北海，故宫，中南海，筒子河，天安门，太庙，中山公园，长安街，无数深宅大院外加几个神秘庙宇

 

而环抱在这其中的就是我曾度过六年美好时光的小小的美丽校园。

 

这些不分季节被游客踏烂的旅游圣地之于我，还有和我一样从母校毕业的同学们，却又有着不同的意义。

 

 

 

操场被禁止踢球的原因是与中南海只有一墙之隔，虽然我们从不知那高墙背后到底是怎样一番情景，但无数次违反校规将皮球踢过边界也未曾被什么警察叔叔抓走。

 

中午放学，我们到后河龌龊吧，哈哈～这是大家最习惯的约会方式，宁可不吃饭饿肚子也要到护城河边故宫脚下晒晒太阳才能心满意足。

 

 

 

 

 

 

 

 

 

冬日里的长跑，还是筒子河，女生800米，我们绕中山公园门口的柱子。男生1000米（大概啊，不太清楚的说）却要幸运的多，他们会穿越午门的广场去和太庙那边的柱子亲密接触。

 

2400呢，那就要继续向前，穿过端门，天安门，金水桥，一段长安街，南长街里老师会在最后的终点中山公园门口大声报出每人的时间。

 

当然，我们也曾半路跳上5路公共汽车，下车后再伪装成刚刚跑到的人一样，大口大口的喘气，我们也曾半路冲到中山公园去看郁金香展览，虽然银子不够可好心的售票员居然将我们放行，现在回想起来真是不可思议。也曾经，我蹲在午门前死赖着不肯离去，总在好奇到底深墙背后藏着什么奇妙的故事，直到快下课了，才被伙伴慌忙拉走，，，

 

 

 

 

 

 

 

 

 

 

南北长街，每天放学最快乐的一段路程，真希望这是一条永不会走到尽头的林荫大道。

 

我们会跑到中山公园还有午门前，夕阳下，挥尽一天里最后汗水，理由是被管理员盯梢下踢球更刺激。

 

我们也会在公园的小湖里泛舟荡漾，在结冰的河里淋漓奔驰

 

 

还有，更多的时候，我们选择了公园里的亭子温习功课，我们会傻傻的央求管理员为我们开启许久无人问津的游艺，在碰碰车场地里恋恋不舍迟迟不肯离去，而故意忽视她鄙视不满的目光

 

曾经，我们是那么的快乐，，，

 

 

 

台北晚9朝5（Twenty Something Taipei）

 

领衔主演： 黄立行、张兆志、杨谨华、黄玉荣、王婉霏、江沂伦、向均
编剧：成英姝
导演：戴立忍
监制：陈德森
出产地区： 台湾地区
影片长度： 140 分种
影片类型： 伦理片
出品公司：金川映画
发行日期：2003

 

 

 

 公元2002年的台北城，有24小时营业的电影院，24小时营业的百货公司，24小时营业的书局，24小时营业的咖啡店，24小时营业的KTV，24小时营业的理发厅，24小时营业的洗衣店，24小时营业的Disco Pub，当然，还有这一世代年轻人24小时永不停止的求爱活动，一个没有爱情的爱情故事，正日以继夜持续上演……

不管时代如何改变，不管环境如何变化，他们对感情的抚慰与感官刺激的追求是永远不会变的。 　　坚持爱情信念的现代处女EVA，相信真爱的存在，排斥婚前性行为；爱，就是用身体证明的Ben，是典型台北夜生活动物，任职唱片公司企划，常有女孩倒贴；性格忧郁的卖“药”仔小马，由于不忍见癌症末期的父亲痛苦，不惜找药让他解脱；在夜总会寻找好男人的VIVI，白天是幼儿园老师，晚上变身成为夜总会女王；在台南混不下去的COLA，跑到台北谎称留日回来的发型师，他能言善道、每天在夜总会寻找着异性猎物，典型的用下半身思考的男人；CINDY白天是上班族，晚上是网络跟夜总会最豪放的一夜情女王，一心想要尝遍各种性爱游戏；早已放弃男人的IDEN，是夜总会里的当红DJ，生平最痛恨糟蹋女人的坏男人，一心想将天下的好女孩子留在身边；一心想要做明星的HITOMI，努力跟每一个能给她机会的人上床……这里展示的是夜总会里的爱情文化，讲述的是一个个没有爱情的爱情故事。　　

1994年，陈德森、陈可辛和阮世生等人刚刚三十出头，却但不是三十而立的成就感，反而生出三十之惑，开始对当时二十来岁的年青人的生活态度产生兴趣。在阮世生提出了《晚9朝5》的构思后，三人齐到兰桂坊找一些收入达二万至三万元，没有什么家庭负担，干着朝九晚五的写字楼工作，下班后全力去追寻娱乐的上班一族倾谈，然后就拍出了《晚9朝5》。曾经在台湾读书的陈德森，一直想去台湾拍片，在拍过《晚9朝5》后，拍《台北晚9朝5》一直是他的梦，他想用一个新一点的角度去看台湾，也给“晚9朝5”一族一个新的注解。另外，陈德森一直为台湾有两千多万人口，是香港人口的三倍多，但却缺少商业电影而疑惑。因此更想在台湾拍出一些风格迥异的商业电影，故此，《台北晚9朝5》先找来当地娱乐片奇才苏照彬写故事、爱情小说才女成英姝任编剧、著名造型设计师吴里璐及美术指导麦国强包装，而摄影师则是曾在好莱坞工作过的的潘恒生。《台北晚9朝5》在未上映之前便在华语电影界里造成轰动，已经44岁的陈德森，这一次可望将自己的四十之惑彻底解开。

 

 

 

 

 

 

 六楼后座（Truth Or Dare: 6th Floor Rear Flat）

 

导演：黄真真
编剧：郑丹瑞、张帆、黄真真
监制：郑丹瑞/黄岳泰
主演：林嘉欣、卢巧音、周俊伟、邓健泓、森美
类型：剧情、青春
片长：102分钟
级别：IIB
出品：星皓娱乐有限公司
上映日期：2003年6月4日

 

 

 Candy、Karena、梁Wing、Jean、Leo和美颜宝，偶然遇上一年租约的超平荀盘，决定租下这六楼后座。六人爱玩truth or dare，全部放下面具，因此后座没有秘密。新年新气象，六人扬言一年后要做到定下的目标，谁做不到就食屎，包租婆作证。六个合租一个单元的年轻人，个个都没有那种得到公认的正经工作。Karena是一个迟到成癖又惯以各种借口拖稿的作家(或者说写手更合适)； Candy是靠塔罗牌给人算命的神婆，更遗憾的是，她是一个具有略微妄想偏执的花痴；剩下的四个男孩都是新面孔，一个从美国辍学回来的摇滚青年；一个因为肥胖被女友甩掉而改变性取向的商场小丑；一个做梦都想发财的懒虫；一个怯懦内向的大男孩。六个人在一起基本应验了那句话：傻玩傻高兴。除了每天玩“truth or dare”的游戏，他们基本都没什么事干。最后两个月， Karena 步向成功，其他人才发现原来本是游戏的事情变得既可怕又认真。他们要实现10个月前胸有成竹的愿望，但现在看来居然难过登天…… 

 

 

 

  青春是什么？

青春犹如方糖，对吧？
有棱角的、易碎的、荒唐的、甜蜜的
这种甜蜜是要亲身用舌尖的热量才能融化，才能品尝
你总不能隔岸观火。
人生总有这么一个阶段
一个做什么也快乐， 说什么也真诚的阶段
他们可笑，也可爱
笑他们，皆因我们曾经荒唐过
爱他们，因为我们亦曾甜蜜过

-----《六楼后座》

 

Well I heard there was a secret chord
that David played and it pleased the Lord
But you don't really care for music, do you?
Well it goes like this:
The fourth, the fifth, the minor fall and the major lift
The baffled king composing Hallelujah

Hallelujah Hallelujah Hallelujah Hallelujah

Well your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew you
She tied you to her kitchen chair
She broke your throne and she cut your hair
And from your lips she drew the Hallelujah

Hallelujah Hallelujah Hallelujah Hallelujah

Well Baby I've been here before
I*'ve seen* this room, and I've walked this floor,
I used to live alone before I knew you
I've seen your flag on the marble arch
Love is not a victory march
It's a cold and it's a broken Hallelujah

Hallelujah Hallelujah Hallelujah Hallelujah

Well there was a time when you let me know
What's really going on below
But now you never show that to me do you
But remember when I moved in you
And the holy dove was moving too
And every breath we drew was Hallelujah

Hallelujah Hallelujah Hallelujah Hallelujah

Maybe there is a God above
But all I've ever learned from love
Was how to shoot somebody who outdrew you
And it's not a cry that you can hear at night
It's not somebody who's seen the light
It's a cold and it's a broken Hallelujah

Hallelujah Hallelujah Hallelujah Hallelujah
Hallelujah Hallelujah Hallelujah Hallelujah

jeff buckley 

Born in California's Orange County on November 17, 1966, Jeff Buckley emerged in New York City's avant-garde club scene in the 1990's as one of the most remarkable musical artists of his generation. His first commercial recording, the four-song EP Live At Sin-e, was released in December 1993 on Columbia Records in the United States and Big Cat Records in the United Kingdom and Europe. The EP captured Buckley, accompanying himself on electric guitar, in a tiny club in New York's East Village, the neighborhood he'd made his home; the record's selections included two cover tunes laced with soaring vocal improvisation: Edith Piaf's "Je N'en Connais Pas Le Fin," Van Morrison's "The Way Young Lovers Do" and two original songs showcasing his songwriting abilities: "Mojo Pin" and "Eternal Life." Buckley began to tour North America, the United Kingdom, France, and Holland as a solo acoustic/electric artist in support of the Live At Sin-e release.

During the fall of 1993, prior to the release of Live At Sin-e, Buckley entered the studio with his band, Mick Grondahl (bass) and Matt Johnson (guitar), and producer Andy Wallace to begin recording the seven original songs ("Mojo Pin," "Grace," "Last Goodbye," "So Real," "Lover, You Should Have Come Over," "Eternal Life," "Dream Brother") and three covers ("Lilac Wine," Leonard Cohen's "Hallelujah," Benjamin Britten's "Corpus Christi Carol") that comprise his debut album Grace. Guitarist Michael Tighe, who cowrote and performed on Grace's "So Real," joined Buckley's ensemble shortly thereafter as a permanent member.

In 1994, Jeff Buckley toured clubs, lounges, and coffeehouses in North America as a solo artist from January 15-March 5 as well as Europe from March 11-22; his "Peyote Radio Theatre Tour" of that year found him on the road with his band and lasted from June 2-August 16. His full-length full-band album, Grace was released in the United States on August 23, 1994, the same day Buckley and band kicked off a European tour in Dublin, Ireland; the 1994 European Tour ran through September 22, with Buckley and Ensemble performing at the CMJ convention at New York's Supper Club on September 24. The group headed back into America's clublands for a Fall Tour lasting from October 19-December 18.

On New Year's Eve 1994-95, Buckley returned to Sin-e to perform a solo concert; on New Year's Day, he read an original poem at the annual St. Mark's Church Marathon Poetry Reading. Two weeks later, he and his band were back in the United Kingdom for gigs in Dublin, Bristol, and London before launching an extensive tour of Japan, France, Germany, Italy, Holland, Belgium, and the United Kingdom which lasted from January 29-March 5. On April 13 1995, it was announced that Jeff Buckley's Grace had earned him France's prestigious "Gran Prix International Du Disque -- Academie Charles CROS -- 1995"; an award given by a jury  of producers, journalists, the president of France Culture, and music industry professionals, it had previously been given to Edith Piaf, Jacques Brel, Yves Montand, Georges Brassens, Bruce Springsteen, Leonard Cohen, Bob Dylan, Joan Baez, and Joni Mitchell, among other musical luminaries. France also awarded Buckley a gold record certification for Grace. Buckley and band's Spring Tour 1995 found them back in the U.S.A. with gigs running from April 20-June 2. The band took off for Down Under to play six Australian shows between August 28-September 6, 1995. In November 1995, Buckley played two unannounced solo shows at Sin-e and celebrated New Year's Eve 1995-96 with a performance at New York's Mercury Lounge.

Jeff Buckley and his touring ensemble went back to Australia, where Grace had earned a gold record certification, for the "Hard Luck Tour," which ran from February 9-March 1 of 1996. Drummer Matt Johnson left the group after the final Australian show. In May of '96, Jeff played four gigs as a bass player with Mind Science of the Mind, a side-project of Buckley's friend, Nathan Larson of Shudder To Think. In September '96, Buckley played another unannounced solo gig at his old favorite haunt Sin-e. December of 1996 found Jeff Buckley embarking on his "phantom solo tour," a series of unannounced solo gigs played under a succession of aliases: the Crackrobats, Possessed By Elves, Father Demo, Smackrobiotic, Crit Club, Topless America, Martha & the Nicotines, A Puppet Show Named Julio.

On February 9, 1997, Jeff Buckley debuted his new drummer, Parker Kindred, in a show at Arlene's Grocery on New York's Lower East Side. He also played a couple of solo gigs in New York during the first months of 1997: a gig at the Daydream Cafe (featuring band members Mick Grondahl and Michael Tighe as "special guests") and a solo performance February 4 as part of the Knitting Factory's 10-Year Birthday Party.

Buckley and his current band line-up went to Memphis, Tennessee, in February 1997 to begin rehearsing in preparation for the recording, scheduled to commence June 30, of the eagerly-awaited follow-up to Grace. The new lineup debuted Buckley's new songs at Barrister's in Memphis on February 12 and 13. Beginning March 31, Jeff began a series of regularly scheduled Monday night solo performances at Barrister's. His last show there was on Monday, May 26, 1997.

In addition to his Columbia Records releases, Live At Sin-e and Grace, Jeff Buckley has appeared as a guest artist on several other recordings. He can be heard singing "Jolly Street," a track on the Jazz Passengers 1994 album In Love. He contributed tenor vocals to "Taipan" and "D. Popylepis," two recordings on John Zorn's Cobra Live At The Knitting Factory (1995). On Rebecca Moore's Admiral Charcoal's Song, Buckley plays electric six-string bass on "If You Please Me," "Outdoor Elevator," and "Needle Men" (on which he also plays drums). He both plays guitar and sings backup vocals on Brenda Kahn's "Faith Salons," a key track on her Destination Anywhere album (released 1996). Patti Smith's critically acclaimed Gone Again album features Buckley adding "voice" to the song "Beneath the Southern Cross" and "essrage" (a small fretless Indian stringed instrument) to "Fireflies." On kicks joy darkness, a various artists' spoken word tribute to beat poet Jack Kerouac, Jeff Buckley collaborated with erstwhile Nymphs' vocalist Inger Lorre on "Angel Mine"; Jeff plays guitar, sitar, and mouth sax (adding words at the poem's conclusion) on the track.

An ardent enthusiast for a myriad of musical forms, Jeff Buckley was an early champion among young American musicians for the work of Nusrat Fateh Ali Khan, the world's foremost Qawwali (the music of the Sufis) singer. Buckley conducted an extensive interview with Nusrat in Interview magazine (January 1996) and wrote the liner notes for the singer's upcoming The Supreme Collection album to be released on Mercator/Caroline Records in August 1997.

 

 

Jeff Buckley online: http://www.jeffbuckley.com

 

History of Magnum

"Capa said to me: 'Don't keep the label of a surrealist photographer. Be a photojournalist. If not you will fall into mannerism. Keep surrealism in your little heart, my dear. Don't fidget. Get moving!' This advice enlarged my field of vision." - Henri Cartier-Bresson

Two years after the apocalypse that was called the Second World War ended Magnum Photos was founded. The world's most prestigious photographic agency was formed by four photographers - Robert Capa, Henri Cartier-Bresson, George Rodger, and David "Chim" Seymour - who had been very much scarred by that conflict and were motivated both by a sense of relief that the world had somehow survived and the curiosity to see what was still there. They created Magnum in 1947 to reflect their independent natures as people and photographers, the idiosyncratic mix of reporter and artist that continues to define Magnum, emphasizing not only what is seen but also the way one sees it.

"Back in France, I was completely lost," legendary photographer Henri Cartier-Bresson explained in an interview with Hervé Guibert in Le Monde.

"At the time of the liberation, the world having been disconnected, people had a new curiosity. I had a little bit of money from my family, which allowed me to avoid working in a bank. I had been engaged in looking for the photo for itself, a little like one does with a poem. With Magnum was born the necessity for telling a story. Capa said to me: 'Don't keep the label of a surrealist photographer. Be a photojournalist. If not you will fall into mannerism. Keep surrealism in your little heart, my dear. Don't fidget. Get moving!' This advice enlarged my field of vision."

Englishman George Rodger, another of Magnum's founding photographers, recalled how his colleague Robert Capa, the agency's dynamic leader, envisioned the photographers' role after World War II, which itself had been preceded by the invention of smaller, portable cameras and more light-sensitive film: "He recognized the unique quality of miniature cameras, so quick and so quiet to use, and also the unique qualities that we ourselves had acquired during several years of contact with all the emotional excesses that go hand in hand with war. He saw a future for us in this combination of mini cameras and maxi minds.

There had been both emotional and physical excesses. Rodger, noted for his pictures of the Blitz and the liberation of Bergen-Belsen, had had to walk "three hundred miles through the bamboo forest and what seemed like a thousand mountain ranges" to escape the Japanese in Burma. He would give up war photography forever after finding himself "getting the dead into nice photographic compositions" upon entering the concentration camp. Cartier-Bresson spent much of the war as a German prisoner and, after escaping on his third try, in the French Resistance. Polish-born David Seymour (known as "Chim"), who received a medal for his work in American intelligence, had lost his parents to the Nazis (his father was a publisher of Hebrew and Yiddish books). And Hungarian Capa, whose name was synonymous with war photography since the Spanish Civil War, made the blurred, visceral photographs of the D-Day invasion that became its symbols. Tragically, two of the four founders - Capa and Chim - would die within a decade while covering other wars.

These four formed Magnum to allow them and the fine photographers who would follow the ability to work outside the formulas of magazine journalism. The agency, initially based in Paris and New York and more recently adding offices in London and Tokyo, departed from conventional practice in two fairly radical ways. It was founded as a cooperative in which the staff, including co-founders Maria Eisner and Rita Vandivert, would support rather than direct the photographers and copyright would be held by the authors of the imagery, not by the magazines that published the work. This meant that a photographer could decide to cover a famine somewhere, publish the pictures in Life magazine, and the agency could then sell the photographs to magazines in other countries, such as Paris Match and Picture Post, giving the photographers the means to work on projects that particularly inspired them even without an assignment.

In those days a photographer had a significant advantage: large areas of the world had hardly ever seen a photographer. They could choose to go almost anywhere they wanted, as Rodger pointed out, because in the early days one could "take pictures of just about anything and magazines were clamoring for it; the mistake was in thinking that it would continue." Still, four decades later, at the age of 75, Rodger was averaging one sale a month of photographs he had taken in Africa in the late 1940s during a self-initiated post-war trip that he had undertaken "to get away where the world was clean."

Magnum's first move was to divide the world rather loosely into flexible areas of coverage, with Chim in Europe, Cartier-Bresson in India and the Far East, Rodger in Africa, and Capa at large and replacing Bill Vandivert (an American who had helped found Magnum but soon dropped out) in the USA. And they had some early scoops, such as Robert Capa's first uncensored look behind the Iron Curtain at the Soviet Union with the writer John Steinbeck, originally published in the Ladies Home Journal (for which Capa, according to John Morris, the Journal's picture editor and later Magnum's executive editor, was paid $20,000 to Steinbeck's $3,000), and Cartier-Bresson's landmark coverage of India at the time of Gandhi's assassination.

It was important for Magnum's photographers to have this flexibility to choose many of their own stories and to work for long periods of time on them. None of them wanted to suffer the dictates of a single publication and its editorial staff. They believed that photographers had to have a point of view in their imagery that transcended any formulaic recording of contemporary events.

“We often photograph events that are called 'news,' " Cartier-Bresson told Byron Dobell of Popular Photography magazine in 1957, "but some tell the news step by step in detail as if making an accountant's statement. Such news and magazine photographers, unfortunately, approach an event in a most pedestrian way. It's like reading the details of the Battle of Waterloo by some historian: so many guns were there, so many men were wounded - you read the account as if it were an itemization. But on the other hand, if you read Stendhal's Charterhouse of Parma, you're inside the battle and you live the small, significant details... Life isn't made of stories that you cut into slices like an apple pie. There's no standard way of approaching a story. We have to evoke a situation, a truth. This is the poetry of life's reality."

David "Chim" Seymour and George Rodger

Chim, with whom Cartier-Bresson felt the most empathy as an artist, had yet another style, one that was gentler. Chim had largely given up photography during the war but soon after began working for UNESCO on a two-year project depicting the impact of the war on children in Europe, particularly those who had been injured or orphaned. One of his most distressing photographs shows a young girl who, having been asked to draw her home, stands mutely in front of an inchoate scribble. Cultured and modest, a lover of fine wines and good food ("Chim avoided ostentation as if it were the Automat," wrote Horace Sutton in the Saturday Review), Chim made pictures that radiate a quiet sensitivity, an awareness of the pain of suffering and an understated appreciation of others' humanity, almost as if he were attempting to restore a more distinguished order to a senseless world. "Chim picked up his camera the way a doctor takes his stethoscope out of his bag," wrote Cartier-Bresson, "applying his diagnosis to the condition of the heart; his own was vulnerable." George Rodger would go on to distinguish himself in those early years with photographs and text that depicted Africans living in the dignity and isolation of their own tribes, practicing communal rituals and relating to the camera with the lack of pretense that is now difficult to find in today's highly mediated world. His two-year, 29,000 mile trip by car and jeep was taken in large part as a reaction to the horrors that he had witnessed during World War II and served as an attempt to find those who attach a greater value to life. His photographs, direct and modest, distinguish themselves as both sensitively seen and respectfully rendered.

The deaths within Magnum's first decade of two of the agency's founders, Capa and Chim, and their gifted colleague Werner Bischof, threw the agency into turmoil. Some feel that Magnum's survival at that point was due in large part to a desire by its remaining members not to let the deaths of their colleagues be in vain.

Werner Bischof and Ernst Haas

Swiss-born Werner Bischof and the Austrian photographer Ernst Haas were the first new Magnum members after the founders. Each had growing problems with the role of the reporter. Bischof complained of his frustration with the magazines, contrasting the tragedies around him, such as the famine in India that he covered, with the short attention span of the media. "I am powerless against the great magazines - I am an artist, and I will always be that," Bischof wrote. Haas, after working for a short time reporting the devastation of post-war Europe, turned to color and motion. His specialty was luminous, abstract, semi-liquid color imagery of otherwise banal details - shop windows, sidewalks, litter, reflections. "I am not interested in shooting new things," Haas wrote in 1960. "I am interested to see things new. In this way I am a photographer with the problems of a painter, the desire is to find the limitations of a camera so I can overcome them."

1950s to today

Within five years of its founding, Magnum had also added to its roster talented young photographers Eve Arnold, Burt Glinn, Erich Hartmann, Erich Lessing, Marc Riboud, Dennis Stock and Kryn Taconis. Riboud soon followed Cartier-Bresson with his own pioneering work in China, the first of many trips in what has become a lifelong interest. Arnold took a memorable series of pictures of the Black Muslims and another of Marilyn Monroe. Taconis covered the Algerian war for independence. Soon others such as RenŽ Burri, Cornell Capa (Robert's younger brother), Elliott Erwitt and Inge Morath would join. The agency was growing. But there was a feeling that it was heading in some wrong directions. In a memorable 1962 memo addressed to "All Photographers" Cartier-Bresson attempted to remind the photographers of their place in the world:

“I wish to remind everyone that Magnum was created to allow us, and in fact to oblige us, to bring testimony on our world and contemporaries according to our own abilities and interpretations. I won't go into details here of who, what, when, why and where, but I feel a hard touch of sclerosis descending upon us. It might be from the conditioning of the milieu in which we live but this is no excuse. When events of significance are taking place, when it doesn't involve a great deal of money and when one is nearby one must stay photographically in contact with the realities taking place in front of our lenses and not hesitate to sacrifice material comfort and security. This return to our sources would keep our heads and our lenses above the artificial life, which so often surrounds us. I am shocked to see to what extent so many of us are conditioned - almost exclusively by the desires of the clients...."

Many Magnum photographers have succeeded brilliantly at transcending "the artificial life" and exploring life's realities subsequent to Cartier-Bresson's memo, as well as before. Bruce Davidson's East 100th Street is an extraordinary formal meditation on the lives of people living on an impoverished New York City block, and Philip Jones Griffiths's 1971 book, Vietnam Inc., is a brilliantly sardonic, even ferocious, look at the policy of the United States in Vietnam.

In the 1970s magazines increased their use of photojournalism and many Magnum members excelled, finding that they had pages and pages of photographs published. But the paradox was that as magazine editors grew both more attached to photographs and more visually sophisticated they also began to use photography in a more decorative, illustrative way. Photographers would be told specifically how to set up a cover shot, lighting and color became the focus, and many of the more serious images did not fit the upscale ambitions of publishers acting to attract a more affluent readership.

So while photographers were having success publishing photographs in magazines, such as Susan Meiselas's photographs of the Sandinista revolution in Nicaragua, or Gilles Peress's photographs of Northern Ireland and the upheaval in Iran, many Magnum photographers were increasingly turning to books and exhibitions to express themselves. Meiselas's Nicaragua, Peress's Telex: Iran, Salgado's L'Homme en Detresse, were attempts to give a more sophisticated and visionary explication of world events.

And as Magnum's photographers began to experiment with text and with book and exhibition design, their photographic language began to evolve as well. For many the direct testimony that Magnum's founders believed in no longer was sufficient in a media-saturated world that increasingly was using photography to illustrate the points of view of editors and art directors, of politicians and movie stars, at the expense of those of the photographers.

Raymond Depardon worked on a pioneering effort with the French daily newspaper Liberation to report on New York City by providing a single picture every day for the newspaper's foreign-affairs page with a diary-like text that described the people he met, what he was reading, his very personal feelings; Peress's book, Telex: Iran, included the telexes he received from Magnum's staff as a way of highlighting his quasi-mercenary, foreign role along with photographs that raised questions more than providing authoritative responses as to what was happening.

Eugene Richards's books combined the intimate and the public in raw exposes of the suffering of the impoverished, the sick, the addicted; Harry Gruyaert and Alex Webb's work in Morocco and the Caribbean, respectively, reveled more in the self-conscious exoticism of the observer rather than trying to reveal the societies' underpinnings.

For today's younger generation of photographers there is much less of a sense that simply reporting on an injustice is sufficient, and there is a much more complex sense as to what is or is not possible to explain. Right now, "if your pictures aren't good enough" you may be too close rather than not close enough, as Capa put it long ago. In today's "information age" if the reader can be enjoined to enter the quest for meaning then one has succeeded. With all of Magnum's prickly personalities, with all the difficulties inherent in attempting to see differently, it is a wonder for many that the agency has managed to survive fifty years. Very few cooperatives are noted for their longevity. Magnum, in its idiosyncrasy, its inability to stand still, has been a remarkable exception. As Cartier-Bresson put it in one of his blistering memos to the other photographers, "Vive la revolution permanente...."

© Fred Ritchin 1996. An excerpt of this text appeared as the introduction to "Magnum Photos", Collection Photo Poche, Editions Nathan 1997

 

 

see more on

http://www.magnumphotos.com/c/Home_MAG.aspx

 

What do you do when your wife Iona Aylesbury (Kristin Scott Thomas) can't tell the difference between a shrink and a shop, your eight year old son Orlando may have serious psychological problems, while his gay godfather Stephen (Ralph Fiennes) lies half beaten to death in an hospital?

Your boss is drawing you into a scam which could cost you your career, your father Edward Aylesbury expects more of you than you feel you can deliver and your stepmother Penelope's (Harriet Walter) bond with her dogs is your best role model of a loving relationship. And what could the secrets of streetwalker Gloria (Penelope Cruz) that her social worker Colin (Rhys Ifans) is digging up possibly have to do with you? Every family has secrets it hides behind the walls of its home - these are the dilemma and secrets of Marcus Aylesbury (damian Lewis).

When Marcus's old "friend" Trent (Ben Chaplin), an intelligent investigative journalist, gets wind of a story that might make him a media star the good old virtues of honesty, loyalty and friendship are sacrified to the new morality of success and celebrity. Pushed by his powerhouse editor, Trent is forced to bend his ideals of using journalism to make a difference - and instead focuses on writing "sexy stories that sell". This darkly comedic drama relentlessly pulls these characters into situations which threaten their stable place in a society where privilege and birth are no longer powerful enough to protect the fortunate few, and where the American values of money, beauty and success have become the cornerstones of contemporary London life.

after weeks of hard working,some sleepless nights,suffering  painful of my neck,back,waist,,,i finally completed my library design early in the morning

even though i was  fatigued,i still choose to go out and make a study of our new project-----hotel design with my mates.

there's a light  rainfall outside,

cold,wet,,,

but things gonna be changed as soon as we arrived at  the destination-----Fragrant Hills,when we get out of the bus ,

sunshine,bluesky,fresh air,,,which was really surprised us.

 

as i suddenly saw the red maple in Fragrant Hill,such a enchanting  scenery! i  was shocked,and decided to go there after  the visit of the hotel in the park,

(ps. the  Hotel , design by architect I. M. Pei,who is famous for his incredible project in Paris ---Pyramide du Louvre)

 

climbing up a mountain is a little bit difficult to the one who is already tired before the start,

i'm totally  exhausted  after we came back,

but,it was fabulous,and completely worthy!!!

 

& may  u wanna ask me my feelings?

 

 all that i can say is just WOW WOW WOW,,,

 

 

 

 http://spaces.msn.com/members/slackercarmen/PersonalSpace.aspx?_c11_PhotoAlbum_spaHandler=TWljcm9zb2Z0LlNwYWNlcy5XZWIuUGFydHMuUGhvdG9BbGJ1bS5GdWxsTW9kZUNvbnRyb2xsZXI%24&_c11_PhotoAlbum_spaFolderID=cns!1pJSiAHXZjP5I2x6unr3C-Dg!1785&_c=PhotoAlbum

 

画图后遗症将会陪我度过一生，，，

Authentic details form the basis of the G-Star collection, with which the company tries to be traditional but unorthodox, rough but stylish and pure but functional. Each season the company introduces new designs and innovative washings. For a new collection G-Star has formed a partnership with the world famous designer Marc Newson. Newson has in the past designed for KDDI mobile telephones, Nike, Samsonite, Biomega bicycles, Ittala and Alessi. This is the first time he has worked with G-Star Raw Denim. The result is a collection that combines the distinctive styles of Newson and G-Star in a fresh look at traditional denim. The collection of jeans, jackets and shirts for both men and women was inspired by Japanese work clothes. The new line was launched at the prestigious department stores Isetan in Tokyo, Colette in Paris and Selfridges in London. The clothing is available in all G-Star shops worldwide.

 

当黎耀辉独自驾车穿过密云的天空和寂寞的公路，来到旧台灯指引的南美洲大瀑布时，何宝荣正把自己囚禁在他们痴缠过的小房间里偷偷饮泣，大雨如注般的瀑布在黎耀辉的发梢眉间欢快奔流，洗去所有怨憎会、爱别离，只留下一段春光乍泄的声色光影深锁在斑驳的胶片里成为上世纪的传奇。
　　
　　少数族类的恋情，总是过度单纯，极致凄美，魅力难以抗拒。
　　而今天这个故事，从布宜诺斯艾利斯回到香港，从王家卫移到张国荣，梁朝伟换成黄耀明，长镜头变成米高峰，春光依然乍泄蔷薇依然怒放————说的是《Ｃｒｏｓｓｏｖｅｒ》，张国荣和黄耀明的首度合作，２００２年７月的最新唱片。

　　Ｃｒｏｓｓｏｖｅｒ，是一道音乐天桥，使迷幻电子通向主流情歌，让最佳另类艺人“明哥”和乐坛天王“哥哥”正面冲撞，在黑夜的海上迸发一刹那的光亮，谁说一刹那，并不代表永恒？

　　对于两人的合作乐迷们是期待已久。黄耀明说：“我和哥哥都是属于同一类人……我们又好像是风牛马不相及的两种人。”确实如此，这两个极度自恋的人，在音乐上各走各的路，却在生命中最重要的十字路口，不约而同选择左转，这是纳西瑟斯的情结，还是佛洛伊德的巧合？

　　《Ｃｒｏｓｓｏｖｅｒ》由五首歌曲和一首ＭＶ组成，哥哥和明哥各自翻唱对方一首创作歌曲（《春光乍泄》和《如果你知我苦衷》），然后明哥为哥哥和唱《十号风球》，哥哥为明哥的《这么远那么近》配上独白，最后两人合唱一首《夜有所梦》，就在一唱一和中完成了这张具有历史意义的专辑。

　　翻过封面上两人合二为一的暧昧连体照，打开乱红纷飞的歌词内页，首先映入眼帘的是编曲栏里李端娴、蔡德才、梁基爵等几个熟悉的名字，人山人海为了《Ｃｒｏｓｓｏｖｅｒ》已精英尽出，让乐迷对这张唱片更添信心。吉他竟是唱片内除了歌声外最重要的一种声音，仅仅五首歌曲，就请来四位吉他好手。其中最出彩的应该是蔡德才重新编曲的《春光乍泄》，香港资深吉他手Ｔｏｍｍｙ　Ｈｏ极富拉丁韵味的弹拨，如同探戈女郎唇边轻咬的一朵滴血红玫瑰，在幽蓝昏暗的舞池随着长裙翩翩旋转，挑起满场观众的意乱情迷，成就了一支放肆张扬的探戈舞；而在歌曲２分１８秒哥哥用气声吐出的“一样”二字，漫布着颓废的性感，霎时让人回想起何宝荣在阿根廷的放浪与哀伤，正如黄耀明所说，只有当哥哥唱完《春光乍泄》，这首歌才算是真正完美了。

　　专辑内另外一首重头歌曲就是哥哥作曲并配独白、黄伟文填词、黄耀明主唱的《这么远、那么近》，灵感来自几米的著名漫画《向左走、向右走》，当然，这两位出柜的歌者已经不需要有“向左走”还是“向右走”的疑惑。继《光天化日》后再次听到黄耀明这么大气磅礴的音色，爱得光明磊落却又悲伤暗涌，李端娴出神入化地把南美洲的潮润温热融入英伦电子气息，加上哥哥飘忽不定的磁性感人独白，营造出一种爱之不得的迷离氛围，让所有迷路的灵魂为之迷恋不已，超脱不能。如果说《春光乍泄》是一朵哀怨缠绵的红玫瑰，那么《这么远、那么近》竟已不是凡花之数了。

　　由黄耀明翻唱的《如果你知我苦衷》是哥哥写给周慧敏的经典歌曲，也是笔者的心头好，“翻唱歌王”黄耀明唱出了林夕笔下的那种无言的心痛。《十号风球》和《夜有所梦》是哥哥和黄耀明都很擅长的招牌式挑逗情歌，适合在所有爱欲扩张的夜晚聆听。

　　这张专辑唯一的遗憾是歌曲只有五首，远远不能满足歌迷们的欲望，可能初夜从来就是这么美丽而短暂，但已足够铭记一辈子了。

　　金风玉露一相逢，便胜却人间无数

 

 

 

 

1. Computer Data Not Playable
   
   
2. 这么远 那么近（Music Video）
   
   
3. 这么远 那么近   4：55
   黄耀明主唱、张国荣独白
   曲：张国荣   词：黄伟文   编：李端娴@人山人海
4. 十号风球   3：28
   主唱：张国荣
   曲：黄耀明/蔡德才   词：周耀辉   编：蔡德才@人山人海
5. 如果你知我苦衷   3：45
   主唱：黄耀明
   曲：张国荣  词：林夕   编：梁基爵@人山人海
6. 春光乍洩   3：50
   主唱：张国荣
   曲：黄耀明/蔡德才   词：林夕   编：蔡德才@人山人海
7. 夜有所梦   4：36
   张国荣＋黄耀明合唱
   曲：黄耀明/李端娴   词：林夕   编：李端娴@人山人海

導演：

杜可風Christopher DOYLE

 編劇：

杜可風Christopher DOYLE

 演員：

淺野忠信 Tadanobu ASANO

Kevin SHERLOCK

許美靜 Mavis XU

擴大，衰老....

淺野在沖繩。
他有著異於常人的記憶，對他來說，每個字有生命、有觸覺、有味覺和顏色，
他決定帶著這些負載過重的回憶逃向大海。
恍惚間，漂浮到一座「聞起來不壞」的城市－－香港。

凱文在香港有一家酒吧，
他用go-to-hell的心情迎接每一天，雖然，總隨中原標準時間一般準時喝醉，
雖然，永遠都不記得發生過什麼事。
他的生活格言就是「記不得的事永遠要比記得的多」
無論如何，他還是個理樓情人，忠實好友，有著熱情好客的性格。

最後，再加上一個充滿異想的魅幻女子，舒西

一日，在記得與不記得之間，他們相遇了

華麗、濃烈、搖晃著世界末日的不安，這就是杜可風。
少有攝影師比導演對出名，一種絕對自溺的強悍，從他的攝影機穿透你的眼，
和他一起墮落想像....
杜可風執導的第一部作品，關於記憶與遺忘的綿密氛圍。
人，與他們的話語　文字在生命／世界裡淡入，又淡出，
是杜可風為他的創作年代，留下最風格的印記－－淡出　二十世紀。

 

ORA-ÏTO is the brand name of the designer ito morabito, born in 1977 in marseille, france. his father, pascal morabito, is a well-known designer and retailer of luxury goods whose shop is on the place vendome in paris, and his uncle, yves bayard, was one of the architects of the museum of modern and contemporary art in nice. he got kicked out of design school after only a year and took matters into his own hands - first by working for an architect and then for the shoe designer roger vivier. he was only 21 when he decided to create fake products for real brands. he designed ‘ads' for a louis vuitton bag and a camouflage-patterned carrying case for a mac laptop and launched them on the internet... as if they really existed. pretty soon the big brands discovered his abuse of their name... and they loved it. this collection of imaginary items was viewed around the world and so emerged the very first virtual label. fiction became reality when people tried to order his virtual products from his website. ora-ito also presented a visionary and dystopic 2010's paris. in his vision the city has been wholly bought by mega corporations that made the arch of triumph nothing more than a NIKE 3D billboard and the tour eiffel an yves saint laurent possession. in contemporary paris, he spends his days in his studio creating real products for an impressive range of clients: in 2002 ORA-ÏTO received the ‘oscar for the best packaging’ for his aluminium heineken bottle. he designed the ‘ogo’ oxygen-enriched water water bottle, the adidas and joop perfume bottles, advertising campaigns for alain mikli, levi’s, ogo... 3D images for brochures and websites for cappellini, magis, a lamp for artemide, furniture for cappellini, b&b, ... －－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－ ogo’ bottle, 2003 louis vuitton bag, poof design, 1999 hack mac’ poof design design, 1999 heineken bottle, 2002 wrist watch for swatch, 2002 chaise-longue for b&b, 2005  myx - 8’ for sagem, 2004 －－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－ interview with ora－ito   what is the best moment of the day? I have a lot of pleasure during the whole day, when I fall asleep, when I wake up, when I take my shower, when I go to work when I eat my lunch, when I have breakfast and when I eat my dinner... laughs. what kind of music do you listen to at the moment? if I go clubbing, I like to listen to electronic music at home or if I am in the car I listen to hip hop because I feel like a gangster, (puts his arm up as if on the car window and nods his head.) if I am with a girl then it is more quiet, more romantic. it would depend on the mood I am in, that is the power of music. do you listen to the radio? yes. to music. what books do you have on your bedside table? a lot of books on architecture. I don't read the books, I have a big problem, I am more visual. where do you get your news from? newspapers. do you have any preferences on how women dress? yes, I really like these tops that are a little bit transparent. and if it is not my girlfriend who is wearing it... what clothes do you avoid wearing? I never wear jeans. do you have any pets? yes, I have a labrador. called 'ogo' like the bottle of water. because actually I found him on a train. at home I didn't have any toys for him but then he found this bottle of water on the floor and he started to play and I said 'ogo' and his ears popped up and he turned around ... so that's his name. when you were a child, what did you want to be? did you want to be a designer? I didn't pass through - you know when you are a child you want to be a policeman, you want to be a ... - yes, I always wanted to be a designer, an architect, an artist ... I didn't know what exactly, but yes, this. where do you work on your designs and projects? on / in my bed. it's true. it is the best place to work... only with a little pillow and some sheets of paper. without my phone and people to talk to. it's a quiet moment and the most comfortable place. why this interest in brands? when I was young I was fascinated by brands, about their history ... at the beginning a brand is a person who has a dream (and it is very difficult to realise the dream). when I began, I tried to project my imagination on brands, the most iconic ones. I proclaimed myself their artistic director. I used their logos in my designs without asking for permission. everybody knows the fake ‘branded’ products, all the counterfeit vuitton, but actually everyone thought that my work was real .... it made me quite famous. now I am the artistic director of a lot of big brands. my dream came true. who would you like to design something for? there are so many things I want to design... for ferrari, or a boat company, or sony... I would like to continue to work with big brands. do you discuss your work with other designers? yeah, yeah, but only in I my studio. I don't have friends who are designers. describe your 'style', like a good friend of yours would describe it. 'simplexity'. because all my designs look very simple, but I can tell you it is very complex to make it happen. for the adidas perfume, I arrived with a very simple drawing, but it took me three years to come to this point. what else can I say? there are a lot of things - futuristic... pure... strong image. which project has given you the most satisfaction? actually with most of the products I am very satisfied with. ... ross lovegrove told me ‘I love your ’ogo’ bottle because yours is like this (round) and all the others are like this (vertical)... it stands out. you need to be able to be recognised and positioned in this huge market. can you describe an evolution in your work from your first projects to the present day? at the beginning I was not very confident because I didn't really know what I wanted to do, who I was. I didn't even know if I was going to be a designer- at this age (27) you don't know if you want to be this for all your life. with a little bit of experience, I feel more confident now. I have my own vocabulary. the first things I did were a little bit over-designed - show-off. it is interesting to see that even established designers like ron arad or ross lovegrove continue to evolve. is there any designer and/or architect from the past that you greatly appreciate? the guy who made me want to be a designer was frank lloyd wright. ...and from today's scene? I don't look much around. any advice for the young? I think the advice I would give is - don't complain about yourself, so many people say 'oh I don't have money, I am not famous, oh I don't have this and I don't have this.' like what nike says- 'just do it'. make it exist, if it is nice it will be recognised and people will help you to make it. just do it, make it, even if just on paper, at least it exists.   ... and also, be a communicator, our generation is a communication generation. use technology - we have the internet, we can travel, we have mobile phones. we can distribute ideas all over the world. I would not say 50, but 30% (of the job) is communication. at first I thought I am losing my time talking to journalists, but in an interview you can explain your designs... and I realise that it is part of the job’s process. what are you afraid of regarding the future? unemployment for sure, it is cheaper to produce in china than in europe, it is getting quite difficult, now a lot of people don't have work and living costs become too expensive. I am worried that I will not be able to buy an apartment.   see more on: http://www.ora-ito.com/

您的人格类型是： INFP （内向-直觉-情感-知觉）

您的工作中的优势：
　　◆ 考虑周到细致，并且可以集中注意力深入某个问题或者观点
　　◆ 渴望打破常规思考，并考虑新的可能情况
　　◆ 积极投身于所信仰的事业
　　◆ 必要的时候一个人也能很好地工作
　　◆ 对收集信息有一种天生的好奇与技巧
　　◆ 能通观全局以及看到意识和行为之间的联系
　　◆ 能洞察别人的需要和动机
　　◆ 适应能力强，能很快改变你的形式速度和目标
　　◆ 在一对一的基础上能更好地与人工作

您工作中可能存在的不足：
　　◆ 必须控制方案和计划，否则可能失去兴趣
　　◆ 有变得无秩序的倾向，很难把握优先处理的事
　　◆ 不愿意做与自己的价值观相冲突的事情
　　◆ 不愿意按照传统的方式做事
　　◆ 天生的理想主义者，这样可能得不到现实的期望
　　◆ 很难在竞争的，气氛紧张的环境中工作
　　◆ 在处理及完成重要细节问题上缺乏纪律和原则性
　　◆ 在与那些过分顽固的组织和人打交道的时候没有耐心
　　◆ 在预计做要求多长时间某事上有不切实际的倾向
　　◆ 不愿意惩戒直接的肇事者或者批评别人

 

ps.昏，看过很多人做过这个，似乎我是唯一缺点比优点还多的一个，美的混了真是，，，

添个连接，猪大家好运！

 

In 1974, a group of unknown terrorists called the Symbionese Liberation Army made headlines by kidnapping newspaper heiress Patricia Hearst.

The 19-year-old then shocked the world by joining her captors and calling for “power to the people”. Oh, and the violent overthrow of big business and the Nixon administration.

For 18 months the stranger-than-fiction story dominated the public imagination as Patty – now reborn as “Tania” – helped the SLA embark on a string of bank robberies and bombings.

This documentary delves beyond the headlines to look at what really motivated the terrorists, who – it turns out – weren’t the monsters we all thought, but a group of mostly middle-class idealists fed up with America’s rightward drift.

By mixing archive footage of student riots with up-to-date interviews, the result is a vivid look at a country split by Vietnam and riven with racial tension.

And Patty’s dramatic switch from rich girl to radical proved just as divisive, with one half of America seeing her as a brainwashed stooge and everyone else idolising her as a hero rebelling against the pigs.

But the highlight of Guerrilla is the way it contrasts the fates of the terrorists (either killed or in jail) with Patty, who was freed after 22 months. Justice? Not likely.

Today, 31 years on, the most famous kidnapping in history is as fascinating as ever.

BEST QUOTE: “I am Tania, and I choose to stay and fight.” Patty announces her new ID to a shocked nation.

 

 

Guerrilla: The Taking of Patty Hearst is an unprecedented account of the Symbionese Liberation Army, arguably the most notorious and flamboyant domestic terrorist group in American history

 

ps. tania is just from the name of Che Guevara’s girfriend

某种程度上，我还是赢过Matin Luther King Jr.滴～

他曾有过一个梦想，而我涅～

已经数不清的愿望仍在不断更新中，，，

heretheyare，，，

 

沉浸在糖果巧克力蜂蜜果酱的王国里，并且永远不用担心蛀牙和糖尿病～括号：只要是甜的香的就可以，当然，是根据我的标准判断咯～

 

永远不要有人叫我阿姨，括号：姐姐多好听呀～姐姐姐姐！知道没？一定要记住哦，比我小的你们～否则，就没有糖吃了，很恐怖的呦，要小心了，呷呷～

 

愿逃学大王永远不会被抓住，西西～～

 

故事永远ing，不要ending，括号：这是因为，所有的结局都太烂了，我不喜欢！！！

 

如果世界彼端果真有另一个我，那么，希望我们会是两条平行线，永远没有相聚的一天～解释：如果镜子里的自己拥有独立的思维意识，那不是很恐怖的么，因此，我心甘情愿在自己的世界里继续称王称霸。

 

拜托拜托，不要逼我照相了，如果非照不可的话，也觉不要再拿闪光虐待我的眼睛啦。严重声明！坚决抗议！

 

再次拜托，不要让我再忘记那些重要的日子了，像是生日啦，约会啦，还有该死的节日纪念日，每次都是很努力很努力的不断背诵，可偏偏到了那一天却忘记了，喀，，，

 

还有哇，我讨厌医院的一切，打针抽血输液点滴病房愁眉苦脸的病人写字永远看不懂的医生尤其是牙医还包括消毒水的味道，讨厌讨厌，一切源于恐惧感，老天爷保佑我少生点病吧：（

 

marc newson这个挨千刀的，总是搞一些稀奇宝贝出来馋我，哼哼，总有一天，我会让事情颠倒过来的！！！等着瞧好啦！括号：我是大灰狼？嗯嗯！

 

 

to be continued，，，