剧情介绍
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Are today's advertising photographers continuing in the tradition of 17th century Flemish painters? This is one theory director Harun Farocki poses in his documentary STILL LIFE. According to Harun Farocki, today's photographers also depict objects from everyday life - the \"still life\". The filmmaker illustrates this intriguing hypothesis with three documentary sequences showing photographers at work creating a contemporary STILL LIFE: a cheese-board, beer glasses and an expensive watch.
图像的制作过程和图像的阐释是断裂的，我们只能假想那种联系。如同影片选择的17世纪静物画和20世纪末的商业广告摄影，这种并置暗示我们存在联系，但割裂感是始终存在 @2021-03-19 22:51:24
这个节奏很可以，怎么没早点看到他的片。专注阐述事实而留白思想，比那些把论文全都念出来的要强的多。由现代广告摄影创作对比传统油画创作，而观看者对于当年静物写生时发生的事，是不可想象的。相比起来李起万不够啊
In the end, object express witness to their producers, who reveal views something in themselves in the after production. But the producer do not appear with their object.When you look at the object, people who produce them remain on imaginable. These spectator who understand this, becomes unimaginable to himself. This is the departure for a new image man. 結尾的聽打，末段的 on imaginable 和 unimaginable 有點聽不清語意。
图像的制作过程和图像的阐释是断裂的，我们只能假想那种联系。如同影片选择的17世纪静物画和20世纪末的商业广告摄影，这种并置暗示我们存在联系，但割裂感是始终存在
一个关于商业摄影作品的纪录片，似乎还想要提出在商品社会下“作者”属性被有意隐去的对于资本的批判 只是有些生硬
靜物油畫創作與商業靜物攝影創作的比照。觀看後者的工作流程挺有趣味。寫生的方式隨著技術的推進也有流變。PS等修圖軟件的出現無異是對寫生的一種異化。
不读马克思连电影都要看不懂了
我明白他们在干什么，但不明白这种东西会拍下来公映。
回归。PS@拒绝兄，那是因为你没切换到英文音轨。。。