| 词条 | Draft:Landscape Film |
| 释义 |
A landscape film is a film genre that includes the featuring, examination, or treatment of landscape as the central subject within film. Landscape film as a genre has been explored widely by experimental filmmakers such as Michael Snow, Deborah Stratman, and Babette Mangolte. HistoryLandscape film has its origins in early cinema. In Paris in 1895, the Lumiere Bros unveiled their all-in-one camera, the cinematograph. It became the first portable, hand-cranked camera that could be carried to on-location shoots. Therefore, while Edison's Kinetoscope could produce vaudevillian style cinema, the Cinematograph was used to produce actualities, which were shot outdoor and on-location. These early films were simple in construction. The Cinematograph could shoot, process, and project film, making the proliferation of the camera easy, as its effectiveness was easily demonstrated and could be brought to abroad locations, such as Australia.[1] One of the early cinematograph films to be shown in Great Britain was the film, Rough Sea at Dover, which shows a rough surf beating upon the shoreline at Dover. A reporter in attendance wrote, "The second film [Rough Sea At Dover] represented the breaking of waves on the seashore. Wave after wave came tumbling on the sand, and as they struck, broke into tiny floods just like the real thing. Some people in the front row seemed to be afraid they were going to get wet, and looked to see where they could run, in case the waves came too close.[2]" Actualities such as these allowed viewers to experience landscape more viscerally than ever before. In the 1930s and 40s, as cameras, film stocks, and editing styles developed, the landscape film fell out of style, as newsreels and narrative cinema took prevalence of the cinematic form. However, with the production of 16mm cameras and other more portable, affordable home movie cameras became available, the landscape film saw a resurgence. Personal travels were recorded by upper middle class amateur filmmakers who sought to capture their travels abroad. These films would often be shown at screening clubs and shared amongst small groups. These films often showed their locations as exotic and unusual. Because of the lack of narrativity in this style of film, the personal travel film became a device for looking at the "other" or the "exotic" and often provided a non-discursive view into the locations where they were shot. This is in part what differentiates the travel film from documentary. Throughout the 1960s, experimental filmmakers began shooting formalistically and structurally, concerned more with the filmic medium and parametric editing and shooting. These films were typically non-narrative, but sought to examine the modality of looking or viewing, and so began working conversationally with their subject matter and medium. Examples of FilmsLa Región Centrale (1971)Michael Snow's film, La Región Centrale, was shot over the course of five days of shooting on a deserted mountain top in Quebec. A camera was anchored to a remote-controlled camera-activating machine that he commissioned from the engineer Pierre Abeloos.[3] As described by Martha Langford in her book Michael Snow: Life and Work, "from the perspective of a mountaintop, this cinematic landscape features vast prospects and a rocky terrain recorded by a camera rigged for movement in any and all directions, including turning, rolling, and spinning—a landscape that defies gravity."[4] Martina Sauerwald writes of La Región Centrale that, "because of the unconventional camera movement, the result was more than merely a film that documented the film location’s landscape. Surpassing that, this became a film expressing as its themes the cosmic relationships of space and time. Cataloged here were the raw images of a mountain existence, plunged (at that time) in its distance from civilization, embedded in cosmic cycles of light and darkness, warmth and cold."[5]The Sky on Location (1982)Babette Mangolte, well known for her work as a cinematographer for Chantal Ackerman's film, "News from Home," (a good example of a cityscape film), created a film shot in the American west from 1980 and 1981. Her film focuses on the seasonality and changes in the coloration of the sky throughout the four seasons in various locations. Mangolte writes on her film,"The landscape is not seen in its postcardish grandeur as captured in the photographs of Ansel Adams, nor through its shapes as in a Cezanne or Constable paintings, but rather the film captures the mood of the landscape as in a Turner painting. The film attempts to construct geography of the land from North to South, East to West and season-to-season trough colors instead of maps." (Mangolte: 1982)[6]{{AFC submission|t||ts=20181119175033|u=Planterotica|ns=118|demo=}} References1. ^{{Cite web|url=https://aso.gov.au/chronology/1890s/|title=Chronology 1890s on ASO - Australia's audio and visual heritage online|website=aso.gov.au|language=en|access-date=2018-11-05}} 2. ^{{Cite web|url=http://precinemahistory.net/1895.htm|title=The History of The Discovery of Cinematography - 1895 - 1900|website=precinemahistory.net|access-date=2018-11-05}} 3. ^{{Cite book|title=Guide to the Cinema(s) of Canada|last=Rist|first=Peter|publisher=Greenwood Publishing Group|year=2001|isbn=|location=|pages=}} 4. ^{{Cite news|url=https://www.aci-iac.ca/art-books/michael-snow|title=Michael Snow: Life & Work|work=Art Canada Institute - Institut de l’art canadien|access-date=2018-11-07|language=en}} 5. ^{{Cite web|url=http://www.medienkunstnetz.de/works/region-central/video/1/|title=Media Art Net {{!}} Snow, Michael: The Central Region|last=Net|first=Media Art|date=2018-11-06|website=www.medienkunstnetz.de|language=en|access-date=2018-11-07}} 6. ^{{Cite web|url=http://www.babettemangolte.org/maps1.html|title=Babette Mangolte|website=www.babettemangolte.org|access-date=2018-11-07}} Further Reading
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