Read an interview with the director Wim Wenders, on his complicated relationship to his native Germany, a new project he’s been nursing for years, and the beauty of sharing mixtapes. http://nyer.cm/khBNb3v
A mixtape is a compilation of songs, originally hand-made on cassette tapes for personal sharing, but now often refers to artist-created, non-commercial music projects (especially in hip-hop) released for free to build buzz, featuring blends of original tracks, freestyles, or remixes, functioning as a promotional tool or "street album" distinct from a major label studio album.
This video explains the origins of the term 'mixtape':
里斯本/葡京 Lisbon: the city that looks South and West.
〈36 Hours Lisbon〉2023不要乘坐古老的黃色 28 路電車，而要登上幾乎空無一人的 12E 號電車。
書：細腿男《里斯本：沒落的美感》2018，2021第3.7版；
《Exploring Lisbon Street Art》.
電影： 四導演之一：" Lisbon Story" 1994 feature film directed by Wim Wenders. 2025 02 14。
印度建築師......
hcplace.blogspot.com
Lisbon: the city that looks South and West. Exploring Lisbon Street Art. Lisbon Story is a 1994 feature film directed by Wim Wenders. 2025 02 14
Lisbon Story Directed by Wim Wenders Written by Wim Wenders Produced by Paulo Branco Ulrich Felsberg João Canijo Wim Wenders Starring Rüdige...
“For if there is a sin against life, it consists perhaps not so much in despairing of life as in hoping for another life and in eluding the implacable grandeur of this life.”
The incredible Wim Wenders will be signing copies of his new book, 'Instant Stories' at The Photographers' Gallery. It's a photographic road trip through his life so far.
22nd October | 15:00 - 16:30
https://www.youtube.com/watch?v=XrCUFfM7wEQ
Wim Wenders: Painter, Filmmaker, Photographer
Published on Nov 13, 2014
“The world was such a better world in paintings than in reality.” Growing up in post-war Düsseldorf, it was through paintings that German filmmaker Wim Wenders initially discovered the possibility of a different world. This would later come to define him not only as a painter, but also as a filmmaker and photographer, as he shares with us in this personal interview.
A painter at heart, Wenders initially regarded film and photography as a simple way to record his surroundings and the camera as an extension of his painting tools. What he discovered, however, was that the camera could depict something that paintings could not - time. To Wenders, each photograph is a sort of time capsule, frozen in time but with an incredible relation to its own past and future, inviting the spectator to see more than any film could ever show. His desire is for the picture to not only convey a story about itself, but also about the person who took it. “I’m looking strictly for what I can learn about us”, he emphasizes.
Common for Wenders’ approach to both film and photography, is the starting point in painting and in particular the concept of frames. He considers the frame to be the defining factor - if it is not in the frame, then it is out: “The frame is the main act.”
In the end, Wenders became a filmmaker almost without being aware of it, and the transition from painting to photography and films was complete, as he puts it: “Eventually I realized I was no longer a painter.”
Wim Wenders (born Ernst Wilhelm Wenders in 1945) is the director behind movies such as ‘Paris, Texas’, the story of a man who returns to retrieve his life after a four year absence, ‘Wings of Desire’ (‘Der Himmel über Berlin’), which features an angel who falls in love with a mortal and thus wishes to become human, ‘Faraway, So Close!’ (‘In weiter Ferne so nah’), where a group of angels again look longingly upon the life of humans, ‘Buena Vista Social Club’, which documents a group of talented aging Cuban musicians, and ‘Pina’, a tribute to the late German choreographer, Pina Bausch. He has received a multitude of international awards, including the Palme d’Or, the BAFTA and the Golden Lion. Since 1996 he has been the president of the European Film Academy in Berlin. Apart from being a highly praised filmmaker, Wenders is also an acclaimed playwright, photographer and author.
Wim Wenders was interviewed by Marc-Christoph Wagner at Kunstforeningen Gammel Strand. Most of the photographs shown in this interview are part of the exhibition: ‘Wim Wenders – Places, strange and quiet.’
Camera: Simon Weyhe
Edited by: Kamilla Bruus
Produced by: Marc-Christoph Wagner, 2014.
Copyright: Louisiana Channel, Louisiana Museum of Modern Art.
Supported by Nordea-fonden
韋德斯在1999年拍攝的紀錄片"樂士浮生錄"（Buena Vista Social Club）也在展映之列。這部影片曾經獲得奧斯卡電影節最佳紀錄片單元的提名。展映的影片中還包括"慾望之翼"（Der Himmel über Berlin，1987）、"咫尺天涯"（Der Himmel über Berlin，1993）以及一系列短片等等。很多電影在放映時將播出原音配加英文字幕。
韋德斯的最近一次公開露面是在今年的柏林電影節上。電影節放映了2015年韋德斯的新作品--3D版電影"一切都會好"（Everything Will Be Fine）。韋德斯還被柏林電影節授予終身成就獎。
今年8月，韋德斯將迎來自己70歲大壽。去年他拍攝的講述巴西攝影師塞巴斯蒂昂·薩爾加多（Sebastião Salgado）的紀錄片"地球上的鹹鹽"（Das Salz der Erde）還獲得今年奧斯卡電影節最佳紀錄片獎的提名。但是這部電影卻敗給了講述斯諾登和棱鏡門事件的紀錄片"第四公民"（Citizenfour）。但這也是第3部出自韋德斯之手在奧斯卡電影節獲得提名的電影。
1985 Tokyo-Ga Documentary about Japanese film director Yasujirō OzuWhat about the State Library of Berlin, a ‘60s design by Hans Scharoun where angels read the patron’s thoughts in Wim Wenders’ Wings of Desire?
The western library played a starring role in Wim Wenders' Wings of Desire. Two angels, the stars of the film, read the thoughts of the library's patrons.
13.01.2011, Bayreuth eyes Wim Wenders to direct Wagner's Ring cycle
Wim Wenders and organizers of the Bayreuth Festival are engaged in talks for the renowned German filmmaker to direct "The Ring of the Nibelungen" in two years time. It will be the 200th anniversary of Wagner's birth.
In 2011 he was selected to stage the 2013 cycle of Richard Wagner's Der Ring des Nibelungen at the Bayreuth Festival,[3][dead link] a reflection of his capacity to produce imaginative tributes to great works of art.[4] The project fell through when he insisted on filming in3-D, which the Wagner family found too costly and disruptive.[5]
可在YouTube看/聽一些...... While promoting his 3-D dance film, Pina, Wenders told the Documentary channel Blog in December 2011 that he has already begun work on a new 3-D documentary, this one about architecture.[6] He also has said that he will only be working in the 3-D film format from now on.[7] Wenders admired the dance choreographer Pina Bausch since 1985, but only with the advent of digital 3-D cinema did he decide that he could sufficiently capture her work on screen.[citation needed]
A：當然在每個藝術領域都有這樣的人。如果只說我最近的體驗，九十多歲的 Kurtág György 完成的歌劇就很明顯地將貝克特式的思維轉化為音樂，並對我們生活的世界提供了令人難以置信的精確描述。或者是 Eötvös Péter。還有 Peter Handke 或納達斯的書籍，Anselm Kiefer 或 Nádler István 的繪畫。但我覺得，如今這些藝術方向更多是處於防禦狀態，無法成為主流的一部分。這些都是孤立的現象，與六○、七○年代形成對比，那時文化界人士能夠建立一個巨大的網絡。安東尼奧尼、楚浮、柏格曼或法斯賓達在某種意義上是與貝克特或卡繆在同一個頻率上創作，還有畫家弗朗西斯・培根、作曲家路易吉・諾諾、導演布魯克或斯特雷勒，或是當代哲學家沙特或海德格，或者是偉大的建築師如密斯・凡・德羅或卡洛・斯卡帕。一張文化保護網籠罩在歐洲上空。今天的文化更多是由分散的孤島組成。這並不是說現在沒有足夠的人才；而是他們在文化中的地位發生了根本性的改變。不管是不是共產主義，六○年代的領導人還會和伊耶什及柯達伊合影。讓我們看看，當談到文化時，今天的領導人都和誰在一起。
