MUSICAL WORKS

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。
创作思路来源于最近看过的一部电影《24帧》，导演是来自伊朗的阿巴斯·基亚罗斯塔米。影评人都特别爱引用戈达尔那句耳熟能详的名言：“电影开始于格里菲斯，终结于阿巴斯。”
电影讲的是二十四段每秒二十四格的电影真理，也是馈赠给世人的遗愿纪念。在静态摄影与动态影像之间，百转千回、细细探寻，也搭建起两种艺术表现形式间的关联。下起雪来白茫茫一片的林地，炊烟袅袅升起的村屋，鸟儿振翅飞过原野，鹿与牛缓步迁徙横越，世间万物在阿巴斯灵动诗意的凝视中，每一个按下快门瞬间的之前与之后，都随着景框里的窗框树影摇曳，天马行空地流转时光，在影格与影格之间，梳理电影的本质。
阿巴斯的孩子，雨和雪。阿巴斯的孩子，小鹿、奶牛和野马，鸽子、乌鸦和海鸥。《雪中猎人》引出24段画面，围绕万物生灵，把动与静，近与远，明与暗的变化，通过构图的分割，视线的聚焦和景别的深拓，写出了空与无，属意瞬间一刻，还有弹拨时间的极致美感。
其中充分利用符号学知识，构图很相似，几乎都是对称构图，层次分明，近景-中景-远景。真不电影表现出画面的力量感，温暖感。
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