纪录片自媒体解说素材-新闻动态参考-艾米（Emmy），圣丹斯（Sundance/Emmy, Sundance Winner Kirsten Johnson on Cinema as a Collective Endeavor
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0500/5542xwz32pfgqur.jpg艾米（Emmy），圣丹斯（Sundance
Emmy, Sundance Winner Kirsten Johnson on Cinema as a Collective Endeavor
摄影师兼电影制片人Kirsten Johnson（艾美奖和圣丹斯·约翰逊（Emmy and Sundance）奖获得了“迪克·约翰逊（Dick Johnson）死了”的奖学金，摄影师兼电影制片人柯斯滕·约翰逊（Kirsten Johnson）在Doc电影节视觉景象DuRéel开设了大师班，以命名现场的每位技术人员。 “我经常发现对电影院感到不安的是，我们忘记承认将这些时刻融入这些时刻所需要的所有人。我了解到，通过成为一名摄影师，我有兴趣了解为什么我们要把它简化为一个人，因为所有这些人都集体帮助我们今天在这里有些美好的事实。 ，用她最喜欢的单词描述她的作品“ Cameraperson”，这也是第二部故事片的标题。三十多年来，约翰逊（Johnson）担任摄影师的大约60部电影，为迈克尔·摩尔（Michael Moore）（“华氏9/11”，2004年的帕尔米·迪（Palme d'Or）赢家）和劳拉·帕特拉斯（Laura Poitras）（“公民”（Laura Poitras）（“公民”，2015年奥斯卡奖得主，最好的文档Umentary功能），制作了几部短裤和两部故事片：2016年上述的“ Cameraperson”和2020年的“ Dick Johnson死了”。 “迪克·约翰逊（Dick Johnson）死了”。我们正在一起做这一刻。”约翰逊为大师班定下了基调。她穿着一件华丽的多色服装，继续谈论自己对颜色的痴迷，她说只有她对死亡的痴迷才能与之抗衡 - 这种固定促使她使她的第二部故事片“迪克·约翰逊（Dick Johnson）死了，”在其中，她反复以创造性和可笑的方式在自己父亲的死亡中进行了死亡，以帮助他们俩面对不可避免的事情。她开始分享一个幻灯片展，其中包含启发她的图像 - 从索尔·斯坦伯格（Saul Steinberg）的作品（我最喜欢的艺术家之一”到自画像她年龄五岁时，她穿着一件明亮的多色服装，类似于她在舞台上穿的衣服 - “我基本上是这个人，而且一直都没有，什么都没有改变！” - 对观众的娱乐。更严重的是，摄影师坦言，音乐节的艺术总监埃米莉·布吉斯（EmilieBujès）鼓励约翰逊谈论她的职业，我要说的是，这对我们中的任何一个人来说都是如此，我们都有广泛的事情。我们在乎，随着生活的发展，我们的工作中有一些线索 - 美国反黑人的历史，白人至上，颜色橙色，我与父母的关系，因此我的关系约翰逊解释说，她的好奇心如何变成一种旅行贪食症，将她带到25年中的87个国家。这是她为“ Cameraperson”绘制材料的地方。但这是一个漫长的过程，在她允许自己拍摄电影之前 - 蒙太奇她以前作为摄影师的电影中的场景以及其所有不完美之处，揭露了电影制作所带来的困境和矛盾，并且在标题序列中，她要求观众看到她的回忆录。它变成了她所说的“材料的心理发掘非常缓慢”。 “我不仅选择了价值25年的材料。这是一个接一个的情况，几乎就像地质沉积一样。关于[我的编辑] Nels Banger的好处是，他说：“您可以问所有问题 - 录像是否可以问问题，然后您可以问问题。”他没有对我提出任何限制。”约翰逊补充说：“我与'cameraperson'一起做的一件事是，'我不知道这是否还可以。您将遇到可能打扰您的事情 - 这打扰了我。我不想留在我的Isalati中关于这一事实，当我拍摄电影时，我有一个道德问题。让我们不要假装没有发生。”同样渴望承认周围世界的现实，这促使她制作第二部电影“迪克·约翰逊（Dick Johnson）死了。”这是在母亲去世后多年的痴呆症之后，她的父亲开始表现出综合征的第一个迹象。 “人们以为我疯了，”约翰逊说。 “我知道时间有限。他们一直说：“你为什么要你的爸爸一次又一次地死？’这花了很长时间才弄清楚：因为我想复活他，所以我希望他永不死，电影院可以帮助我保留他。电影允许我做到这一点，这是幸福：迪克·约翰逊（Dick Johnson）还活着，这部电影给了我们一种在一起享受的方式。”作家和政治活动家苏珊·桑塔格（Susan Sontag） - “我将尝试制作一部关于Su的有趣电影圣桑塔格，祝我好运！”她开玩笑。她还谈到了她希望解决“关于21世纪摄影师的一系列问题”的愿望。她说：“十年前，我认为我们会爆炸电影语言，但感觉并没有发生。”“机器开始拍摄我们，监视摄像机正在拍摄我们，无人机正在拍摄我们，以及正在制作的大部分娱乐活动 - 大型超级英雄电影，用于制片厂的特许经营电影 - 越来越多地被没有身体拍摄，没有任何物理空间她说：“我们正在进入虚拟生产的世界。”她说，在这里机器“以算法的形式为我们求助。”“该系统不是为了支持某些类型的查询而设置的，这些机器将越来越多地阻止我们。因此，问题是：我们正在做什么，”她总结道。
Opening her masterclass at doc film festival Visions du Réel in Switzerland, cinematographer and filmmaker Kirsten Johnson - an Emmy and Sundance award winner for "Dick Johnson Is Dead" - started by naming each and every member of the technical crew on set.
“What I often find upsetting with cinema is that we forget to acknowledge all the people it takes to make these moments together. I learnt that through being a cameraperson, and I'm interested in understanding why we want to reduce it to just one person, because there's something beautiful about the fact that all of these humans, collectively, help us be here today,” she said, employing her favorite word to describe her work, “Cameraperson,” which is also the title of second feature film.
Over three decades, Johnson has worked on some 60 films as a cinematographer, for the likes of Michael Moore (“Fahrenheit 9/11,” Palme d'Or winner in 2004) and Laura Poitras (“Citizenfour,” 2015 Academy Award winner for Best Documentary Feature), made a couple of shorts and two feature films: the above-mentioned “Cameraperson” in 2016, and 2020's “Dick Johnson Is Dead.”
“I'm very glad to be the 'one' today,” she continued with characteristic self-deprecating humor, “but I'm throwing it back out to the collectivity to say that we are making this moment together.”
Johnson had set the tone for the masterclass. Dressed in a flamboyant multi-colored outfit, she went on to talk about her obsession with color, which she said is rivaled only by her obsession for death – a fixation which prompted her to make her second feature film “Dick Johnson Is Dead,” in which she repeatedly stages her own father's death in inventive and comical ways to help them both face the inevitable.
She proceeded to share a slide-show featuring images that have inspired her – ranging from works by Saul Steinberg - “one of my favorite artists” - to a self-portrait she made aged five in which she drew herself in a bright multi-colored outfit similar to the one she was wearing on stage - “I'm basically this person and always have been, nothing has changed!” - to the audience's amusement.
On a more serious note, as the festival's artistic director Emilie Bujès encouraged Johnson to talk about her career, the cinematographer confided, “What I would say, and this is true for any one of us, is we all have an extensive list of things we care about, and as life goes on it gets longer and longer.
“But there are threads in my work – the history of American anti-Blackness, white supremacy, the color orange, my own relationship to my parents, and hence my relationship to femaleness.”
Johnson explains how her curiosity turned into a form of travel bulimia, taking her to 87 countries in 25 years. This is where she drew the material for “Cameraperson.” But it was a lengthy process before she allowed herself to make the film she did – a montage of scenes from her previous films as a cinematographer, with all its imperfections, one that lays bare the dilemmas and contradictions that filmmaking entails, and which, in the title sequence, she asks viewers to see as her memoir.
As the editing process evolved, it turned into what she described as “a very slow psychological excavation of material.”
“I didn't just choose 25 years worth of material. It was one situation after another, almost like geological sedimentation. The great thing about Nels Bangerter is he said 'You can ask all of your questions – if the footage can ask the questions, then you can ask the questions.' He didn't put any limit on me,” said Johnson, adding: “One of the things I do with 'Cameraperson' is say, 'I don't know if this is okay.'
“I'm trying to figure out how to give you clues, as an audience, to understand that you're about to encounter something that might disturb you – it disturbed me. I don't want to remain in my isolation around the fact that when I shoot films I've got a world of ethical questions. Let us not pretend that it's not happening.”
This same desire to acknowledge the reality of the world around her is what motivated her to make her second film, “Dick Johnson Is Dead.” It came after her mother's death following years of dementia as her father started to show the first signs of the syndrome.
“People thought I was crazy,” said Johnson. “I knew that time was limited. They kept saying: 'Why do you want your dad to die again and again?' It took me a long time to figure out: because I want to resurrect him, I want him to never die, and cinema can help me keep him. Cinema allowed me to do this and it is happiness: Dick Johnson is still alive, and the movie gave us a way to be together and enjoy.”
Asked about her current projects, Johnson said she was working on a hybrid documentary-fiction about American writer and political activist Susan Sontag - “I'm going to try and do a funny film about Susan Sontag, good luck to me!,” she joked.
She also talked about her desire to address “a set of questions about camerapeople of the 21st century.”
“Ten years ago, I thought we were going to have an explosion of cinema languages, but it doesn't feel like that's happening,” she said.
“Machines are starting to film us, surveillance cameras are filming us, drones are filming us, and much of the entertainment that is being produced – the big superhero movies, franchise movies for studios – are increasingly being filmed without bodies, without a physical space or camera operators: we're heading into a world of virtual production,” she said, where machines “are coming for us in the form of algorithms.”
“The system is not set up to support certain kinds of inquiry, and the machines are going to block us out increasingly. So the question is: what are we doing with that,” she concluded.
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