ARNIE COOPER ARNIE COOPER
Los Angeles 洛杉矶
Stanley Kubrick 斯坦利•库布里克
Los Angeles County Museum of Art 洛杉矶县美术馆
Through June 30 至2013年6月30日
It's not just the huge block letters spelling out the show's name that catch your eye upon entering 'Stanley Kubrick' at the Los Angeles County Museum of Art. It's also a huge wall of kaleidoscopic colors depicting the Star Gate Sequence - the psychedelic rendering of Astronaut Dave Bowman's journey through the evolution of consciousness near the end of the film '2001: A Space Odyssey.' 进入洛杉矶县美术馆举办的“斯坦利•库布里克展”，抓人眼球的可不止是巨大的用加粗的字体写出来的展览标题，还有一面五颜六色的墙壁， 上描绘了“星际之门”分镜序列──对影片《2001太空漫游》(2001: A Space Odyssey)接近结尾时宇航员戴夫•鲍曼(Dave Bowman)穿越意识进化旅程的迷幻演示。
Patti Podesta, the exhibition's designer, says that groundbreaking special effect was derived from an early still-photo technique used to produce distorted images. 'Experimental filmmakers in the '60s,' she says, 'modified the technique for animation, using abstract designs on transparencies which are backlit and then covered by an opaque mask into which slits have been cut. A long exposure is made as the camera is moved vertically towards the image, which becomes bigger, softer and produces its own light trail.' 展览的设计者帕蒂•波德斯塔(Patti Podesta)说，突破性的特效来自于早期用来制作扭曲画面的静像技术。她说，上世纪60年代的实验电影制作人对技术进行了改进，将其用于动画，他们利用透明板上的抽象设计，透明板从后面打光，然后用一个不透明的、预先切好狭缝的罩子盖上。在摄像机垂直地朝向画面移动之际，进行长时间曝光，这样画面就会变得更大、更柔和，形成自己的光轨。
The 1968 film takes center stage in this ninth showing of the exhibition, which opens Thursday. Launched in 2004 at the Deutsches Filmmuseum in Frankfurt, 'Stanley Kubrick' has since traveled to cinema museums in Europe and Australia. But Lacma is its first stop at an art museum. This is why, assistant curator Jarrett Gregory says, many of the show's film clips were replaced with still photographs. The museum will, however, be running a complete retrospective of Kubrick's films at Lacma's Bing Theater beginning on Nov. 9. 这部1968年拍摄的影片是此次展览的核心之作，这是“斯坦利•库布里克展”举办的第九场，11月1日开幕。“斯坦利•库布里克展”2004年在法兰克福德国电影博物馆推出，目前已经在欧洲和澳大利亚的多家电影博物馆展出。不过，此次在洛杉矶县美术馆举办的展览是它第一次在美术馆展出。也正因为如此，助理馆长杰瑞特•格雷戈里(Jarrett Gregory)说，展览中的很多影片片段被换成了静态照片。不过，从11月9日开始在洛杉矶县美术馆的宾剧院(Bing Theater)将举办一次库布里克影片全面回顾展。
Beyond the movie stills and numerous annotated scripts and treatments, the show features artworks - such as the 1960s color artist John McCracken's planks, a nod to the monolith in '2001,' and Robert Rauschenberg's 'Sky Garden' lithograph (1969), which relates to 'Dr. Strangelove' (1964). Says Ms. Gregory: 'The idea of showing original artworks is to explore how Kubrick was engaged in culture. And just as he has influenced many artists and filmmakers, he also drew his own inspiration from artists and artworks across a wide range of historical periods.' 除了影片的静态照片、无数加有注解的脚本和处理手法外，展览中还展示了多件艺术作品。比如上世纪60年代色彩艺术家约翰•麦克拉肯(John McCracken)的彩色木板──这是对《2001太空漫游》中大石板的致敬。此外，还有罗伯特•劳森伯格(Robert Rauschenberg)1969年创作的“空中花园”(Sky Garden)石版画，这件作品与库布里克1964年拍摄的影片《奇爱博士》(Dr. Strangelove)有关。格雷戈里说，展示原创艺术品的目的在于研究库布里克是如何深入文化的。此外，他不但影响了很多艺术家和电影制作者，也从各个历史时期的艺术家和艺术作品中汲取了灵感。
While earlier iterations of the show had been chronological, at Lacma it is thematic. 'The Psychology of War: A Reassessment,' Ms. Gregory says, refers to the film 'Paths of Glory' (1957), which examined 'ambitions that lure men to sacrifice their fellow men,' and 'Full Metal Jacket' (1987), Kubrick's 'vision of war's madness.' There's also 'The Motifs of Noir' as exemplified by Kubrick's first feature film, 'Fear and Desire' (1953), and 'The Gaze of the Camera' as seen in his dark comedy 'Lolita' (1962). Don't miss the letter to Kubrick from the actress Sue Lyon, who played the title role: 'I will always believe that the only reason I had any success was because of you,' she wrote. Another standout: the wigged-out milkmaid mannequins from 'A Clockwork Orange' (1971), in the section devoted to that film. (Though not a theme emphasized in the 13,000-square-foot, 1,000-object show, one can see Kubrick's obsessive attention to detail, best illustrated by a card catalog of color-coded notations he created while researching his never-realized 'Napoleon.') 该展览此前的几次展出都是按年代顺序，但在洛杉矶县美术馆展出时则是按主题排序。格雷戈里说，“战争心理学：重新评估”(The Psychology of War: A Reassessment)主题与1957年的影片《光荣之路》(Paths of Glory)──该片剖析了人类的野心，而这种野心引诱人们牺牲自己战友──和1987年的影片《全金属外壳》(Full Metal Jacket)──它是库布里克对战争之疯狂的洞察──有关。“黑色基调”(The Motifs of Noir)主题体现于库布里克第一部故事片《恐惧与欲望》(Fear and Desire，1953年)；“摄像机的凝视”(The Gaze of the Camera)主题则体现于他的黑色喜剧《洛丽塔》(Lolita，1962年)。不能不提的是片中出演女主角的苏•莱恩(Sue Lyon)写给库布里克的信：我一直相信，我能取得任何成就的唯一原因就是因为你。另一个突出的展品是专为《发条橙》(A Clockwork Orange, 1971年)设置的展区中那个疯疯癫癫的挤奶女工的模型。（在这场面积1.3万英尺、展品达1,000件的展览中，库布里克对细节的过度关注虽然没有作为一个主题来强调，却仍然能让人感受到，最能说明问题的就是他为未完成的作品《拿破仑》(Napoleon)进行研究工作时编制的卡片目录，上面有用不同颜色标注的符号。）
'We fragmented things in order to create these very intensified moments,' Ms. Podesta says. 'And so I think you will re-experience what you know in a different way.' Among the fragments: a huge, never-before-shown image of the Overlook Hotel exterior set from 'The Shining' (1980). And, says Ms. Podesta, 'Here's the big news about '2001'': The eyes of the astral fetus (shown in a vitrine) do move. 'You can see the mechanism.' 波德斯塔说，我们将展出的东西拆解，创造出这些非常强烈的瞬间。我觉得这样一来，你会以新的方式重新体验你已经知道的东西。其中一个片断是，影片《闪灵》(The Shining，1980年)中的远望酒店(Overlook Hotel)外观形象，这个巨大的形象此前从未展出过。波德斯塔说，有一个关于《2001太空漫游》的大消息：片中那个外星胎儿（在一个玻璃橱窗中展出）的眼睛确实会动，你可以看到它的机械装置。
Another eye-opener: a thematic wall featuring red's prominence in seven Kubrick films. Consider the 'expansive Technicolor sunset' of the director's first color enterprise, 'Spartacus' (1960); the red pool table and backdrop for Nicole Kidman's striptease in 'Eyes Wide Shut' (1999); and the red walls, urinals and sinks in the bathroom scene in 'The Shining.' 另外一件让人眼前一亮的展品是一面展示七部库布里克影片中出现的红色场景的主题 ，其中包括库布里克首部彩色影片《斯巴达克斯》(Spartacus，1960年)中的“恢宏彩色日落”，《大开眼戒》(Eyes Wide Shut，1999年)中妮可•基德曼(Nicole Kidman)跳脱衣舞时背后的红色桌球桌和背景，《闪灵》浴室场景中的红色 壁、小便池和洗手池。
Across from a wall of brightly colored movie posters in various languages, camera aficionados will be treated to two glass cases of Kubrick's still-camera lenses. Kubrick (1928-1999) got his start as a photographer for Look magazine─on the day of President Franklin D. Roosevelt's death on April 12, 1945. Another wall features his first published image, shot that day, of a distraught newspaper vendor. 在一面墙壁上贴满了用各种语言制作的色彩鲜艳的电影海报，在 的对面，照相机爱好者可以饱览两个大玻璃柜中展示的库布里克静态相机的镜头。库布里克（1928年至1999年）出道时是做Look杂志摄影师，那一天是1945年4月12日，也就是罗斯福总统(Franklin D. Roosevelt)去世之日。另外一面 上则展示了他发表的首张照片，照片就是在那一天拍下的，画面上是一个悲痛欲绝的卖报人。
Deeper into the show we see Kubrick's movie camera adapted to shoot 'Barry Lyndon' (1975) by candlelight. Its hybrid assembly, one of the director's many innovations, features a 50mm Zeiss lens that had been manufactured for NASA satellite photography. 再往前走，可以看到库布里克改造过的、用于烛光下拍摄《乱世儿女》(Barry Lyndon，1975年)的摄像机。这个攒出来的设备（也是库布里克众多创新之一）配备了一个50毫米蔡司镜头，镜头原本是为美国国家航空航天局(NASA)卫星摄影而制造的。
Kubrick's '2001' exemplified not only technological advancements - for example, the front-projection rig that let Kubrick project a landscape on a background without it showing up on the actors, a precursor to the green screen - but also one of the first instances of big-screen branding. Kubrick had companies like Hilton and Pan Am envision products for the future, which he included in the film. 库布里克的《2001太空漫游》不仅是技术进步的典范──比如，正面投影装置，它使库布里克能够将风景投影到背景上，而不会显示在演员的身上，这是绿屏技术的先驱，也是首个银幕品牌营销的案例。库布里克让希尔顿(Hilton)和泛美航空(Pan Am)等公司为未来设想产品，他将这些产品用到了影片中。
You'll have to decide for yourself whether the show will 're-evaluate how we define the artist in the 21st century,' as Lacma's CEO, Michael Govan, has stated. But as Ms. Podesta notes: 'Being called an artist is lovely, but being called a filmmaker of the first order is just as important. The intense preoccupation Kubrick had with detail is closer to the practice of an artist than to the methods of most filmmakers. Kubrick is a superlative filmmaker. You can see what that means in the exhibition.' 正如洛杉矶县美术馆首席执行长迈克尔•戈万(Michael Govan)所说，你必须自己判断展览是否会让我们在21世纪重新评估对这位艺术家的界定。不过，正如波德斯塔说的，被人称为艺术家很美好，但被人称为一流的电影制作人同样意义非凡。库布里克对细节的极度关注与其说接近大部分电影人的方法，不如说更接近艺术家的做法。库布里克是一位技艺高超的电影人，这一点可以从展览中找到答案。
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