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ZHANG Junhong / 张钧泓

24 frames / 24帧 / 24 Zheng

Birth Y: 1995 Birth C: CHINA Gender: Male

Dest: Concert

Media Specification: AudioVisual

Duration: 6:00

Perf. Country: CHINA

Setup: Sichuan conservatory

Prog. notes: 电影的工业标准帧率为24帧,即每秒钟播放24张静态影像,致敬阿巴斯·基亚罗斯塔米大师,取得其名。一张静态影像可以承载的内容可多可少,一帧一世界,每一帧都留有很多想象空间,纯粹极其有限的材料设计声音、画面构图、物体动静、明和暗,试图在静态摄影与动态影像之间百转千回、细细探寻,搭建起两种艺术表现形式间的关联。
The industry standard frame rate of the movie is 24 frames, that is, 24 static images are played every second. It pays tribute to Master Abbas Kiarostami, who got his name. A static image can carry more or less content. One frame is one world, and each frame leaves a lot of imagination space. The pure and extremely limited materials design sound, picture composition, object movement, light and dark, try to use static photography and dynamic The images have been turned back and forth, and carefully explored to build a connection between the two forms of artistic expression.
The creative idea comes from a recently watched movie "24 Frames", directed by Abbas Kiarostami from Iran. Film critics are particularly fond of quoting Godard’s well-known saying: "The movie begins with Griffith and ends with Abbas."
The movie talks about twenty-four paragraphs of movie truths with twenty-four frames per second, and it is also a last-wish memorial to the world. Between still photography and moving images, hundreds of times and thousands of times, careful exploration, also build a connection between the two forms of artistic expression. Snow fell and the white woodland, the village houses with the smoke curling up, the birds flapped their wings and flew across the field, the deer and the ox slowly migrated across, and everything in the world was in the spiritual and poetic gaze of Abbas, each pressing down Before and after the shutter moment, both swayed with the shadow of the window frame in the frame, passing time in a wild and unconstrained manner, sorting out the essence of the movie between frame and frame.
Abbas’s child, rain and snow. Children of Abbas, fawns, cows and wild horses, pigeons, crows and seagulls. "Hunter in the Snow" draws out 24 scenes, centering all creatures, moving and still, near and far, light and dark changes, through the division of the composition, the focus of the line of sight and the deepening of the scene, it writes the void and nothingness. , I like the moment, and the ultimate beauty of plucking time.
The knowledge of semiotics is fully utilized, and the composition is very similar, almost all of them are symmetrical, with clear levels, close-range-medium-distance. It's really not that the movie shows the power and warmth of the picture.

Editor: XM