今天我在MSN里换了个怪怪的名字，弄到全世界的人都误会我~~呵呵！
我在MSN里的名字放了“对裸男对得多整个人都会变得基基的……”这种能够让人匪夷所思的“名字”。才放没多久，MSN里的网友接二连三地问我我是不是无聊过度跑去看裸男的色情网站/片。有者更甚，索性当我是基佬~~汗~~就让我在这里向你们解释清楚吧！
DG有一个科目叫做Life Drawing。在这个课目里我们会学到人物的解剖学，深入研究人类的身体架构和肌肉。就上个星期老师丢了一对裸男（艺术性质）的图画给我们，要我们将那些男人去皮，将肌肉组织一条条画出来。就这样，我一直画，从早上画到下午（赶功课嘛……），面对着那些男人，真的会变得怪怪地……=="
嗯……还有一件要和大家分享的是今天看了一部禁片。这部禁片可是禁片中的禁片，因为在世界十大禁片当中，它是排行第一的，而且是从1975年（首映年份）一直到现在的记录。理所当然的，这部1975年的片子，画面当然不能和现在的成正比，但是这部戏的内容可令人乍舌的。戏里面很露骨、很刻突，也很恶心。在下面我会放上影评的介绍，然后希望各位有机会接触这部片的话，还是“三思而后行”吧！:-)
Day Without You Online, Day 106, Sunny:
Today I have a funny name for my MSN display name, and caused the whole misunderstood me~ Hehe!
My MSN name was "Facing a lot of naked man will cause me become a Gay" (direct translation from Chinese name)... Just a moment I put that name, and all the MSN users in my list messaged me and asked me whether I watch gay-porn or not. Some even thought that I'm a gay~~ SWT~ Just allow me to explain with you guys here!
DG class has a class called Life Drawing. In this class, we will learn the anatomy of human, and have a deep learning on humans body and structure. Last week lecturer had given us some naked men (artistic type photo), and wanted us to take off those men's skin and draw out the muscles below the skin. And thus, I drew from morning till afternoon non-stop (homework rushing...), and facing the naked men the day, and it really caused me unusual... =="
Hmm... Another thing to share with you guys here. I watched a banned-movie. It is a top banned-movie in the world, and the status just never changed since 1975, which is the year of premiere. It was a 70-an film, so the screen quality cannot compare with present one, but the content of the movie will stunt you at that minute. The movie is just disgusting, nausea, and dirty. I will paste up the comment of movie critics, and to those who has the chance to watch this movie, please, think before you act! :-)
这大概是有史以来最具有争议，最令人触目惊心的一部电影。改编自法国著名作家m•萨特(marquis desade)1970年的同名小说。故事讲述二次大战即将结束时意大利北部的一个小城，四个中年人劫持了18名少男少女，把他们关押在一栋别墅里，对他 们肆意侮辱，虐待，折磨，杀害的过程。其中还穿插四个*女不停地对这些孩子讲着下流的故事。电影的写实手法使许多镜头令人难以容忍。
这部电影由意大利著名导演，被称为“三尼”之一的帕索里尼(pierpasolini)执导(另外“两尼”是费里尼和安东尼奥尼)。这也是帕索里尼拍 摄的最后一部电影。他在这部电影公开上映之前不久，被人在罗马凶残地杀死。据说凶手杀人的原因就是因为这部电影！如果该电影不是帕索里尼所拍，一定会被当 成垃圾。但是帕索里尼这样的大导演为什么要拍这个电影，他到底想告诉观众什么？对此问题的争论近30年来一直没有停止过，遗憾的是，帕索里尼本人无法亲自 出来回答了。
正是由於这部电影的争议性，一开始就被许多国家禁演。允许该片上映的国家也做了很多删节。到目前为止，只有criterion collection曾经公开发行过未删节的全本。因此可以说是洛阳纸贵，网上未开封的原碟已经炒到1000美元以上。
Pier Paolo Pasolini, as is well known, was murdered not long after he finished work on this, his most audacious and confrontational film, yet even the most casual viewing of SALO begs the question - had he not been murdered, would he have taken his own life anyway? Every sequence, every shot and practically every moment of this film is so burdened with despair, barely concealed rage and a towering disgust with the human race, one gets the impression that Pasolini was barely hanging onto life - and any attendant shreds of hope - by his fingernails. Although ostensibly an adaptation of one of DeSade's most depraved works channeled through the horrifying excesses of the Second World War with the Fascist ruling classes as its (authentically vile) villains, SALO also contains a lot of contemporary criticism - Pasolini hated the modern world, and explained the stomach-churning 'banquet of s**t' as a none-too-subtle attack on the encroaching global domination of the fast food chains. (The scenes of sexual excess can similarly be read as a despairing attack on the permissive society - those who come to SALO expecting titillation or B-movie sleaze will be sorely disappointed.) Beyond the nihilistic content, which has been well documented elsewhere, the film has an overall mood that seems to have been engineered to make the viewer thoroughly depressed. Shot on washed-out, faded film stock using primarily static cameras, long shots, choppy editing and very few cutaways, SALO has a visual style reminiscent of cinema-verite documentary. Add to this the unnerving use of big band music, piano dirges and the (intentionally?) scrappy post-dubbed dialogue, and the distancing effect on the viewer is complete. SALO comes across as one long primal scream of rage, designed to shake the viewer out of his complacency, and in this respect, the film succeeds unequivocally. Whether or not you would care to watch this more than once, or indeed for 'entertainment', is another matter, but SALO is an important film that demands a careful viewing ONLY by those prepared for it.
Atom Feed (xml)
No comments:
Post a Comment