其实刚才说的做电影,是很多人的梦想,为什么说杨福东一直有拍电影的梦想,其实很多人都是这样,录像就是提供了这样一个便利,可以让你去实现,而且可以花很少的成本就可以实现(梦想),这是你说的外部条件吗?其实这是综合的,因为这个可以把你以前对画面感和声音的东西表达出来,它比较综合,这里面有很大的东西去让你发挥,这肯定会对你产生很大的吸引力。I personally think the engraving department is pretty good. Except for the normal classes, e.g. for copperplate or for lithograph we usually had one or two days class, when we were taught how to grind a stone or how to roll the printing ink, and that’s it. For the next one or two months we had nothing to do.
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It’s the real reason to do the ‘post sense and sensibilities’. Later on (I) began to oppose conceptual arts, which is why the symposium held by Huang Zhuan in 1998 in He Xiangning Art Museum (何香凝美术馆) was a real academic forum. The article I presented was ‘The Zone of Errors in Conceptual Art’; it was written for that forum. The forum was on in September or October but I had finished writing it in March or April because, well, a book was intended for publication….
其实,“高达”从一开始就被武士形象化了,因此并不是我将机器人和武士形象融合起来的。在日本,将机器人和武士形象结合起来表现的动画片,在“高达”之前还有很多。我只是为了使观者更容易理解才创作了“RX-78-2傾奇者”而已。不过,我觉得很难说“高达”表现出了“武士精神”。总的来说,“高达”故事只是与武士在表面上有形的相似而已,但离所谓的“武士精神”还差得很远
现在我是艺术领域的新锐,所以我不知道最新的设计,但是我想日本的设计水平在世界上是高层次的
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