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BISFF Correspondence 通信计划|Vol.6 Till Gombert

BISFF Correspondence 通信计划

为了跨越种种障碍,开辟更多交流空间,我们设置了“BISFF Correspondence 通信计划”,对部分国际单元的参展作者进行系列访谈,这些访谈将在作品放映后发布在联展各个媒体平台。


像·我|IMAGE ME

Till Gombert

Germany|German | 0:05:34|2022

World Premiere


​Q&A


Director导演:Till Gombert

Interviewer&translator采访、翻译:张振娇



Q:What is the connection between your films (contents/objectives/approach) and your experience with photography?


自己的影像作品与摄影(来自摄影师家庭)的关系?


A:In Matthias Müller's seminar "Faces" at the Academy of Media Arts Cologne we approached the different representations of human faces in moving images and I became curious to explore the subject artistically. My parents are both graduated photo engineers and my childhood consisted of an early approach to photography. Sometimes I took photos myself, more often I was the subject of the image. I liked to be to be photographed, but my little brother always resisted from a certain age.


At the time IMAGE ME was created, I asked myself what this relationship to our images was all about. How much an image of one self can mean to that person. How vulnerable we are with the pictures of our faces. What we like to show and what not.


在由Matthias Müller教授于科隆媒体艺术学院举办的“面孔”(Faces)研讨会上,我们探讨了动态图像中人脸的不同表现形式,我开始好奇如何从艺术角度探索这一主题。我的父母都是摄影师,我在童年时期就开始接触到一些早期的摄影方法。有时我会自己拍摄照片,不过更多时候我是被拍摄的那一个。我是喜欢拍照的,但我的弟弟到了一定年龄就开始拒绝拍照。


在创作《IMAGE ME》的时候,我会思考这些图像之间有怎样的联系。一个人的自我形象(图像)对这个人意味着什么;面对自己的照片时,我们是多么脆弱;我们想展示什么,不想展示什么。


Q:Is the act of the two subjects in this film spontaneous or designed?


本片中被拍摄者的行为是自发的还是经过设计的?


A:Somewhat both. I wanted to work with the faces that are close to me, so it was clear that I will film and photograph the face of my partner Gesa Kolb and myself. We shot the film during a time of lockdown and COVID19 restrictions in spring 2021 and I turned the living room into a photo studio with a black paper backdrop. So the setting and the actors were chosen by design, but the way we captured us was by spontaneously trying different forms.

When Gesa and I experimented on how to take the pictures, we first took the photos with the aim to somehow transfer most of each ones face on film, as if the photos are scanning the face, while also exposing a certain profanity of the process. Then we re-enacted the image-taking while filming.


两者皆有。我希望我作品中的面孔是与我关系密切的,所以我很清楚我打算拍摄我的搭档Gesa Kolb和我自己的面孔。我们在2021年春季疫情封控期间拍摄了这部短片,我在客厅里贴了黑色背景纸,把我的客厅变成了一个拍摄间。所以,影片的布景和参演者都是经过设计和精心选择的,但在选择捕捉影像的方式时,我们自发地尝试了不同的形式。

在思考如何拍摄照片的过程中,我和Gesa做了多种尝试。最开始我们是打算通过某种方式将我们的面孔转移到胶片上,就像是这些照片在扫描我们的面部一样,同时用一种特别的方式展现这一过程。然后我们在拍摄短片时中重演了我们拍照的这个过程。


Q:What is the role of the photographer in this process?(as the other/spectator/interlocutor?)


拍摄者在过程中扮演怎样的角色?拍摄者是作为他者/对话者/旁观者?


A:The hand that takes the photos has no clear role. It could be a counterpart, but also oneself.


短片中出现的拿相机的手没有明确扮演什么角色。它既是他者,也是自我。


Q:What’s the meaning of rotation in this film? And why does it move around some “own axis”? In this film, face was equated with the photographic image, what is the relationship between reality and imagination under this depiction?


在本片中影像的“旋转”表达了什么?这种旋转与自我维度的关联是什么?

照片通常是描述被拍摄对象的样貌,您认为在这种描述下的真实和想象有何联系?


A:When 35mm photographic film is exposed, the material first lies in the film canister in its rolled-up state, then it briefly flattens once when it is exposed and then it lies again in rolled form. This beeing-turned-around-itself was to me a strong allegory for our relationship to the pictures of us. How much the self-understanding of us is shaped by the images of our faces, and how much we depend on it, when posting the images of our face on Instagram or in a job application.


But at the same time our own face is something very abstract to ourselves, as we just cannot see it with support of a camera or a mirror. Personally, I sometimes wonder who I am looking at in the mirror. The face is for me also a surface, as the medium film, that projects something from another layer. While the film captures reflections of the physical world, the face captures reflections our inner world.


在35mm摄影胶片的曝光过程中,胶片首先是卷在胶片筒中,然后在曝光时短暂地抻平一次,然后再次被卷在胶片筒中。对我来说,影片中的“旋转”本身是我们与照片之间关系的一个强有力的映射。我们对自我的理解在多大程度上是由照片塑造的,当我们在Instagram上发布自己的照片或是在求职申请(附上自己的证件照)时,我们在多大程度上依赖于它。


但与此同时,面孔对我们自己来说是非常抽象的东西,因为我们只能通过相机或镜子来看到它。就我个人而言,我有时会思考镜子里的自己是谁。对我来说,面孔作为一种介质,像是一个平面一样,会从它的另一面投射出一些东西。电影捕捉的是物质世界的映像,而面孔捕捉的是我们内心世界的映像。


Q:How did you come up with the idea of TURN (or Turn-captured-look-exposed-turn-exposed-look-captured as the structure of your film)?

您是如何构思本片中影像的串联结构的?


A:The text in the film was added during the montage. I liked to have intertitles as if the film was shot in the years of early cinema. At the time of Béla Balázs, Walter Benjamin and Dziga Vertov the intertitles as well as the scientific texts carry so much overstatement and exaggeration in it, as if the filmmakers and thinkers where overwelmed by their own ideas. Somehow the equation of IMAGE ME could stem from that time. I played with the text to find a poem that emphizies the mechanics of image taking while leaving space for ambiguity.


影片中的文字是在蒙太奇过程中添加的。我喜欢有字幕,就好像这部电影是在早期电影年代拍摄的。在贝拉·巴拉兹(Béla Balázs)、瓦尔特·本雅明(Walter Benjamin)和吉加·维尔托夫(Dziga Vertov)的时代,中间标题和科学文本都有如此多的夸张和夸张,就好像电影制作人和思想家被自己的想法淹没了。《IMAGE ME》的模式可能很大程度上源于那个时代。我在考虑这些文本的过程中似乎找到了一首能够强调图像拍摄机制的“诗”,(这些文本)同时也留下了一些想象和解读的空间。




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