纪录片部落--纪录片《[BBC纪录片]奥森·威尔斯的眼睛TheEyesofOrsonWelles-1080P高清迅雷网盘下载》高清百度云1080p下载
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：奥森·威尔斯的眼睛The Eyes of Orson Welles-1080P高清迅雷网盘下载
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马克·库辛斯（Mark Cousins）主持的艺术纪录片，由英国广播公司（BBC）于2019年出版-英语旁白Arts Documentary hosted by Mark Cousins, published by BBC in 2019- English narration
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电影制片人马克·库辛斯（Mark Cousins）获得了奥森·威尔斯（Orson Welles）数百幅素描和绘画的独家访问权，并深入研究了这位传奇导演和演员的视觉世界，以他从未见过的方式展现了这位艺术家的肖像-通过他自己的眼睛，用他自己的手勾勒出草图，并用自己的画笔绘画。由迈克尔·摩尔（Michael Moore）执导的《奥森·威尔斯之眼》（The Eyes of Orson Welles）生动地展现了这位20世纪艺人的激情，政治和力量，并探讨了威尔斯的天才如何在他去世30多年后仍引起共鸣。 20世纪的伟大创意人物。但是他的生活和艺术的一个方面从未被讨论过。像黑泽明和爱森斯坦谢尔盖一样，韦尔斯也喜欢绘画。作为一个神童，他接受过艺术家培训，在他十几岁的时候到爱尔兰进行绘画之旅之前，他在都柏林（Dublin）的门剧院（Gate Theatre）首次登台亮相。威尔斯一生都在继续绘画和绘画，他开创性的电影和戏剧作品深受他的图形想象力的影响.30年前去世时，他留下了数百个人物素描，场景设计，未完成项目的可视化，插图娱乐他的孩子和朋友，私人信件旁的图像以及启发他的人物和地方的肖像。它们是通向韦尔斯世界的一扇窗户，是他的创造力和视觉思维的生动例证。其中大多数从未公开。如今，韦尔斯的女儿比阿特丽斯（Beatrice）首次授予马克·库辛斯（Mark Cousins）这种图像宝藏的权限，以制作一部关于他在那里发现的东西的电影。奥森·威尔斯的眼睛是一部电影作品，避免了传统电视纪录片的技巧。它结合了表兄弟的商标评论，新的数字扫描和艺术品的特制动画，使韦尔斯图形世界的魔幻生动地栩栩如生。这些内容与韦尔斯电影的剪辑，他的广播表演和电视采访的录像以及与比阿特丽斯·韦尔斯的相遇相交，讲述了图像的个人故事。年轻的北爱尔兰作曲家马特·里根（Matt Regan）的原始配乐给电影增添了情感和表现力。标题音乐是阿尔比诺尼（Albinoni）著名的阿达吉奥（Adagio），这是对韦尔斯（Welles）1961年改编自卡夫卡（Kafka）的《审判》（Trial）的第一部电影原声电影制片人的致敬。骑士与国王-附有关于小丑的主题的结尾。《典当》系列审视了韦尔斯的政治，他对普通民众的同情，那些处理人类谦逊的形象-儿童，没有权力的正派人。骑士部分探讨了韦尔斯对爱情的痴迷，对多洛雷斯·德尔里约（Dolores del Rio）和丽塔·海沃斯（Rita Hayworth）之类的恋情，以及他对自己本人认为过时的侠义主义理想的依恋。国王部分通过与麦克白，亨利五世，凯恩和韦尔斯本人等人物相关的插图，探讨了韦尔斯对权力及其腐败的迷恋-人类，立法者和滥用者的史诗模式。小丑的尾声探讨了关于娱乐或嘲讽的图像，韦尔斯本人对此进行了令人惊讶的干预。Granted exclusive access to hundreds of drawings and paintings by Orson Welles, film-maker Mark Cousins dives deep into the visual world of this legendary director and actor, to reveal a portrait of the artist as he's never been seen before - through his own eyes, sketched by his own hand, painted with his own brush. Executive produced by Michael Moore, The Eyes of Orson Welles brings vividly to life the passions, politics and power of this 20th-century showman and explores how the genius of Welles still resonates today, more than 30 years after his death.Welles was one of the great creative figures of the 20th century. But one aspect of his life and art has never been discussed. Like Akira Kurosawa and Sergei Eisenstein, Welles loved to draw and paint. As a child prodigy, he trained as an artist, before a drawing trip to Ireland in his teens led to his sensational stage debut at Dublin's Gate Theatre. Welles continued to draw and paint throughout his life, and his groundbreaking film and theatre work was profoundly shaped by his graphic imagination.When he died over 30 years ago, he left behind hundreds of character sketches, set designs, visualisations of unmade projects, illustrations to entertain his children and friends, images in the margins of personal letters, and portraits of the people and places that inspired him. They are a window on to the world of Welles, and a vivid illustration of his creativity and visual thinking. Most of these have never been made public. Now, for the first time, Welles's daughter Beatrice has granted Mark Cousins access to this treasure trove of imagery, to make a film about what he finds there.The Eyes of Orson Welles is a cinematic essay which avoids the techniques of conventional TV documentaries. It combines Cousins's trademark commentary with new digital scans and specially made animations of the artworks, which bring vividly to life the magic of Welles's graphic world. These are intercut with clips from Welles's films, recordings of his radio performances and TV interviews, and encounters with Beatrice Welles, telling the personal stories of the images. An original score by young Northern Irish composer Matt Regan gives the film emotion and expressivity. The title music is Albinoni's famous Adagio, a nod to the fact that Welles was the first film-maker to use this in a movie soundtrack, in his 1961 adaptation of Kafka's The Trial.The film is told in three central acts - Pawn, Knight and King - with an epilogue on the theme of Jester. The Pawn sequence looks at Welles's politics, his sympathy with ordinary people, those images that deal with the modesty of human beings - children, decent people who are not in positions of power. The Knight section looks at Welles's obsession with love, his romances with the likes of Dolores del Rio and Rita Hayworth, and his quixotic attachment to what he himself saw as outmoded chivalric ideals. The King section looks at Welles's fascination with power and its corruption, through illustrations that deal with figures such as Macbeth, Henry V, Kane and Welles himself - the epic mode of human beings, the lawmakers and abusers. The Jester epilogue explores the images that are about fun or mockery, with a surprising intervention by Welles himself.Cousins also travels to key locations in Welles's life - New York, Chicago, Kenosha, Arizona, Los Angeles, Spain, Italy, Morocco, Ireland - to capture beautiful images and locate the artworks, and serve to dramatise some of the defining moments in Welles's career and personal life.Mark shot the film with two handheld cameras, one a conventional HD camera and one a 4K camera which gives a new Steadicam style of tracking shot without the need for tracks and dolly. It's the sort of technology that Welles would have loved and could only have dreamed of as he spent a lifetime wrestling with the creative and financial limitations of traditional film-making techniques. This shooting style reflects the immediacy of Welles's sketches and paintings in their swift engagement with the visual world. These cameras are like Mark's paintbrushes, giving him a direct, personal and tactile contact between his hand and the captured/created image, without the intermediation of cumbersome equipment and crews.In the end, this essay film is about much more than the drawings and paintings. Just as Leonardo da Vinci's sketchbooks show his passions, his changes of mind, his trains of thought and visual thinking, so this film is an almost mythic encounter with the imagination of this great artist, who extended cinema, was profoundly political, engaged with questions about power, existentialism, memory, destiny, psychology, space and light. These ingredients make The Eyes of Orson Welles not only a portrait of a great man, but an account of the 20th century and a meditation on the continuing relevance of his genius in what Mark describes as these Wellesian times.
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【技术参数】——
视频编码: x264 CABAC High@L3.1
比特率: CRF 20 (~1606Kbps)
Video 分辨率: 1280x720
Video 画面比例: 16:9
帧速率: 25 帧速率
音频编码: AAC-LC
音频比特率: Q=0.48 VBR 48KHz (~124Kbps)
Audio 声道数: 2
时长: 100 mins
分集数: 1
体积: 1.21 GB
来源: HDTV
编码: JungleBoy【Technical Specs】——
Video Codec: x264 CABAC High@L3.1
Video Bitrate: CRF 20 (~1606Kbps)
Video Resolution: 1280x720
Video Aspect Ratio: 16:9
Frame Rate: 25 FPS
Audio Codec: AAC-LC
Audio Bitrate: Q=0.48 VBR 48KHz (~124Kbps)
Audio Channels: 2
Run-Time: 100 mins
Number of Parts: 1
Part Size: 1.21 GB
Source: HDTV
Encoded by: JungleBoy
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相关纪录片：
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Links
Further Information
BBC
Release Post
MVGroup.org (torrent)
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