[出走地平線:新生命]
Flattening The Curve: New life
「杜可風」生於1979年的香港中文大學。他由詩人兼文學老師連教授「接生」,為他起了這洪亮又有詩意的名字。
「杜」來自我的英文姓Doyle,也算是向我們當時學習的對象-詩人杜甫致敬。「可風」來自《論語》一句說話:「君子之德風」。
我理解的意思是,時而像暴風強而有力,時而謙遜如赤道之風和暢動人,温婉而具破壞力,風動而物皆動。
風有傲氣,高尚而摯誠。杜和Doyle對連教授起的名字永遠感激,至今這名字一直是我的人生楷模,提醒Doyle要好好面對的良知一面。
Du Ke Feng was born in 1979 in the Chinese University of Hong Kong. His “midwife” was the poet and literature Professor Lin. She gave him this resonant poetic name.
The “Du” is suggested by my English surname : Doyle. But also a nod to the influence of the poet on our studies. “Ke Feng” comes from The Analects of Confucius says: “A gentleman is like the wind”.
I interpret that as tempest-strong at times, and effaced like the doldrums. Malleable and moving, caressing and destroying, pushing other things on.
There is pride in the wind. It is noble. It is true. Both Du and Doyle are eternally grateful to her for giving him a name to aspire to, a better version of what he was till then to live up to, and a conscience that Doyle has had to deal with ever since.
同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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flattening中文 在 Christopher Doyle 杜可風 Facebook 的最讚貼文
[出走地平線:眼高手低]
Flattening The Curve : What I try to touch
中文所謂的「眼高手低」,意指不自量力。若目標定得太高,出手和能力卻沒有那麼高明,便會失敗。
我覺得《阿飛正傳》的前半部正是如此。當時的我仍受困於「電影」這概念,困在怎樣塑造影像風格,困在光的理論之內。
我們希望鏡頭可以像張國榮角色的性格一樣,慢悠悠的,同時流暢得像情感的交流。但是,許多風格上的選擇,都流於理論,做起來毫不實際,也未能前後呼應令影片成為一個整體。我拍得比自己想像中要慢,效率也低。
如今,我把目光放到手頭的工作上。我追求自己能把握的目標、能接觸的或想觸碰的。這就是我每日拍攝,所盡力堅守之道。
In Chinese we say, “The eyes are high but the hand is low.” It means you are trying too hard to do something. You set your goals high, but your hands, your abilities, are not as capable, so you fail.
I feel that the first half of Days of Being Wild is like that. I was still stuck in the concept of a film. Of how to style the image. Of the theory of light.
We wanted the camera to be as languid as Leslie Cheung’s character and as fluid as the reciprocity of the feelings, but many of the stylistic choices were too theoretical, too impractical to the working process, and not organic enough to make the film feel whole. I was slower and less efficient than I wanted to be.
Nowadays, I lower my eyes to what is at hand. I reach for what I can hold onto, what I can touch, or try to touch. This is the way I try to hold on, day by filming day.
#阿飛正傳30週年 #王家衛 #張國榮
#DaysOfBeingWild30thanniversary #WKW #LeslieCheung
flattening中文 在 Christopher Doyle 杜可風 Facebook 的最佳解答
[出走地平線:霓虹世界]
Flattening The Curve: Neon world
首次來到香港,我坐在雙層巴士的上層去到尖沙咀。當時既焦慮又興奮,期待著新生活的來臨。
在彌敦道懸掛著的霓虹燈招牌看上去頗有挑釁性,好像跟我鬧著玩…何解?
我也不清楚。
我不懂它們的意思,一個中文字也不認識,但它們就像不斷地向我傳遞訊息。
直至很多年以後,我才意識到它們跟我有何關係;把它們成為我作品的一部份,生命的一部份,讓我與這獨特的地方聯繫起來,成了我現在的家 。
霓虹燈的標誌催促著我要快點學會這些文字,躍身投入到這個地方。
它烘托空間有它獨特的方法:它是無比的自信。
它有自己的一種態度。
但因為人手製造,很多出乎意料的瑕疵(人人都有)讓它更有性格和誘人。
技術上而言,它只有短暫的壽命:它不過是藏在玻璃內的氣體。
I encountered Hong Kong riding the top deck of a bus entering Tsim Sha Tsui. I was anxious and excited I was coming to start a new life.
The neon signs that lined much of Nathan Road felt provocative, teasing me... why?
I wasn’t quite sure.
I couldn’t read them, I didn't know Chinese at the time. But they were messaging me.
Only so many years late I know why they connected with me and to what: to make them part of my work, my life, my way of connecting with the special place I now call home.
These signs were urging me to learn their message by learning their words and to make the leap of trust in this place.
Neon lights a space in a particular way: it's assertive.
It has to a certain attitude.
But being hand made, it has unexpected flaws (as we all have) that give it character, seductiveness.
And yet technically speaking, it’s ephemeral: it’s just gas in glass.
重温訪問《杜可風的霓虹光影》(2014)
Christopher Doyle On Filming In The Neon World(2014)
https://www.youtube.com/watch?v=97GwbI27w10
#香港 #霓虹燈 #霓虹光影
#HongKong #neonlight #filmingintheneonworld
flattening中文 在 AutoCAD - How to Flatten your Drawings - YouTube 的推薦與評價
In this short video I will show you how you can flatten your 3D AutoCAD drawings into a flat 2D drawing. ... <看更多>