ampanman

Title : Wood Wind Tide
Artist: Ampanman (Clive Bell + Richard Scott)
Venus Lau

The first time that Beijing knew about Clive Bell (not the art critic) was probably the year 2005, when he participated in the Sound and the City project launched in Beijing by British Council, with three other musicians including Brian Eno. Bell collected Chinese pop songs from Beijing shops and restaurants, covered them and returned his new versions of music to those shops to play – fun idea to remodel the sound of a city. But actually this Englishman is also one of the famous western performers of shakuhachi – the bamboo flute for enlightenment of Komuso – monks belong to the Japanese Buddhist Fuke Sect.

It is easy to expect the 53 minutes packed in the cute purplish paper cover to be another typical ambient laptop loops adorned with “mysterious, elusive” oriental elements. Yet surprising, every single sound in the whole album, is derived from shakuhachi performed by Clive Bell, a student of the master Kohachiro Miyata. By using microphones (like, Neumann TLM 170) musician (also another member of Ampanman, a Japanese cartoon hero whose head is made of bread) Richard Scott picked up the sound fragments from the bamboo flute, then through processors and mixers he generated new audios, which he juxtaposed or overlap on the original instrumental tunes.

The sound of shakuhachi, bears the traits of “humanity and inhumanity” at the same time, sometimes maybe a bit ascetic, monotonous. The processed sound part added textures and variousness to the instrument that “enlightens through one note”. The stratum entirely brought from this single bamboo winds is subtly beautiful, like a milky way being placed on a boulder. Yet for an instrument with a tradition that stresses the importance of spacing in the music as the sound, yes, spacing, like those in ancient Chinese paintings, the electrical re-scheming discomfits the elegant voids. Although the digital reorganizing and re-hamonizing generate possibilities for the simple-structured instrument through reallocating the sound and spacing pattern, it somewhat destroys the karesansui (Japanese zen rock gareden) style self-completeness of shakuhachi.

Some may have the comment that the album sounds like any another experimental ambient music which actually resembles soundtracks of thrillers – if Wood Wine Tides does, at least it’s the one from Ugetsu monogatari（1953）.

thanksgiving

Thanks for all those people who made the party so lovely, and thankful for Buddha, yes, I am serious.

araki

Araki Nobuyoshi
This is a month of excellent Japanese contemporary art. More than 50 pictures from the 60s to year 2000 by famous Japanese photographer Araki is going to be shown. Yes, he is famous, of his pictures with naked prostitutes, S and M bondage scenarios, fetishism and eroticism– that ‘s why the master is always subject to controversy: some may say he is the greatest artist in Japan, and some may think he is only a pornographer. For the former one, including Bjork, believes that there is something behind the ropes, exposed skin and smeared lipstick marks. As in the ‘Aura- fading ”mass production of photography suggests consumption, the product-like models and every meticulous detail in the pictures, suggests unrealism. When tearing off the erotica, there lies the Zen emptiness, and great sorrows.Just like another Japanese artist, if not a writer, Yukio Mishima, Araki, the choice exposing the richness of flesh is to conquer the richer emptiness– the materialists who are so attached to the flesh, are actually, nihilists. Keumsan Gallery (6436 6176 )

Sakurai Daizo

Tent Theatre of Sakurai Daizo
Graduated from Waseda University, Sakurai Daizo, Japanese experimental director and actor commenced his Tent theatre, that is, making stage performance inside temporarily–built tents, since the 70s, when social movements in Japan were active and radical. Tent theatres are actually a product of subversive theatre movement parallelling the political ones in Japan’s 60s and 70s. Tent theatre is not only a theatre form that links the surroundings and creates variables, randomness (Like being beaten buy the cops) and instability to the performance, but also a subversion and opposition to establishment and hierarchy, which are symbolized by traditional theatres.

Although Tent Theatres dissolved gradually in the 80s, yet there are still some directors like Sakurai who cast their concern on social issues, among his more than 30 plays, there are many social- conscious works, for instance, Screen Memory– a play based on a script of Japanese traditional story- telling in 12th –16th century revolving around two lepers. The play casts Sakurai’s acute criticism on Japanese government’s unreasonable seclusion policy of lepers. Sakurai’s discontent on capitalism and establishment can also be shown by his firm refusal to funding given by enterprises and government.

In 2007, Sakurai is going to bring his new stage performance, 变幻痂壳之城 (literally Changing Scar City in Beijing from September 14- 16 with a series of activities and lectures. Scar is a metaphor of capitalist societies, where capitals are created supposedly to eradicate poverty, yet it eventually worsens the problem. In a society like that, people, rich and poor, are deprived of their imaginations.

A talk given by the director Sakurai Daizo will take place in Peking University on September 7. On the other hand, in One Way Street Library, there will be a meeting with creators of the play on September 8 and an evaluation discussion on September 22.

http://tent-beijing.blog.sohu.com/entry/

Chinese Dreamers

Chinese Dreamers

This is just a little photography assignment on dreamers in China with about 10 pieces, shot by Liao Weitang, a photographer and poet born in Guangdong province in 1975. Liao spent his childhood in Zhuhai, a southeastern coastal city famous for its seafood and Lychee, followed by his residence in Hong Kong and Beijing in his 20s. Liao also flies between Chinese provinces including Haerbin, Xinjiang, Mongolia, Yunnan… Liao has never taken any of these abovementioned places as his home. This insider- outsider identity makes him the best person to observe China, just like Edward Said to Middle East.

In these pictures there show the scenes of China we are not familiar– no Tiananmen Square, no Mao’s rosy cheeks, no fog- barraged willows, no bright red lanterns, these are not the images of “China”, which is a hyperreality piled up by unilateral, selected impressions fed to us through media. At the same time, this is the China that we are familiar, swimmers at Houhai, kids standing behind the rusty brick walls, elderly under a tree in a park, these are actually all the things that we encounter in China everyday.

The photographer follows his personal preference by utilizing monotone in this series. On realism people and scenes he adds an effect of pinhole camera, which is characterized by dark from the side of the photo that fades when it comes towards the center. On the background’s visual rough texture characterized by graininess, human figures are thrown by a slab of whiteness. Human figures’ fade away like they are being scotched by a poisonous white sun. The aura of human figures that was already eliminated by the possibility of photography multiplication is further weakened by the wiping off part of their face outlines. The huaman figures in the pictures are devastated to be the backgrounds of the backgrounds behind them.

The title “Chinese Dreamers” reveals that the grassroots in the pictures are actually in dreams, they are in dreams not because they are dreaming, but for the fact that they are, placed, or misplaced, into somebody’s dreams, or the whole country’ s dreams of good future. In these dreams some people found their bliss and some are scalded by the overheated reality: Like Yang Yi, the balladmonger who wandered around museums and universities, was still swooped by the cops when he gave his engrossing tunes that he leant from the north of Shannxi in the era of the rising of the economy. This set of pictures unveils how these grassroots are trapped in some other people’s dream through one of photography’ nature, immobility.

The power of photography, is “measured’ by the extent of how it nullifies the reality and creates its own, it is a process from making replica to creation. The strength of Chinese Dreamers comes from eliminating all others’ Weltanschauung and creating its own China by photographic skills and dissecting the reality.

c-ART-sh

We all said China’s art scene is market- oriented, just see how people describe 798 factory, (the former Bauhaus industrial area, now an art district) has become an art supermarket and look at how painter Liu Xiaodong’ s 3m x 10m “Three Gorges New Immigrants” ended up being sold at RMB 22 million at Poly art auction (although the artist claimed that his hyper- expensive painting has been made to a tool for making hot money and should cost less that RMB 10 million) We know that it’s all linked with money, and most people agree with this, this is a linear conclusion from the art trends (if you believe that art scene is a market) in the Middle Kingdom. Instead of creating art that makes money, some people do it in a reverse way, which is, making art with money.

Chinese artist Liang Kegang uses one million yuan genuine banknotes to create his work “One Million”. The 10, 000 hundred kuai banknotes are divided into 100 wads, and then placed on a wall as a collage, with ten wads on each side. The physical heaviness of the notes creates problems for the gallery staffs in setting up, they kept falling off from the wall. The artist said he would sell the work at the price of RMB 1.2 to 1.3 million.

Before pushing you into a debate of the relations between art and capitalism, this 1.14m x 1,8m piece raises the abstractness of the concept of money, numbers on the tags of your H & M shirt, shining digitals on ATM screen, or, “material of a general material of contracts”. The tangibility of banknotes sparks off a rethinking process on people’s superstition and dependence on monetary numbers in the e- banking era. Also the hot argument on this work reveals the widely- shared established concept of the contrariety between art/ intellectually and business/ money in China’s (or actually other country) tradition that can be dated back to the Shi (Chinese intellectuals)’s despise on money in ancient times. This thought can be shown on some viewers’ comment: “it’s a shame”. Well, what kind of shame it is? The shame of being absorbed or affected by a establishment? So how about the art-pieces being absorbed by some “spiritual” establishment like politics, philosophy or psychology, which all result in weakening the intuitive/ phenomenological power, which make art to be art but not something else, released from a piece?

This work, which is monetarily expensive before any artistic value is added to the piece, can be compared with British artist Damien Hirst (you know, the shark pickler) ‘s work “For the Love of God”, a platinum life- size human skull encrusted with 8, 601 fine diamonds. Both of them cast materialistic heaviness, on, something like death, or, your and my hands.

DIAF 2007

In the past four years, DIAF (Dashanzi International Art Festival) has made the Danshanzi District / 798 factory, a former Bauhaus industrial area outside the east fourth ring road, has become part of the world art map. This art fair organized by artists themselves does a good job in raising public’s attention on Chinese contemporary art, the numbers of the DIAF visitors doubled from 80000 to 160000. The disputes between 798’s Seven Stars Management Group and the DIAF’s chief curator Huang Rui procrastinated the festival which is formerly scheduled in May to September 22 to October 14.

In spite of all the disputes, the 2007 DIAF is still worth expecting. Instead of being restricted to the Dashanzi area, the show extents geographically from the German style industrial complex to East Pioneer Theatre, Chaoyang Cultural House, East End Art Zone, Gao Bei Dian Art District, Huanyie Art District, Liquor Art Factory (Jiu Chang) And Yonghe Museum. This act maybe a response to the over-concentration and art super- market tendency of 798.

The motif for 2007 DIAF is yi (1)/ yi(2) (game/ process), the first Yi is from I- ching literally means easy, or change, on one hand it implies the organizer’s emphasis on the randomness, and playfulness of art. On the other hand, Yi (1) is a concept that concentrates the persistency of variability in the existing world to one single character, suggests the possibility of unlimited interpretation and misinterpretations of art. Yi (2) means move, especially the ones undergo under time and space changes, empirical side of art and human under external factors.

Organized by Thinking Hands and its partners including Art Beijing, the art feast canopies various genres including visual arts, lectures, music, films and video, dance and theater, performance arts and children’s programs. Apart from numerous individual exhibitions in a bunch of galleries, one of the features in this year’s DIAF opening is Game in Progress, a Adidas-China sponsored 24- hour continuous creation of Graffiti by Japanese street art/ graffiti artist group Rinpa Eshidan, a Japanese live painting group led by Noiz-Davi and Daisuke Yamamoto. Under the stimulation of music, artists will keep drawing, the first paintings will become the room for the next ones over it. The concept of this is also similar with automatic writing and medical Brut Art which keeps digging out mind flow. Also, the works explore an existence form of art which is parallel to the linear time flow. The happening- disappearing process redefines paintings by the visual process other than outcome

Another highlight is an exhibition of Tendance Floue, a French photography group comprised by 12 photographers who swing their photography stance between news and art with an influence of existentialism. The avoiding of collective metaphysical theories emphasizes on the topic of living experience and allows each artist to preserve their individuality though being in a group. Short films and 50 photos of 12 including artists will be shown.

If one is shocked by the line of Torii-like bright orange gateways in Central Park in New York and eleven pink- polypropylene surrounded islands Miami's Biscayne Bay, missing the talk by the creators of these artworks, environmental installation artist couple Christo and Jeanne-Claude will be his lifelong regret. Since the late 50s the duo started their “Wrapping Up” projects and gigantic Land Art pieces. All arouse phenomenological, intuitive shock and aesthetics by their huge scale (just imagine the wrapping of the Reichstag ) and almost formidable modification of landscapes. Expectedly, the worldly renowned duet will give seminars on environmental installation art, which is rarely practiced in China due to political and capital and other factors.

Performance art is paid great concern in China. People still take delight in talking about by artist Ma liuming ‘s art happening in front of British artists Gilbert and George during the avant garde duo ‘s visit in China, and debates on the ubiquity of Peter-Stembera-style self- mutilation acts are still on . Apart from performance by more than 20 local performance artists Cologne-born artist, Boris Nieslony who founded performance art collective Black Market International will host discussion, workshops and performance in DIAF 2007. The artist undergoes his ah-hoc performance art according to the resonance between him, people and the surroundings, which are coerced to be part of the process of Nieslony ‘s works.

听说

1. 2001 Kubrick, Stanley 1968(《漫游太空2001，库布利克》)
　　2. Accattone Pasolini, Pier Paolo 1961(《乞丐》，帕索里尼)
　　3. Babette's Feast Axel, Gabriel 1987（《芭贝特的盛宴》）
　　4. Battleship Potemkin, The Eisenstein, Sergei 1925（《战舰波将金号》，爱森斯坦）
　　5. Bicycle Thieves, The De Sica, Vittorio 1949（《偷自行车的人》，德-西卡）
　　6. Blade Runner: The Director's Cut Scott, Ridley 1991（《银翼杀手》，雷德利-斯科特）
　　7. Blue Velvet Lynch, David 1986（《蓝丝绒》，大卫-林奇）
　　8. Chronicle of a Summer Rouch, Jean 1960（《夏日纪事》，让-鲁什）
　　9. Clockwork Orange Kubrick, Stanley 1971（《发条橙子》，库布利克）
　　10. Cook, The Thief, His Wife and Her Lover, the Greenaway, Peter 1989
　　 （《厨子大盗他的妻子和她的情人/ 情欲色香味》，格林纳威）
　　11. Crash Cronenberg, David 1996（《撞车》，柯南博格）
　　12. Demon Seed Cammell, Donald 1977（《魔种》）
　　13. Desk Set Lang, Walter 1957
　　14. Draughtsman's Contract, The Greenaway, Peter 1982（《画师的合约》，格林纳威）
　　15. Dreamlife of Angels, The Zonca, Erick 1998（《两极天使》，宗卡）
　　16. Early Works Richter, Hans 192?
　　17. Eraserhead Lynch, David 1977（《橡皮头》，大卫-林奇）
　　18. Fifth Element, The Besson, Luc 1997（《第五元素》，吕克-贝松）
　　19. Film before Film Nekes, Werner 1986
　　20. Gattaca Niccol, Andrew 1997（《变种异煞/千钧一发》安德鲁-尼科尔）
　　21. Big Day, The Tati, Jacques 1947（《节日》，雅克-塔蒂）
　　22. Jules et Jim Truffaut, Francois 1962（《朱尔与吉姆》，特吕弗）
　　23. Beauty and the Beast Cocteau, Jean 1946（《美女与野兽》，让-考科多）
　　24. Hate Kassoritz, Mathieu 1995（《仇恨/怒火青春》，卡索维茨）
　　25. Pier, The Marker, Chris 1962（《堤》，克里斯-马克尔）
　　26. New Enchantment, The l'Herbier, Marcel 1924
　　27. La Magic Melies Meny, Jacques 1997
　　28. Films of Man Ray, The Man Ray 1998
　　29. 400 Blows, The Truffaut, Francois 1957（《四百击》，特吕弗）
　　30. Level Five Marker, Chris 1997
　　31. Man Bites Dog Belvaux, Remy 1992（《人咬狗》）
　　32. Man Ray Fargier, Jean Paul 1998
　　33. Man with a Movie Camera Vertov, Dziga 1929（《持摄影机的人》，维尔托夫）
　　34. Metropolis Lang, Fritz 1929（《大都会》，佛列兹-朗）
　　35. Mr Hulot's Holiday Tati, Jacques 1952（《于洛先生的假期》，雅克-塔蒂）
　　36. My Uncle Tati, Jacques 1958（《我的舅舅》，雅克-塔蒂）
　　37. Naked Leigh, Mike 1993（《赤裸》，迈克-雷）
　　38. Nosferatu Murnau, F.W. 1922（《吸血鬼》，茂瑙）
　　39. Cabinet of Dr Caligari, The Wiene, Robert 1919（《卡里加利博士的小屋》，维内）
　　40. Notorious Hitchcock, Alfred 1946（《美人计》，希区柯克）
　　41. Nuts in May Leigh, Mike 1976（《五月的坚果》，迈克-雷）
　　42. October Eisenstein, Sergei 1927（《十月》，爱森斯坦）
　　43. Paris, Texas Wenders, Wim 1984（《德州，巴黎》，文德斯）
　　44. Pillow Book, The Greenaway, Peter 1995（《枕边书》，格林纳威）
　　45. Playtime Tati, Jacques 1967（《游戏时间》，雅克-塔蒂）
　　46. Solaris Tarkovsky, Andrey 1972（《索拉里斯/飞向太空》，塔尔柯夫斯基）
　　47. Stalker Tarkovsky, Andrey 1979（《潜行者》，塔尔柯夫斯基）
　　48. Tampopo Itami, Juzo 1986（《蒲公英》，伊丹十三）
　　49. Tati Shorts Tati, Jacques 1930-67（雅克-塔蒂的短片）
　　50. Things to Come Menzies, William Cameron 1936（《科幻双故事》）
　　51. Tokyo Story Ozu, Yasuijiro 1953（《东京物语》，小津安二郎）
　　52. Man and a Woman, A Lelouch, Claude 1966（《一个男人与一个女人》克劳德•勒鲁什）
　　53. Wings of Desire Wenders, Wim 1987（《柏林苍穹下》，文德斯）
　　54. Birth of a Nation, The Griffith, D.W. 1915（《一个国家的诞生》，格里菲斯）
　　55. Theorem Pasolini, Pier Paolo 1968（《定理》，帕索里尼）
　　56. Week-End Godard, Jean-Luc 1967（《周末》，戈达尔）
　　57. Brothers Quay, The Brothers Quay 1980s
　　58. Andalusian Dog, An Bunuel, Luis/Dali, Salvador 1928（《一条叫安德鲁的狗》，达利，布努埃尔）
　　59. Rome, Open City Rossellini, Roberto 1945（《罗马，不设防的城市》，罗西里尼）
　　60. Intruder, The Corman, Roger 1961（《入侵者》，罗杰•科尔曼）
　　61. Visions of Light Glassman, Arnold 1992（《光影的美丽》，阿诺德•格拉斯曼）
　　62. Svankmajer : vol 1 Svankmajer, Jan 1960s
　　63. Svankmajer : vol 2 Svankmajer, Jan 1960s
　　64. Contempt Godard, Jean-Luc 1963（《轻蔑》，戈达尔）
　　65. One plus One Godard, Jean-Luc 1968（《一加一》，戈达尔）
　　66. Night in Casablanca, A Mayo, Archie 1946（《卡萨布兰卡之夜》，阿尔其•梅奥）
　　67. Rashomon Kurosawa, Akiro 1950（《罗生门》，黑泽明）
　　68. Yojimbo Kurosawa, Akiro 1961（《用心棒》，黑泽明）
　　69. Early Cinema : vol 1 BFI
　　70. Early Cinema : vol 2 BFI
　　71. Red Desert Antonioni, Michaelangelo 1964（《红色沙漠》，安东尼奥尼）
　　72. Annie Hall Allen, Woody 1977（《安妮•荷尔》，伍迪•艾伦）
　　73. Brazil Gilliam, Terry 1985（《巴西》，特里•吉列姆）
　　74. After Hours Scorsese, Martin 1985（《下班之后》，斯科西斯）
　　75. Wizard of Oz, The Fleming, Victor 1939（《绿野仙踪》，弗莱明）
　　76. Promise, The Von Trotter, Margarethe 1995（《许诺》，玛格丽特•冯•特洛塔）
　　77. Hudsucker Proxy, The Coen, Joel 1994（《金钱帝国》，科恩兄弟）
　　78. Matter of Life and Death, A Powell, Michael 1946（《平步青云》，迈克尔•鲍威尔）
　　79. Thelma and Louise Scott, Ridley 1991（《末路狂花》，雷德利•斯科特）
　　80. Antonia's Line Gorris, Marleen 1995（《不靠男人的女人》，玛琳•格里斯）
　　81. Man Who Fell to Earth, The Roeg, Nic 1973
　　82. Wings of the Dove Softley, Iain 1997（《三颗翼动的心》，伊恩•索夫特雷）
　　83. Portrait of a Lady Campion, Jane 1996（《淑女本色》，简•康萍）
　　84. Sense and Sensibility Lee, Ang 1995（《理智与情感》，李安）
　　85. Fanny and Alexander Bergman, Ingmar 1982（《芬尼与亚历山大》，伯格曼）
　　86. Don't Look Now Roeg, Nic 1973
　　87. Blow Up Antonioni, Michaelangelo 1966（《放大》，安东尼奥尼）
　　88. Mrs Dalloway Gorris, Marleen 1997（《达洛威夫人》）
　　89. Orlando Potter, Sally 1992（《奥兰多》，萨利•波特）
　　90. Colour of Pomegranates, The/Legend of the Suram Fortress, The Paradjanov, Sergo 1969
　　 （《石榴的颜色/苏拉姆城堡的传说》，帕拉杰诺夫）
　　91. Sunset Boulevard Wilder, Billy 1950（《日落大道》，比利•怀尔德）
　　92. Citizen Kane Welles, Orson 1941（《公民凯恩》，威尔斯）
　　93. Blood of a Poet, The Cocteau, Jean 1930（《诗人之血》，让•考科多）
　　94. Crimes and Misdemeanors Allen, Woody 1989（《罪与罚》，伍迪•艾伦）
　　95. His Girl Friday Hawks, Howard 1940（《女友礼拜五》霍华德•霍克斯）
　　96. Batman Burton, Tim 1989（《蝙蝠侠》，提姆•波顿）
　　97. Strange Days Bigelow, Kathryn 1995（《世纪末暴潮》，凯瑟琳•碧罗格）
　　98. Age of Innocence, The Scorsese, Martin 1993（《纯真的年代》，斯科西斯）
　　99. French Lieutenant's Woman, The Reisz, Karel 1981（《法国中尉的女人》，卡尔•雷兹）
　　100. Little Dorrit : Part 1 Edzard, Christine 1988（《小杜瑞特》）
　　101. Little Dorrit : Part 2 Edzard, Christine 1988
　　102. Clueless Heckerling, Amy 1995（《独领风骚》，艾米·海克林）
　　103. Third Man, The Reed, Carol 1949（《第三个人》，卡洛尔·里德）
　　104. Fellini's Roma Fellini, Frederico 1972（《罗马》，费里尼）
　　105. It's A Wonderful Life Capra, Frank 1946（《美好人生》，卡普拉）
　　106. Edward Scissorhands Burton, Tim 1993（《剪刀手爱德华》，提姆·波顿）
　　107. Dracula - 1992 Coppola, Francis Ford 1992（《吸血惊情四百年》，科波拉）
　　108. Elephant Man, The Lynch, David 1980（《象人》，大卫·里恩）
　　109. Jane Eyre Stevenson, Robert 1943（《简爱》，罗伯特·斯蒂文森）
　　110. Performance Roeg, Nic and Cammell, Donald 1970
　　111. Flash, The Iscove, Robert 1990（《闪电侠》，罗伯特·伊斯科夫）
　　112. Apartment, The Wilder, Billy 1960（《公寓》，比利·怀尔德）
　　113. My Girlfriend's Boyfriend Rohmer. Eric 1987（《我女朋友的男朋友》，侯麦）
　　114. Silences of the Palaces, The Tlatli, Moufida 1996（《沉默的宫殿》）
　　115. Oliver! Reed, Carol 1968（《奥利弗》，卡洛尔·里德）
　　116. Rope Hitchcock, Alfred 1948（《绳索》，希区柯克）
　　117. Apocalypse Now Coppola, Francis Ford 1979（《现代启示录》，科波拉）
　　118. I've Heard The Mermaids Singing Rozema, Patricia 1996（《我听到美人鱼在唱歌》）
　　119. Intimate Lighting Passer, Ivan 1965（《逝水年华》，伊万·帕瑟）
　　120. Close Encounters of the Third Kind Speilberg, Steven 1977（《第三类接触》，斯皮尔博格）
　　121. Haunting, The Wise, Robert 1963（《猛鬼屋》，罗伯特·怀斯）
　　122. Short Cuts Altman, Robert 1993（《短片集》，罗伯特·阿尔特曼）
　　123. Yellow Submarine Dunning, George 1968（《黄色潜水艇》，乔治·唐宁）
　　124. 8 1/2 Fellini, Federico 1968（《八又二分之一》，费里尼）
　　125. Mirror Tarkovsky, Andrei 1974（《镜子》，塔尔柯夫斯基）
　　126. Dick Tracy Beatty, Warren 1990（《至尊神探》，沃伦·比蒂）
　　127. Lola Demy, Jacques 1960（《劳拉》，雅克·德米）
　　128. Fathers of Pop Arts Council ?
　　129. Conan the Barbarian Milius, John 1981（《霸王神剑》）
　　130. Piano, The Campion, Jane 1993（《钢琴课》，简·康萍）
　　131. Blade Runner: The Director's Cut Scott, Ridley 1991（《银翼杀手导演版》，雷德利·斯科特）
　　132. Red Shoes, The Powell, Michael 1948（《红菱艳》，迈克尔·鲍威尔）
　　133. Gormanghast: Episode 1 Wilson, Andy 2000
　　134. M Lang, Fritz 1931（《M》佛列兹·朗）
　　135. Gormanghast: Episode 2 Wilson, Andy 2000
　　136. Enigma of Kasper Hauser, The Herzog, Werner 1974（《加斯·荷伯之迷》，赫尔佐格）
　　137. Dark City Proyas, Alex 1998（《黑暗之城》）
　　138. Gormanghast: Episode 3 Wilson, Andy 2000
　　139. Fistful of Dollars, A Leone, Sergio 1964（《为了几块钱/荒原大镖客》，莱昂内）
　　140. For a Few Dollars More Leone, Sergio 1965（《为了更多几块钱/黄昏双镖客》，莱昂内）
　　141. Good, The Bad and The Ugly, The Leone, Sergio 1966（《好的坏的和丑的/黄金三镖客》，莱昂内）
　　142. L'Atalante Vigo, Jean 1934（《亚特兰大号》，让·维果）
　　143. Conformist, The Bertolucci, Bernardo 1970（《同流》，贝尔托鲁奇）
　　144. Rear Window Hitchcock, Alfred 1954（《后窗》，希区柯克）
　　145. Kino-Eye Vertov, Dziga 1924（《电影眼》，维尔托夫）
　　146. A Nous La Liberte Clair, Rene 1931（《自由属于我们》，雷内·克莱尔）
　　147. Alphaville Godard, Jean-Luc 1965（《阿尔法城》，戈达尔）
　　148. Touch of Evil Welles, Orson 1958（《历劫佳人/邪恶的接触》，奥逊·威尔斯）
　　149. Fat City Huston, John 1971（《富城》，约翰·休斯顿）
　　150. Under the Roofs of Paris Clair, Rene 1930（《巴黎屋檐下》，雷内·克莱尔）