Sokurov ：平面影像--光与色的谱写

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---影幕是二维的平面这一事实你如何看待？

如果电影作为美术存在，那么真正的问题在于视觉。摄像机镜头总是无限的责难着导演。它导向的是艺术结果的双重性
，这正是电影制作过程的结果。一个光学设备所创建出的图像拥有高度的客观性，然而同时，它完全属于主观的。对电影而言，这种冲突的确是一个悲剧 。

从美学角度上看，影幕上产生了一个漂亮的画面。然而实质上这种美既不是由导演也不是由摄影师创造的，而是由冰冷的光学镜头所完成。我曾花了很长时间来熟悉这个过程，明白它，然后寻找我自己方法让自己摆脱此种限制。定义视觉作品中的美术层次是有必要的，最终会发现我的方式是属于油画的。很明显，电影的要点就在于它是滑行的图片。严格来讲，影幕的表面与画布的表面没有什么不同。

--- 这将如何涉及到摄影的透视变化呢？

问题时我们究竟是否需要三维空间。绘画艺术的发展依赖于艺术家对平面的理解，他们将平面视作一个法则，一个绝对的无须抗争的客观现实。电影制作者却认为这是必须填补的空洞 ----是荒谬。然而如果你接受这个法则，其结果就是有一个限制的体系以便让你关注到到主要问题---精神层面上。不过既然摄像镜头的特殊设计包含了空间的概念，所以在俄罗斯影片中我们已经有了两个发展方向。他们重新倒退回去，捡起传统错觉艺术家的工作，增强了影片中平面的错觉。这些只不过是个开始，要在平面影像上掌握更多的艺术资源还 需要更长的路要走。

附录：
LAUREN SEDOFSXY: How did you come to treat the screen as a two-dimensional Surface?

ALEXANDER SOKUROV: If film as art exists, then the real problem resides in optics. The camera lens is an immense reproach to the film director. It points to the dubious nature of the artistic result and, really, the very process of filmmaking. The picture created by an optical device possesses a high degree of objectivity; at the same time, it's monstrously subjective. This conflict is a real tragedy for film. Aesthetics comes down to seeing a good-looking picture on the screen. This beauty, however, has been created essentially by neither the director nor the cameraman but rather by the frozen liquid of optical glass. I've spent a long time familiarizing myself with this process, getting inside it, in order to find my own way of freeing myself from it. It was necessary to define the artistic hierarchy in the visual work and to decide, ultimately, that my model would be painting. The point of convergence with film was clear: the picture plane. Strictly speaking, the surface of the screen and that of the canva s are one and the same.

LS: How does this involve altering photographic perspective?

AS: The question is whether we need a three-dimensional space at all. The development of pictorial art reposes on the artist's understanding of the flat surface as a canon, an objective reality that should not be fought. Filmmakers treat it as a void that has to be filled--an absolutely ridiculous practice. If you accept this canon, however, it leads to a
system of restrictions that allow you to concentrate on the main matter, the moral dimension. Since camera lenses are generally designed specifically to create the impression of volume, we have had two developed in Russia specially for our films. They reverse traditional illusionistic volume and emphasize the illusion of a plane. These are the first steps, but we still have a long way to go before we have significant artistic resources for the flat film image.