔,在尼亚克,在1903年纽约纽约出生,曾在开业前,飞利浦学院视觉碎片收集自己的职业生涯迷恋浪漫的语言从文学,舞蹈,艺术及电影出版物拼贴创造的杰作,在他的立体方块高潮。 康乃尔大学,也是在最大会计师事务所的工作和超现实主义有兴趣,也提出了超现实主义电影三部曲:Cotillion,午夜党和儿童的党。约旦康奈尔美好的回忆作为一个文化古怪,热情的范畴内,参与他的诗“独白”。

一个个人愿景
如同许多其他的他那个时代的实验电影,约旦开始实施自己的出色,在20世纪60年代的风格。 他的个人目标是在双协奏象征(1964)由Ernst严重影响。 这9分钟的电影作为背景使用的雕刻,虽然无故事本身,约旦联系的移动事件的无意识链。 这种移动拼贴他赢得了不少奖项节日及为香港的更加雄心勃勃的工程的方法来。

而消费开支与康奈尔大学的夏天,约旦3使用软,抒情动画- 梦商人 , 粉红猪和Gymnopede -都在使用知名的音频轨道短片。 1969年,他开发出了被认为是他最好的电影, 我们对球夫人之一。 这部电影把它从西藏度亡书的主题和纯粹的结构,这种技术最适合约旦的微调,依靠人才,直观的电影。

在70年代,约旦在国际画廊展出和专业电影院。 这是一位多产的时间,其中他的注意了多部电影。

韵古代水手的基础上,Coldridge诗,曾作为叙述者奥森威尔斯。 古斯塔夫多雷的插图形式自由的复杂列车的视觉成分思想情绪和感觉到织有关通过自由协会提出。



到了80年代,约旦,在他的工艺,掌握一手了苏菲的广场 ,1983年至1987年有84分钟的专题。 单框129,600图像围绕在“君士坦丁堡的圣索菲亚清真寺。”同样,美术雕刻复杂的世界中与神秘的树木和城堡交错,而对象通过迅速改变蒙太奇的对象,使沉浸在观众的视觉网络的经验。 就像意识冥想流,这部史诗反映了索菲亚,智慧女神,包括剪纸,从维多利亚打印到Daliesque梦想不等。 这种可怕的技术可以让电影展现在一个神奇和神秘的方式。

在这个时候,约旦开始关注彩色版画。 他的短暂期间,片, 伪装唤起一个悲剧性的,浪漫的气氛,而月光奏鸣曲要求提出了抒情的感觉。 由于每部电影,约旦试图改造和人类一样的空间物体可能会改变自己的生活。 每个电影旅程使用一组符号,征求改造思想和情感。 约旦认为,他的所有电影来自集体无意识,不仅在原型或特定的符号计算,但在这样的仪式,邪教和宗教习俗的碎片在整个人类历史上镜条件。

1990年,约旦另一个经典可见汇编 ,一个17分钟的工作了两年半的时间进行,涉及到在一个神秘的热气球之旅田园之旅。 在这里,他也开始集中在健全的拼贴收集音频零零碎碎的,因为他的照片一样。这本身就是减少到配乐,其中混合认可并且无法识别声音的电影,使之成为真正的“简编”。 这部影片是由一个无名的意义和光碎片片段构建了一种困惑-光被所有影视基地-在约旦希望观众去发现发挥个人倾向他在这些影片本身的意义。 今天, 可视汇编成仍然是未知的秘密,重要的实验。


他的下一部电影,约旦决定利用动画和(多数)生活在同对意象诗人高清(希尔达杜利特尔)的工作部分的形式混合的biodocumentary行动技巧,尤其是,她的诗“全封闭的定义。” 房屋署三部曲包括当代诗人乔安娜竹件短拍摄行程,她通过遗址和地中海村,企图着迷杜利特尔的本质。 出生在宾夕法尼亚州,高清花间英格兰和欧洲文艺界她成年了。 她死于77岁,1961年“全封闭定义”是她的最后一首诗。 约旦背后的电影的想法是鼓励观众去发现,诗人和她的工作的重要性。

今天,拉里约旦任教于旧金山艺术学院,并继续为他的拼贴成动画的可能性终身搜索。 他收集了两个项目的更多雕花玻璃碎片和视觉众议院和卡巴拉 。 日报网环球在线这些电影,他花了10年完成,但忍耐是在约旦工作的拉里美德。 这两部电影的打算,使图像查看神秘轮,因为他的利益留在spirtiual神秘主义的深层境界,从古代埃及,通过中世纪卡巴拉到现在。 他似乎是一项艰巨的任务在他的前面。

当没有在从事艰苦帧由帧动画的过程中,约旦工程作为动能,从他的电影相同的材料三维箱雕塑家。 有人可能会认为他在电影艺术作品扭转。 有一件事是肯定的,约旦已经使美术拼贴技术的顶峰认为他的职业生涯。

成龙莱杰是圣莫尼卡的纪录片制片人在美国实验电影的根源感兴趣。

拉里约旦影




1953年
Morningame,无声,黑白,6分钟。

1954年
孩子的手 ,黑白,7分钟。
人是在疼痛 ,黑白,4分。

1956年
Trumpit,黑白,6分钟。
3,黑白,6分钟。
暗潮 ,7分。

1957年
Waterlight,7分。

1958年
三联四部分 ,12分钟。

1959年
足球游戏 ,黑白,5分钟。
米纳瓦看起来从舞台到十二生肖 ,黑白,6分钟。

1960年
赞美诗在太阳赞美 ,8分。
沙龙的画像 ,7分钟。
月亮的药草 ,沉默,3分。
在季节的变化:去考虑 ,无声,黑白,7分钟。

1962年
在40和1夜,或尔杰斯的说教尼克 ,6分钟。
马戏野人 ,无声,彩色和黑白,150分钟。
* 伊妮德的田园诗 ,B&W的(绿色色调),11分钟。

1963年
Shomio,3分。
* 粉红猪 ,黑白,3分。

1964年
一个浪漫的风险 ,黑白,8分。 1952年开始生产。
* 双协奏 ,黑白,9分钟。 1961年开始生产。
* 梦商人 ,黑白,3分。
Rodia - Estudiantia,4分钟。
大苏尔:女士来说 ,3分。
杜琪峰 ,3分。
宝石面 ,6分钟。

1965年
* Hamfat合成孔径雷达 ,黑白,15分钟。

1966年
的老房子 ,传递,黑白,45分钟。
* Gymnopedies,黑白(蓝色色调),6分钟。

1969年
希尔杜和魔术师 ,黑白,70分钟。 1967年开始生产。
* 圣母的球 ,10分钟。

1970年
生活正在死亡 ,黑白,9分钟。

1972年
西藏宗教艺术 ,28分钟。 1970年开始生产。

1973年
Plainsong,7分。
杂草 ,3分。
* 天体 ,5分钟。

1974年
* 曾有一段时间里 ,12分钟。

1976年
的幻影 ,50分钟。 1974年开始生产。

1977年
* 古水手 ,42分钟里梅 。 布哈里奥森威尔斯。

1978年
* 祖先 ,黑白,5分钟。

1979年
视野的城市 ,黑白(怀旧色彩),9分钟。 1957年开始生产。
康乃尔大学 ,1965年,8分。 1965年开始生产。
* 月光奏鸣曲 ,5分钟。

1980年
* 查找的Fortenight,无声,黑白,9分钟。

1981年
* 化妆舞会 ,5分钟。

1983年
洋红色革律翁 ,35分钟。,1981年开始生产,包括:
· 慢板 ,8分。
· 在夏日花园 ,15分钟。
· 冬之光 ,9分钟。


苏菲的地方 (1986)
礼貌拉里约旦

1986年
* 苏菲的广场 ,84分钟。 1983年开始生产。

1988年
挂毯 ,18分钟。

1990年
* 看得见的汇编 ,17分钟。

1992年
黑木霉 ,黑白(怀旧色彩),45分钟。

1993年
小树林 ,黑白(橙色色调),45分钟。

1994年
今日之星 ,B&W的(橙色色调),25分钟
Larry Jordan

Fantastic landscapes of the mind is what makes the unique work of San Francisco animator Larry Jordan so compelling. With a taste for nostalgic romanticism for intricate turn-of-the-century illustrations, Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.

Born in Denver, Colorado, in 1934, Jordan was introduced to filmmaking by Stan Brakhage, one of the pioneers of American experimental film. As classmates, they began to investigate the possibilities of filmed "psychodrama," a form of free-association using dream imagery. One of Jordan"s earliest films, One Romantic Adventure of Edward (1952) uses erotic visual references assembled in the style of the then in-vogue classic school of "Russian montage." Brakhage made his acting debut in this film and both experimented with psycho-adventures throughout the 1950s, as did other early experimental filmmakers such as Maya Deren.

Surrealism & Collage
Jordan attended Harvard University from 1951-53, where he became attracted to the work of surrealist painter Max Ernst. He also recalls, due to his active involvement with the university"s film society, being influenced by the work of another surrealist, Jean Cocteau, and in particular Blood of a Poet. But it was through his reading of Ernst"s collage novels, Women Without a Head/Women with 100 Heads and A Week of Happiness, that inspired him to collect engravings, then refilming them into what became his first collage experiments. At the time, experimental filmmakers often looked to the world of art and poetry in their quest to develop a new filmic language using historical references.

Sophie"s Place (1986)
Courtesy of Larry Jordan

In the 1950s, Jordan was spending time with Stan Brakhage on New York"s Lower East Side/The Bowery, where he had the chance to meet American collagist and surrealist Joseph Cornell. Between 1955-65, Jordan studied and collaborated with Cornell, who has remained a kind of spiritual mentor for his work. Cornell, born in Nyack, New York in 1903, studied romance languages at Philips Academy before starting his own obsessive career collecting visual fragments from literature, dance, art and film publications to create masterpieces of collage, culminating in his dimensional boxes. Cornell, also interested in the work of Max Ernst and the surrealists, also made a trilogy of surrealist films: Cotillion, Midnight Party and Children"s Party. Jordan has fond memories of Cornell as a cultural eccentric, passionate about poetic engagement within the context of his "monologues."

A Personal Vision
Like many other experimental filmmakers of his era, Jordan came into his own remarkable style in the 1960s. His personal vision is symbolized in Duo Concertantes (1964), heavily influenced by Ernst. This nine-minute film used engravings as backgrounds and, while having no story line per se, Jordan linked unconscious chains of events by motion. This moving collage won him many awards at festivals and paved the way for the more ambitious works to come.

While spending a summer with Cornell, Jordan made three short films using soft, lyrical animation--Dream Merchant, Pink Swine and Gymnopede--all using well-known sound tracks. In 1969, he created what is considered one of his best films, Our Lady of the Sphere. The film takes its theme from the Tibetan Book of the Dead and relies on pure intuitive filmmaking in its structure, a technique that works best for Jordan"s fine-tuned talents.

During the 1970s, Jordan exhibited internationally in galleries and specialized cinemas. It was a prolific time, in which he made several films of note.

Rime of the Ancient Mariner, based on the Coldridge poem, had Orson Welles as the narrator. Illustrations by Gustav Doré form the visual compositions of the intricate trains of free thought woven into moods and feelings brought about through free association.


The Visible Compendium
Courtesy of Larry Jordan

Magical and Enigmatic
By the 1980s, Jordan, a master at his craft, single-handedly made Sophie"s Place, an 84 minute feature, between 1983-87. The 129,600 single-framed images revolve around the mosque of Saint Sofia in "Constantinople." Again, the complex world of fine art engravings are interlaced with mysterious trees and castles, while objects change objects through rapid montage, leaving the viewer immersed in a visual web of experience. Like a stream of consciousness meditation, this epic reflects on Sophia, godess of wisdom and includes cutouts ranging from Victorian prints to Daliesque dreams. This awesome technique lets the film unfold in a magical and enigmatic way.

At this time, Jordan began to focus on colored engravings. His short interim piece, Masquerade evokes a tragic, romantic mood, while Moonlight Sonata calls forth a lyrical feeling. With every film, Jordan tries to transform objects in space like humans might transform themselves in life. Each cinematic journey uses a set of symbols to elicit thoughts and emotions of transformation. Jordan believes that all his films come from the collective unconscious, not just in terms of archetypes or specific symbols, but in terms of mirror like fragments of ritual, cult and religious practices throughout human history.

In 1990, Jordan made another classic Visible Compendium, a 17-minute work which took 2-1/2 years to make and relates to an idyllic trip in a hot air balloon as an enigmatic journey. Here, he also begins to focus on sound as collage by collecting audio bits and pieces as he did with pictures. The film itself is cut to the soundtrack, which mixed both recognizable and unrecognizable sounds, making it a true "compendium." The film is a kind of a puzzle constructed from fragments of unnamed meanings and fragments of light--light being the base for all film--in which Jordan wants the viewer to discover his own meaning in these films by bringing a personal predisposition into play. Today, Visible Compendium remains an important experiment into the secrets of the unknown.

The Visible Compendium
Courtesy of Larry Jordan

For his next film, Jordan decided to use animation and (mostly) live-action techniques in the form of a biodocumentary mixed with segments of the work of the imagist poet HD (Hilda Doolittle), in particular, her poem "Hermetic Definitions." The HD Trilogy includes short filmed pieces of contemporary poet Joanna McClure as she journeys through ancient ruins and a Mediterranean village, seeking to captivate Doolittle"s essence. Born in Pennsylvania, HD spent much of her adult life among the literary circles of England and Europe. She died in 1961 at age 77 and "Hermetic Definitions" was her last poem. The idea behind Jordan"s film was to encourage viewers to discover the importance of the poet and her work.

Today, Larry Jordan teaches at the San Francisco Art Institute and continues his lifelong search into the possibilities for collage animation. He is collecting more engravings and visual fragments for two projects Glass House and Kabbalah. He forsees these films taking 10 years to complete, but patience is a virtue in the work of Larry Jordan. Both films intend to bring a mystical wheel of images into view, as his interests remain in the deep realm of spirtiual mysticism, from ancient Egypt through the medieval Kabbalah to the present. He seems to have a monumental task ahead of him.

When not engaged in the painstaking frame-by-frame process of animation, Jordan works as a kinetic sculptor making three dimensional boxes from the same materials as his films. One might consider his art work as films in reverse. One thing is certain, Jordan has brought the fine art of collage technique to a pinnacle throught his career.

Jackie Leger is a Santa Monica-based documentary filmmaker interested in the roots of American experimental film.

Larry Jordan Filmography

Please note, all films were done in 16mm color and sound, except where noted. Films with an asterick (*) next to the title are animated.


The Visible Compendium
Courtesy of Larry Jordan

1953
Morningame, silent, black & white, 6 minutes.

1954
The Child"s Hand, b&w, 7 min.
Man is in Pain, b&w, 4 min.

1956
Trumpit, b&w, 6 min.
3, b&w, 6 min.
Undertow, 7 min.

1957
Waterlight, 7 min.

1958
Triptych in Four Parts, 12 min.

1959
The Soccer Game, b&w, 5 min.
Minerva Looks Out Into the Zodiac,b&w, 6 min.

1960
Hymn in Praise of the Sun, 8 min.
Portrait of Sharon, 7 min.
The Herb Moon, silent, 3 min.
The Season"s Changes: To Contemplate, silent, b&w, 7 min.

1962
The 40 and 1 Nights, or Jess"s Didactic Nickelodeon, 6 min.
Circus Savage, silent, color and b&w, 150 min.
*Enid"s Idyll, b&w (green tint), 11 min.

1963
Shomio,3 min.
*Pink Swine, b&w, 3 min.

1964
The One Romantic Venture, b&w, 8 min. Production began in 1952.
*Duo Concertantes, b&w, 9 min. Production began in 1961.
*The Dream Merchant, b&w, 3 min.
Rodia-Estudiantia, 4 min.
Big Sur: The Ladies, 3 min.
Johnnie,3 min.
Jewel Face, 6 min.

1965
*Hamfat Asar,b&w, 15 min.

1966
The Old House, Passing, b&w, 45 min.
*Gymnopedies, b&w (blue tint), 6 min.

1969
Hildur and the Magician,b&w, 70 min. Production began in 1967.
*Our Lady of the Sphere,10 min.

1970
Living is Dying, b&w, 9 min.

1972
Sacred Art of Tibet,28 min. Production began in 1970.

1973
Plainsong, 7 min.
Fireweed, 3 min.
*Orb, 5 min.

1974
*Once Upon a Time, 12 min.

1976
The Apparition, 50 min. Production began in 1974.

1977
*The Rime of the Ancient Mariner, 42 min. Narrated by Orson Welles.

1978
*Ancestors, b&w, 5 min.

1979
Visions of a City, b&w (sepia tint), 9 min. Production began in 1957.
Cornell, 1965, 8 min. Production began in 1965.
*Moonlight Sonata, 5 min.

1980
*Finds of the Fortenight, silent, b&w, 9 min.

1981
*Masquerade, 5 min.

1983
Magenta Geryon, 35 min., which began production in 1981, includes:
· Adagio, 8 min.
· In a Summer Garden, 15 min.
· Winter Light, 9 min.


Sophie"s Place (1986)
Courtesy of Larry Jordan

1986
*Sophie"s Place, 84 min. Production began in 1983.

1988
Tapestry, 18 min.

1990
*The Visible Compendium, 17 min.

1992
The Black Oud, b&w (sepia tint), 45 min.

1993
The Grove, b&w (orange tint), 45 min.

1994
Star of the Day, b&w (orange tint), 25 min.



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