纪录片自媒体解说素材-新闻动态参考-以色列电影制片人在柏林纪录片《 1341爱与战争框架》上跑了塔尔/Israeli Filmmaker Ran Tal on Berlinale Documentary ‘1341 Frames of Love and War’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0502/2604xban0sczdnn.jpg以色列电影制片人在柏林纪录片《 1341爱与战争框架》上跑了塔尔
Israeli Filmmaker Ran Tal on Berlinale Documentary ‘1341 Frames of Love and War’
在周日的纪录片《 1341帧的爱与战争镜架》（The Brame of Love and War）的全球首映之前，该电影在柏林特色菜中播放，综艺是电影的作家导演Ran Tal，以及以色列战争摄影师Micha Bar-Am，他是电影的主题。在某些方面，“框架”继续对塔尔对以色列历史的兴趣在他以前的作品中显而易见，“如果呢？埃胡德·巴拉克（Ehud Barak）在战争与和平方面”，以以色列前总理为中心。 Bar-Am于1930年出生于柏林，但在以色列成长，在摄影师的长达五年的职业生涯中，他记录了许多主要情节，尤其是在年轻国家的生活中，成立于1948年。“我想做两部电影：一部关于历史上的球员[…]，第二部应该是关于证人的，”塔尔说。这位电影制片人与Bar-Am取得了联系，Bar-Am向他展示了他的档案超过50万否定的，该档案存储在特拉维夫的地下室。 “我很明显我想花很多钱这个地下室的时间。”塔尔说。“我花了三年的时间来组装这部电影。”巴姆和他的妻子奥尔纳（Orna）“非常友好和诚实，对我开放了他们的心，他们的房子和档案，但是花了一些时间来建立这种信任，因为我将其设置为我的条件之一：我想打开[访问]档案，并且想使用我想要的任何图像。直到最后，您才能看电影。塔尔说。“ 1341年的爱与战争框架”由Micha Bar-Amthe电影提供，几乎完全由Bar-Am接管了他的职业生涯的照片，并伴随着Tal与Tal的对话这对夫妇关于照片及其对事件的回忆及其对它们的感受。除了Bar-Am职业生涯中涵盖的许多军事冲突的镜头外，都是家庭生活的亲密图像。只有使用Bar-Am的静止图像，观众通过他的眼睛看到了事件，和“看看他看到的[…]你可以理解他的思想。” Bar-Am属于Magnum Photo Agency的精英摄影师，由Robert Capa和Henri Cartier-Bresson等人组成，他的作品出现在一些世界上最负盛名的头衔，包括《纽约时报》，《时代》杂志，斯特恩和巴黎比赛。塔尔说，与Instagram时代的抛出图像不同，Bar-Am的照片“试图告诉您有关复杂情况”的照片，他说，他“受到电影制片人的启发。” Bar-Am和他的妻子Orna之间的对话在电影中添加“另一层”，描绘了这对夫妇之间的关系。 “ Orna对Bar-AM项目非常重要。 Micha是一位伟大的艺术家，无处不在，但她完全是游戏的一部分。她一直在那儿：她正在挑选照片，她是正在创作展览的人，负责目录。”她对事件和道德问题有强烈的看法，因此“这是重要的在电影中，有她的声音并用这两个角色来构建新的层次。塔尔说：“我认为我所有的工作在许多方面都是关于以色列故事，以色列项目 - 试图从内部，通常是从自下而上的。”“这是关于迈克尔的，它是关于摄影的，它是关于战争，这是关于创伤后，记忆，年龄的”，但以色列的经验和历史也存在。“这与以色列无关，而是以色列永远存在。”电影中有一个疑问和质疑，从以色列的角色出现，从巴尔姆的职业生涯中早期几十年来的信心和乐观态度发展。国防军。最终，他完全停止拍照。“这是在谈判的录音中出来的。我真的很想理解以及为什么他停下来。这是艺术家停止制作艺术品的一个非常戏剧性的决定，在迈克尔（Micha）的情况下，停止拍摄图像。 AM轻描淡写了他对以色列社会和国外对以色列的看法的影响。他谦虚地说：“这是我热情地做的事情，我也恰好能够用相机谋生。我认为，我们的摄影师并没有在镜子上留下更多的刮擦。我们试图反思，实际上我们有一种幻想，我们真正改变了现实，这是我认为不是真的。有时，您对人们的印象是您的语言给人留下深刻印象的人，但我认为我们不会改变任何东西。 “是的，我很幼稚，可以这么认为，但是如今，当每个人都是摄影师时，我不确定与混乱D周围的摄影可以改变任何事情。”“ 1341帧的爱与战争框架”由Micha Bar-Amhe提供，现在对以色列很乐观。“好吧，我们不会进入任何政治上的事情。像许多以色列人和世界各地的其他人一样，我喜欢这个国家。我天生很乐观。即使有更黑暗的时期，我不属于悲观主义者。我认为您也需要采取积极的生活方式，即使是失败的。”“我没有出去做艺术。我出去摄影。拍照是记录生活在您周围的生活，因为我有冒险的天性，我真的试图使生活对自己也很有趣。。“您成为您正在拍摄的活动的一部分。您不必同情，也不总是喜欢您在前面看到的东西F您的相机，但绝对有积极的方法，我喜欢人们，我希望看到好事发生，当然我参与其中，但这并不总是发生。”他说摄影师有建立与与之相处的人的独立性和“一定距离”，例如他曾经陪同任务的士兵。“这是像我这样的人的悖论，他们必须保持一定的距离才能理解或不仅看到场景，而且还要看到周围事件的整个范围。我并不总是同意或热爱我所看到的，但是记录并分析您所看到的绝对重要。”如今，他只拍摄了他的孙子的照片。Micha Bar-Am
Ahead of Sunday's world premiere of documentary "1341 Frames of Love and War," which plays in Berlinale Special, Variety spoke to the film's writer-director Ran Tal, and Israeli war photographer Micha Bar-Am, who is the subject of the film.
In some ways "Frames" continues Tal's interest in Israeli history evident in his previous work, "What If? Ehud Barak on War and Peace," which centered on the former prime minister of Israel. Bar-Am was born in Berlin in 1930, but grew up in what became Israel, and across a five decade-long career as a photographer he documented many of the major episodes - in particular the wars - in the life of the young country, founded in 1948.
"I wanted to do two films: one about a player in history [...] and the second one should be about the witness," Tal says. The filmmaker got in touch with Bar-Am, who showed him his archive of more than half a million negatives, stored in his basement in Tel Aviv. "It was clear to me immediately that I wanted to spend a lot of time in this basement," Tal says. "It took me three years to assemble the film."
Bar-Am and his wife Orna were "very friendly and honest, and opened their hearts, their house and the archive for me, but it took time to build this kind of trust, because I set as one of my conditions that: I want open archive and I want to use any image I want. You don't get to see the film until the end. You need to trust me," Tal says.
The film is almost entirely composed of the photographs that Bar-Am took over his career, and is accompanied by the conversations Tal had with the couple about the photographs and their recollection of the events and their feelings about them. Alongside the shots of the many military conflicts that Bar-Am covered during his career are intimate images of family life.
By only using Bar-Am's still images the viewers see events through his eyes, and "see what he saw [...] you can understand his mind."
Bar-Am belonged to the elite group of photographers at Magnum photo agency, formed by Robert Capa and Henri Cartier-Bresson among others, and his work appeared in some of the most prestigious titles in the world, including the New York Times, Time magazine, Stern and Paris Match. Unlike the throw-away images of the Instagram era, Bar-Am's photographs "try to tell you about complicated situations," Tal says, and he was "inspired by that as a filmmaker."
The conversations between Bar-Am and his wife Orna add "another layer to the film," portraying the relationship between the couple. "Orna is very important to the Bar-Am project. Micha is the great artist and has been everywhere, but she is totally part of the game. She was always there: She was picking the photographs, she is the one that is creating the exhibitions many times, responsible for catalogues." She has strong opinions about the events and ethical issues, so "it was important to have her voice and use these two characters to build new layers" within the film.
The film is principally about the photographer, but Israel itself plays an important role. "I think all my work is, in many ways, about the Israeli story, the Israeli project - to try to understand it from the inside, often from the bottom up," Tal says. "It is about Micha, it is about photography, it's about war, it's about post-trauma, memory, age," but the Israeli experience and history is also present. "It's not about Israel, but Israel is always there."
There is a progression in the film from the confidence and optimism of the early decades in Bar-Am's career, to the doubt and questioning exhibited later, especially concerning the role of the Israel Defense Forces. Eventually, he stopped taking photographs altogether. "It came out in the recording of the talks. I really wanted to understand why he stopped. It is a really dramatic decision for an artist to stop making art, and in Micha's case to stop taking images."
Tal is now working on an installation based on the documentary that will open in Tel Aviv in June.
Speaking to Variety, Bar-Am downplays the impact he had on Israeli society and the perception of Israel abroad. "This is something that I was passionately doing, and I also happened to be able to make a living with the camera," he says modestly.
"I don't think that we photographers leave more than a scratch on the mirror. We try to reflect and actually we have the illusion that we really change reality, which is I think not true. Sometimes you make your impression on people, who can be impressed by your language, but I don't think we photographers change anything."
However, when he was young, he felt his photographs could change things. "Yes, I was naïve enough to think so, but nowadays when everybody is a photographer I am not so sure that with a chaotic world around us photography can change anything."
He is optimistic about Israel now. "Well, we will not go into anything political. Like many Israelis and other people around the world, I like this country. I am optimistic by nature. Even though there are darker periods with many question marks I don't belong to the pessimists. I think you need to take a positive approach to life, even when it is down."
He makes no bold claims for the artistic status of his work. "I didn't go out to do art. I went out to do photography. To photograph is to record life as it happens around you, and because I have an adventurous nature, I really tried to make life also interesting to myself."
One of the strengths of his work is that connection he feels with the people in his photographs. "You become part of the events you are photographing. You don't have to sympathize, and you don't always like what you see in front of your camera, but definitely I have a positive approach, and I like people, and I hope to see good things happening, and of course I was involved to be involved, but it doesn't always happen."
He says that photographers have to establish independence and "a certain distance" from those they are with, such as the soldiers he used to accompany on missions. "This is a paradox of people like myself who have to keep a certain distance in order to comprehend or to see not only the scene but also the whole scope of events around you. I don't always agree or love what I see, but it is definitely important to record and then to analyze what you saw."
Nowadays, he only takes photographs of his grandson, he says.
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谢谢楼主分享，发现宝藏了。 感谢分享，下载收藏了。最喜欢高清纪录片了。 太好了，终于找到宝藏论坛了！ 非常不错，感谢楼主整理。。
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