苏联电影海报将好莱坞的魅力换成了前卫的创意

 admin   2022-02-12 18:10   2,484 人阅读  0 条评论
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Soviet film posters swap Hollywood glamour for avant-garde creativity

苏联电影海报将好莱坞的魅力换成了前卫的创意

1/8 'Film Posters of the Russian Avant-Garde' 1/8“俄罗斯前卫电影海报”

Mikhail Dlugach's film poster for "Yego Kariera" (1928).

In the early 20th century, Russia's film posters were distinct from their Hollywood counterparts.

Mikhail Dlugach为《Yego Kariera》(1928)制作的电影海报。

20世纪初,俄罗斯的电影海报与好莱坞电影海报截然不同。

2/8 'Film Posters of the Russian Avant-Garde' 2/8“俄罗斯前卫电影海报”

Nikolai Prusakov's film poster for "Pyat minut" (1929).

These artists refused to succumb to Hollywood's glamour and disrupted all artistic rules.

《Pyat minut》(1929)的电影海报。

这些艺术家拒绝屈服于好莱坞的魅力,打破了所有的艺术规则。

3/8 'Film Posters of the Russian Avant-Garde' 3/8“俄罗斯前卫电影海报”

Nikolai Prusakov's film poster for "Pervy Kornet Streshnev" (1928).

At the time, Russia was going through a social revolution that instigated creative experimentation.

尼古拉·普鲁萨科夫(Nikolai Prusakov)为《变态柯内特·施特列什涅夫》(Pervy Kornet Streshnev, 1928)拍摄的电影海报。

当时,俄罗斯正在经历一场社会革命,这场革命激发了创造性实验。

4/8 'Film Posters of the Russian Avant-Garde' 4/8“俄罗斯前卫电影海报”

Anatoly Belsky's film poster for "Trubka Kommunard" (1929).

Avant-garde artists believed creativity was at the service of the people to improve their lives.

阿纳托利·贝尔斯基(Anatoly Belsky)为《特鲁布卡·孔芒纳德》(Trubka Kommunard, 1929)拍摄的电影海报。

前卫艺术家认为,创造力是为人民服务,以改善他们的生活。

5/8 'Film Posters of the Russian Avant-Garde 5/8 '俄罗斯前卫电影海报

Smolyakovsky's film poster for "Konveier smerti" (1933).

Poster-making was the perfect vehicle for this way of thinking.

1933年,斯莫利亚科夫斯基为《科维尔·斯默蒂》(Konveier smerti)拍摄的电影海报。

广告制作是这种思维方式的完美载体。

6/8 'Film Posters of the Russian Avant-Garde' 6/8“俄罗斯前卫电影海报”

ZIArtists used new techniques, like photomontage, and incorporated vivid colors, strange shapes, and distorted bodies.

M's film poster for "Spartakiada" (1927).bodies.

ZIArtists使用新的技术,如蒙太奇,并结合生动的颜色,奇怪的形状和扭曲的身体。

M的电影海报《斯巴达》(1927)。

7/8'Film Posters of the Russian Avant-Garde' 7/8“俄罗斯前卫电影海报”

Anton Lavinsky's film poster for "Miss Mend" (1927).

Many of the designers who jumped on the poster bandwagon came from more traditional artistic backgrounds.

安东·拉文斯基(Anton Lavinsky)为《Mend小姐》(1927)拍摄的电影海报。

许多参与海报潮流的设计师来自更传统的艺术背景。

8/8 'Film Posters of the Russian Avant-Garde'

8/8“俄罗斯前卫电影海报”

"Film Posters of the Russian Avant-Garde" by Susan Pack is published by Taschen and is available now.

苏珊·帕克的《俄罗斯先锋派电影海报》由塔申出版社出版,现已公开发售。

While early 20th-century Hollywood film posters peddled romance and glamour, Russia steered away from the easy marketing of celebrities, and focused instead on creative design.

Spurred by the Bolshevik uprising and the previous era of autocratic rule, Russia's avant-garde artists believed creativity was a tool to improve people's lives. (Popular slogans like "Art into Life" and "Art into Technology" epitomized this way of thinking.) These artists disrupted all rules to create a new graphic order that took center stage in the posters.

20世纪初,好莱坞电影海报宣扬浪漫和魅力,而俄罗斯却避开了明星的简单营销,转而专注于创意设计。

Poster for "Trubka Kommunard" (1929) by Anatoly Belsky Credit: Anatoly Belsky

海报“Trubka Kommunard”(1929)由阿纳托利贝尔斯基信贷:阿纳托利贝尔斯

Revolutionary art

Many of the designers who jumped on the poster bandwagon came from more traditional artistic backgrounds. The Stenberg Brothers, for example, started as Constructivist sculptors and set designers, and the prolific artist Alexander Rodchenko worked in photography, architecture and industrial design.

"They montaged disparate elements, such as adding photography to lithography, and juxtaposed the action from one scene with a character from another," Pack writes. "They colored human faces with vivid colors, elongated and distorted body shapes, gave animal bodies to humans and turned film credits into an integral part of the design."

革命性的艺术

许多参与海报潮流的设计师来自更传统的艺术背景。例如,斯坦伯格兄弟(Stenberg Brothers)一开始是建构主义雕塑家和布景设计师,多产艺术家亚历山大·罗申科(Alexander Rodchenko)从事摄影、建筑和工业设计。

帕克写道:“他们蒙住了不同的元素,比如在平版印刷中加入摄影,并将一个场景中的动作与另一个场景中的角色并列在一起。”“他们用鲜艳的颜色给人类的脸上色,拉长和扭曲的身体形状,把动物的身体给人类,并把电影演职员表变成设计中不可或缺的一部分。”

As filmmaking established itself as an art form, so to did these posters and their designers, who often hadn't even seen the films they were advertising and worked from press kits sent from Hollywood.

Their rare works, which were only meant to be seen for a few weeks, are now grouped in a book that will keep them away from oblivion.

"Film Posters of the Russian Avant-Garde" by Susan Pack is published by Taschen and is available now.

随着电影制作确立了自己作为一种艺术形式的地位,这些海报和它们的设计师也确立了自己的地位。这些设计师通常甚至没有看过自己在做广告的电影,而是从好莱坞寄来的宣传资料中寻找素材。

他们的珍贵作品原本只打算在几周内展出,现在被归类在一本书中,以免被人遗忘。

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