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Cinematographers don’t only recreate specific images, of course; sometimes, they turn to a broader group of paintings in search of a mood no movie has managed to capture https://cmpjewelry.com/. The period film Barry Lyndon (1975) was shot by John Alcott, the gifted cinematographer behind two science-fiction classics, 2001: A Space Odyssey and A Clockwork Orange. In fact, it can be useful to think of Barry Lyndon as an sci-fi adventure set in the 18th century. To convey an era at once familiar and “other,” Alcott immersed himself in the landscapes of Thomas Gainsborough, born in 1727, as well as the caricatures of William Hogarth, born in 1697.
Stanley Kubrick’s ‘A Clockwork Orange’ owes its swirling chaos to Vincent van Gogh’s ‘Prisoners’ Round’. The painting’s tumultuous brushstrokes echo through the movie, creating a visual representation of the film’s own whirlwind of disorder.
Whether it be on the walls of the Tuscan villa or in the form of the professor’s research, art is ever-present across Luca Guadinigno’s Call me by your name. The Perlman family approaches art as they do food, music or literature: with extreme awe and pleasure. Among the posters in Elio’s room, one finds the eclectic mix of Peter Gabriel, Mario Metz, The Wounded Man and Venice’s Biennale. Between art and music, there’s even room for some athleticism, as seen with the French Open’s Roland Garros print from 1981.
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Empire of the Sun artwork
Conflict, Time, Photography is curated at Tate Modern by Simon Baker, Curator of Photography and International Art, with Shoair Mavlian, Assistant Curator, and Professor David Mellor, University of Sussex. It is organised by Tate Modern in association with the Museum Folkwang, Essen and the Staatliche Kunstsammlungen, Dresden, where it will tour in spring and summer 2015 respectively. The exhibition is also accompanied by a fully-illustrated catalogue from Tate Publishing and a programme of talks, events and film screenings at Tate Modern.
Another fascinating exhibition. The concept, that of vanishing time, a vanquishing of time – inspired by Kurt Vonnegut’s 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map – is simply inspired. Although the images are not war photography per se, they are about the lasting psychological effects of war imaged on a variable time scale.
In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect…
It may seem odd that these great works of art and literature took so long to emerge from the aftermath of the events they concern. But many of the most complex and considered accounts of conflict have taken their time. To Vonnegut’s painfully slow response to the war, for example, we might add Joseph Heller’s brilliantly satirical Catch-22, published in 1961, and, even more significantly, JG Ballard’s memorial masterpiece Empire of the Sun, which did not see the light of day until 1984.
These works led me to attempt to create this photographic book, using the notion of the map as a clue to the future and to question the whereabouts of my spirit. Discarded memorial photographs, a farewell note, kamikaze pilots – the illusions of various maps that emerge are to me like a discussion with the devil. The stains are situated as a key image of the series by drawing a future stratum and sealing the history, the nationality, the fear and anxiety of destruction and prosperity. It was almost a metaphor for the growth and the fall.
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