The Radio of Cinema

IF 0.6 3区 艺术学 0 FILM, RADIO, TELEVISION FILM QUARTERLY Pub Date : 2022-01-01 DOI:10.1525/fq.2022.75.4.73
Bilal Qureshi
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引用次数: 0

Abstract

Film Quarterly columnist Bilal Qureshi explores the radio origins of Jonas Poher Rasmussen’s Flee, the first film to ever be nominated for an Oscar for best documentary feature, best animated feature, and best international feature film. Trained as a radio journalist who aspired to use sound to immerse the listener in images, Qureshi finds inspiration in Flee’s unique and extraordinary merging of radio and film. Relating the true story of an Afghan refugee’s arrival in Denmark after his escape from the Taliban’s first siege of Kabul in 1989, Flee began as a radio documentary compiled from conversations between Rasmussen and “Amin,” the alias chosen by his childhood friend to protect his privacy. Animators only began visualizing the story once the radio cut was locked. While there is a topical urgency that undoubtedly makes this film of migration, loss, and war “important,” there’s more: Flee is a master class in intimacy and immersion in the form of a radio film.
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电影的广播
《电影季刊》专栏作家比拉尔·库雷希探讨了乔纳斯·波尔·拉斯穆森的《逃亡》的广播起源,这是第一部获得奥斯卡最佳纪录片、最佳动画长片和最佳国际长片提名的电影。库雷希是一名电台记者,他渴望用声音让听众沉浸在图像中,库雷希在逃亡中找到了独特而非凡的广播和电影融合的灵感。1989年,一名阿富汗难民从塔利班对喀布尔的第一次围攻中逃脱后,抵达丹麦,讲述了他的真实故事。《逃亡》最初是一部广播纪录片,由拉斯穆森和“阿明”(他儿时的朋友为保护他的隐私而选择的化名)之间的对话汇编而成。动画师只是在电台剪辑被锁定后才开始将故事可视化。毫无疑问,这部关于移民、损失和战争的电影之所以“重要”,是因为它的主题紧迫性。除此之外,《逃离》是一部以广播电影的形式呈现的亲密感和沉浸感的大师之作。
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来源期刊
FILM QUARTERLY
FILM QUARTERLY FILM, RADIO, TELEVISION-
CiteScore
0.40
自引率
40.00%
发文量
36
期刊介绍: Film Quarterly has been publishing substantial, peer-reviewed writing on motion pictures since 1958, earning a reputation as the most authoritative academic film journal in the United States. Its wide array of topics, perspectives, and approaches appeals to film scholars and film buffs alike. If you love all types of movies and are eager to encounter new ways of thinking about them, then Film Quarterly is the journal for you! Scholarly analyses of international cinemas, current blockbusters and Hollywood classics, documentaries, animation, and independent, avant-garde, and experimental film and video fill the pages of the journal.
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