昨晚看了fur这部片子，对我来说，租碟的吸引来自摄影师diane arbus和kidman这两点，但是看完后觉得极度诡异，这种想像的画面太过了，我觉得。。。
我觉得diane arbus不过是一个敏感的，对于自己高贵但平淡的生活感到过于压抑的人，以至于一直想冲破某种束缚的牢笼。非要制造出和金毛狮王的恋爱才导致她拍摄这些就不对了，而且整个气氛制造的太过于诡异……
农药同学说，人家不过是拍了些诡异的照片，至于把她拍成这样么
= =
我是同意，照片是反映摄影师内心的说，布列松就说，外界影响着内心，内心和外界的交流，表现为摄影，阿奇也说，每个人看东西的角度都不一样的，每个人拍出的照片也是不一样的，每个人的生活背景，学识，思想都会如实反映在他的照片里。
至于diane arbus，我觉得她很可能是因为看多了上层人物的表面虚伪，和拍摄广告服装摄影过多，看多了美女虚假的笑容，因而去追求另一个极端的真实。diane的心理肯定是不正常的，不止她的作品，她的死亡都表现了这点，但是我是不相信片子里面诡异的金毛狮王那种东西的，不过我想他想表达的是表面的皮相下的真实这一点吧。
Diane Arbus
你无法脱出自己的皮肤，而进人其他人 的身躯；别人的悲剧是永远不可能成为你的。
人生的迷语历史上，第一位被攻击为不道德的摄影家，大概就是黛安·阿勒丝只要瞥过她的照片一眼，就很难抹去心中一股难以言喻的不快情 绪。她所拍摄的对象，大都是正常社会中所谓的畸形人——巨人、诛 儒、低能儿、残障者、变性人—…·。而所拍摄的正常人，也是非常态的 类型——双胞胎、三胞胎、天体营—…·等等。无论正常或不正常的人 在她的镜头下，都有一种极度变态的倾向：人物是丑陋的，表情是令人 嫌恶的，穿着是极粗俗的，空间又充满着腐败的气息。这些照片是一点 和美感也产生不了关系。
阿勒丝的三张照片，第一次在纽约现代美术馆的联展中展出时 （１９６５），摄影部门的管理员，必须每天一清早去擦掉人吐在上面的口 水。当时几乎所有的观众都无法接受这样的表现。认为她的作品是肮 脏、道田而极不道德的。 阿勒丝所拍摄的这些人物，也许每个人都曾在日常生活中遇到过， 却是最不愿意多看一眼的景象。然而她却将他们的脸孔表情、心理状 况给征住下来，好像等着与你打照面，交谈那些命运所造成的悲剧事 件。 是什么力量促使阿勒丝，如此全神的投入心灵的黑暗底层呢？她底是什么样的一个人呢？去年刚在美国出版的《投入黑暗世界》 （Ｐｌｕｎｇｅ Ｉｎｔｏ Ａ Ｄａｒｋ Ｗｏｒｌｄ）一书，终于为我们解开谜团。这本书是女 作家派翠西亚·波丝通许（ＰａｔｒｉＣｉａ Ｂｏｓｗｏｒｔｈ）为阿勒丝所作的传记，甫 一上市立即被时代杂志（ＴＩＭＥ １９８４．６，４）为文作评，大力推荐，会成为 一本看好的畅销书，乃是意料中的事。 “畸形人有一种传奇性的特质，就像一个神话故本里的人物，阻挡 在你面前，逼你回答一个谜语。” 阿勒丝在一个演讲会上这么说着： “大多数的人都在惧怕将未会有什么创伤的经验中生活过来，而畸形人与生俱来就带着创伤，他们已经通过了生命的考验，他们是责 阿勒丝把畸形人尊为“贵族”，正是自己对人生谜语的解答，她的一 张张照片却是对正常人提出另一道谜题，多半人是没有勇气回答出的。
纯洁与邪恶
阿勒丝生长在一个十分富有的美国犹太家庭里，和哥哥、妹妹三 人，由各自的保姆带大，是个娇生惯养的温室花朵。然而这种无微不至 的保护，却给她相当大的压力。她说： “我觉得孩提时就各受折磨的一件事是——从来就不觉得有过困 境，我被一种不真实的感觉所肯定，而我所能感觉的屯只是不真实而 已。” 在这种不真实的痛苦中，阿勒丝第一次碰到畸形人，就被活生生的 悲剧所感动。十几岁就常在通学路线的地下铁上，找寻古怪的人，并且 跟踪他们，看看他们是怎么生活下来的。她被悲剧人物所吸引，因为她 觉得他们比她更真实。 十八岁那年，阿勃丝就结婚了，丈夫亚伦·阿勃丝是个服装摄影师 （现在是演员，于野战医院ＭＡ．ＳＨ电视影集中饰演精神病医师—— Ｓｉｄｎｅｙ一角），他们夫妻二人同在权威时装杂志ＨＡＲＰＥＲ’Ｓ ＢＡＺＡＡＲ工 作，是商业摄影黄金时代的一个成功时装摄影小组。 阿勃丝在三十五岁那年离开时装摄影，投入自己的工作，她在 ＮＥＷ ＳＣＨＯＯＬ艺术学校选修了女摄影前辈丽莎·荣德（Ｌｈｅｔｔｅ Ｍｏｄｅｌ １９０６－）的课程。荣德一直在拍非常态的人物——极胖与极瘦的人，极 富有与极穷苦的人。她鼓励阿勃丝去拍吸引她但被认为是极邪恶和带 威胁性的东西。 “不管是否邪恶”茉德这么告诉她： “如果你不去拍那些你不得不拍的东西，你就永远不会拍照。” 阿勃丝开始在纽约四十二街和百老汇街之界的畸形人博物馆 （Ｈｕｂｅｒｔ Ｆｒｅａｋ Ｍｕｓｅｕｍ）里住下来。她在半夜里追踪巨人和佛届，出没于下流社会。进出危危欲坠的小屋、妓院、变性人旅馆、奴役屋。波丝 握这么记述着： “她看起来毫不害怕，可是，阿勒丝不管在做什么，总是恐惧的—— 她与恐惧生活在一起，每天都在克服生命中的恐惧日子。恐怖的感觉 变成她的一帖治疗剂，用未解脱在温室长大的压力。” 出身太好，太过于娇生惯养的阿勒丝，好像放意要犯些禁忌来打破 自己的家族遗传。她一步步的投入黑暗世界，好像只有与邪恶为伍才 能洗脱纯洁带来的痛苦。
常态与畸形
阿勃丝是心思极为敏感的人，她对人的观察方式也有其独到的 面： “我们在路上遇到一个人，基本上只注意到他的缺陷。我们竞有这 种倾向是很怪异的，然而由于我们不满自己的这种天性，就创造了另外 一套——伪装。我们伪装起来，向世界发出讯号，让别人能以一种特定 方式来了解自己。但是在你要人们知道的你，和你无法不让别人打扰之间是有差距的，这就是我一直称之为意图与效果的裂缝。” 换言之，在阿勃丝看来：“人常常要装出一个正常的样子让别人了 解，而别人却往往看到你不正常的一面。” 阿勒丝所要表现的也正是这些，就如同波丝握所说的： “她拍出常态中的畸形，畸形中的常态。” 阿勒丝的摄影技巧是极为简单的，她一直用大乘六相机的正方形 构图，人物多半是采取正面的头像特写，所有被拍的人都摆好姿式准备 上照。纽约时报的艺评家优藤·奎玛（ＨＩｌｔｏｎ Ｋｒａｍｅｒ）对这种手法如此 评述着： “在阿勃丝的照片里，没有什么是即兴或仅是‘捕捉’到的，主题人 物有兴趣而耐性地面对着相机，他们完全意识到拍照的过程，而且合 作。这种参与感构成了摄影者与对象之间的交谈，依照片表达出一份 尊严。而我想：尊严就是这些畸形人物的力量来源吧！”
熟悉与不可思议
阿勃丝和她的拍摄对象，也有非比寻常的关系。她几乎是在羡慕 与嫉妒的情形下和畸形人交往的，因此照片的人物都带有英雄式的阐 释。 她为了拍一位犹太巨人，曾前后跟踪达十年之久，没有狂炽的热情 是办不到的。她也参加变性人的舞会，和“他”或“她”们约会进餐， 为了拍天体营，她自己也裸着身子。她觉得自己在这个特殊圈子里看 到更高的道德规范。她对已熟悉的事不感兴趣，对从未见过，不可思议 的事却值有独钟。她的一句话被印在自己唯一的一本摄影集的扉页 上： “任何事从来就不是一般人所熟悉的那样，我所认可的是我从未曾 见过的。” 这本影集，是阿勃丝死后，由她的女儿（Ｄｏｏｎ Ａｒｂｕｓ）及生前的朋友 所编辑，而由著名的摄影出版公司ＡＰＥＲＴＵＲＥ出版的（１９７２）。里头所 收集的八十张黑白照片，是摄影史上最怪异的影像。尽管这些照片被 视为是“伟大的作品”，但还是很难被一般大众所接受。阿勃丝用相机 表达出人类心灵最脆弱的部位。好像在告诉世人，邪恶就在每人的内 心底层。每个人都带有不正常的遗传因子，你最熟悉的事里有你最意 料不到的事件在内里酝酿着，她的整个摄影意图就在表现：“熟悉的事 物不可思议面。不可思议本物的熟悉面。”善良中有罪恶，罪恶中有善 良，这种表现手法，是世俗道德规范下的一大禁忌。而阿勒丝一生就在 追求通往禁忌之门。 摄影对阿勃丝来说是一种意图，而非纪录： “对我而言，相片的主题永远要比相片本身来得重要，而且复杂。 我对相片是有感觉，可是我并没有觉得什么了不得。我在乎的是这张 相片是关于什么的。” 阿勃丝的摄影行为几乎是一种哲学性的思考，而非视觉表达。她 会永留青史的原因也正是：让人透过她所拍摄的对象去思考命运与悲剧，思考自己与别人，思考正常与不正常的界线。
解不开的迷语
阿勃丝走入禁忌之门以后，自己越来越受不可思议的事所影响 但她又无法真正进入她所尊崇的“贵族世界” “我想描写的是你无法脱出自己的皮肤，而进入其他人的身躯；别 人的悲剧是永远不可能成为你的。” 她一再地将自己染黑，却永远成不了黑人，这种苦闷一再地折磨 她，使她拥不了身。她染上严重的周期性忧郁症，又受挫于长期性的肝 炎，最后终于以自杀来寻求解脱。她的死亡和她的摄影一样，令人惊 骇。她是躺在澡盆里，以刀片割脱，让血染红了整地水，也染红了自己， 直至咽下最后的一口气。她是解不开人生的谜语呢？还是谜底就是 “死亡”？ 在黑暗世界活了四十八个年头的阿勃丝，以生命最后的十年（１９６２ －１９７１）来完成自己的心愿。从这十年所拍摄的照片，我们可清楚地看 出她一步步跨向死亡的足迹，越晚期的照片越是诡异，越是不可思议。 死亡前的一组七张照片以《无题》为名，拍的是低能儿的化装舞会。她 曾对拍摄经验做了这样的自述： “一个只有六岁智能的六十岁老人，向我说：‘我以前一直沮丧着， 我怎么会是这个样子呢？’待我们共舞之后，忽然间他的眼睛一亮说： ‘哈！我现在一．或屯不沮丧了’。” 阿勃丝的《无题》作品之三，是一个戴着魔鬼面具的低能儿。这位 “贵族”好像在召唤着阿勃丝： “我们不要沮丧，来吧！与我到地狱共舞。”
Diane Arbus
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Identical Twins, Roselle, New Jersey, 1967, on the cover of Diane Arbus: An Aperture Monograph.Diane Arbus (March 14, 1923 – July 26, 1971) was an American photographer, noted for her portraits of people on the fringes of society. (Her first name is pronounced "dee-ANN.")
Contents [hide]
1 Early life
2 Later life and photography career
3 Legacy
4 Famous photographs
5 Arbus quotes
6 In popular culture
7 Footnotes
8 References
9 External links
[edit] Early life
Diane Nemerov was born in New York City into a wealthy Jewish family, in which she was overshadowed by her older brother, the poet Howard Nemerov. She attended The Fieldston School. She fell in love with future actor Allan Arbus at age 14, and married him soon after turning 18, despite her parents' objections. When Allan started training as a photographer for the US Army, he shared his lessons with Diane. As a husband-wife team, the Arbuses became successful in the fashion world: Allan was the photographer, Diane was the stylist. As Diane began to take her own photographs, she took formal lessons with Lisette Model at The New School in New York. Edward Steichen's noted photo exhibit, The Family of Man included a photograph credited to the couple.[1] Together the Arbuses had two daughters, photographer Amy Arbus and writer and art director Doon Arbus, but, by 1959, they had separated.
[edit] Later life and photography career
After separating from her husband, Arbus studied with Alexey Brodovitch and Richard Avedon. Beginning in 1960, Arbus worked extensively as a photojournalist, her photos appearing in Esquire, The New York Times Magazine, Harper's Bazaar and Sunday Times magazines, among others. Her first public work was an assignment by Esquire editor and art director Robert Benton. Published under the title, "The Vertical Journey: Six Movements of a Moment Within the Heart of the City", it consisted of six portraits of an assortment of New Yorkers. Arbus would go on to collaborate with Hayes and Benton (and Benton's successors) for 31 photographs in 18 articles.[citations needed]
Arbus' early work was created using 35mm cameras, but by the 1960s Arbus adopted the Rolleiflex medium format twin-lens reflex. This format provided a square aspect ratio, higher image resolution, and a waist-level viewfinder that allowed Arbus to connect with her subjects in ways that a standard eye-level viewfinder did not. Arbus also experimented with the use of flashes in daylight, allowing her to highlight and separate her subjects from the background.
In 1963, Arbus received a Guggenheim Fellowship grant, allowing her to focus on her art. Arbus received a second Guggenheim grant in 1966. The Museum of Modern Art, in 1967, staged Arbus' first museum show as the New Documents show which included the work of Garry Winogrand and Lee Friedlander. Arbus also taught photography at Parsons The New School for Design in New York and Hampshire College in Amherst, Massachusetts.
In July 1971, Arbus committed suicide in Greenwich Village at the age of 48 by ingesting a large quantity of barbiturates and then cutting open her wrists. Rumors held that she photographed her suicide, but no photos were discovered by the police.
[edit] Legacy
Aperture magazine was crucial in reviving Arbus' artistic reputation. MoMA curator John Szarkowski prepared to stage a retrospective in 1972, but the accompanying Diane Arbus catalogue proposal was turned down by all major publishing houses. Aperture's Michael E. Hoffman accepted the challenge, producing one of the most influential photography books. The Aperture monograph has since been reprinted 12 times, selling more than 100,000 copies. The MoMA retrospective traveled throughout North America attracting more than 7 million viewers. Also in 1972, Arbus became the first American photographer to be represented at the Venice Biennale. Arbus' photograph Identical Twins is tenth on the list of most expensive photographs having sold in 2004 for $478,400.
Arbus is noted by critics and art historians for her photographs depicting outsiders, such as tranvestites, dwarves, giants, prostitutes, and ordinary citizens in poses and settings conveying a disturbing uncanniness.
Some critics claim that Arbus' voyeuristic approach demeaned her subjects.[citation needed] In an effort to dispel this image of only photographing freaks, Arbus undertook a study of conventional people, including Gloria Vanderbilt's infant son, future CNN anchorman Anderson Cooper, for Harper's Bazaar.[2]
[edit] Famous photographs
Child with Toy Hand Grenade in Central Park,[3] New York City (1962) — A scrawny boy, with the left strap of his jumper awkwardly hanging off his shoulder, tensely holds his long, thin arms by his side. Clenching a toy grenade in his right hand and holding his left hand in a claw-like gesture, his facial expression is maniacal. Arbus captured this photograph by having the boy stand while moving around him, claiming she was trying to find the right angle. The boy became impatient and told her to "Take the picture already!" His tired, frustrated expression conveys his weariness with the whole endeavor.
This photo was also used, without permission, on the cover of Punk Band SNFU's first studio album; And No One Else Wanted to Play.
Identical Twins, Roselle, New Jersey, 1967 (above) — Young twin sisters are seen standing side by side in corduroy dresses. One slightly smiles and the other slightly frowns. This photo is echoed in Stanley Kubrick's film The Shining, which features twins in an identical pose.
Jewish Giant at Home with His Parents in The Bronx, NY,[4] (1970) — Eddie Carmel, the "Jewish Giant", stands in his family's apartment with his much shorter mother and father.
[edit] Arbus quotes
"Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats".[citation needed]
"A photograph is a secret about a secret. The more it tells you the less you know".[citation needed]
"What I'm trying to describe is that it's impossible to get out of your skin into somebody else's.... That somebody else's tragedy is not the same as your own".[citation needed]
"I never have taken a picture I've intended. They're always better or worse".[citation needed]
"My favorite thing is to go where I've never been".[citation needed]
[edit] In popular culture
Nicole Kidman stars as a highly fictionalized Arbus in the movie Fur: An Imaginary Portrait of Diane Arbus. This film was released November 10, 2006, with a DVD release date of May 8, 2007. Also starring Robert Downey Jr. and Ty Burrell, it is directed by Steven Shainberg.
[edit] Footnotes
^ Marshall, Peter. "Diane Arbus: Key Facts", About.com. Retrieved on 2006-12-22.
^ Patricia Bosworth, "Diane Arbus: A Biography", NY: W.W. Norton, 1984
^ University of Chicago
^ University of Southern California
[edit] References
Washington Post (May 12, 2005): "Double Exposure: A Moment With Diane Arbus Created A Lasting Impression", by David Segal
Washington Post/Camera Works (undated; circa 2003): "Diane Arbus: Revealed And Rediscovered", by Frank Van Riper
The Social Affairs Unit (Dec. 16, 2005): "Art as Freak Show: Diane Arbus, Revelations at the V&A", by Prof. Christie Davies - Review of retrospective at the Victoria & Albert Museum, London, England
