为由“极地光影“在上海策划的“远方的地平线——挪威电影周“进行的活动推广主视觉及海报设计。
设计中选择以字母“N“作为视觉识别的核心，源于英文“挪威（Norway）“的首字母以及策划方“极地光影“专注于“北欧（Nordic）“的首字母及背景。字母“N“上下两处三角形的负空间恰好为画面提供了两道光芒的投射的情境：一道借由挪威国家标志的红蓝双色望向北方的“远方的地平线“，一道成为来自北方的电影光影的投射。同时，亦在主海报之外，为此次电影周期间的八部挪威电影分别制作了对应的海报，从每部电影中各截取一幅标志性的色调与画面模糊化处理成为每张海报的背景，用模糊的视觉诱发窥探的欲望，也直接的呈现每部电影的氛围。简洁利落却极富辨识度的色彩与形式成为此次挪威电影周最有力且让人记忆深刻的视觉识别。
Art direction and Poster Design for The Far Sight Horizon – Norwegian Film Week that was curated by Beyond Frozen Films.
The letter N is picked up to be the core of the visual identity, as it is both the initial of “Norway” that is the keyword of this event and “Nordic” that is the area that Beyond Frozen Films focuses on. The two negative triangular spaces contained in the letter N provide the spaces for two light: One light that is in red is cast to the far north of The Far Sight Horizon in the background of blue. It represents that the audience will look towards Norway, that is in the north of Shanghai, through the films. Another light represents the light of films projected from the north.
设计中选择以字母“N“作为视觉识别的核心，源于英文“挪威（Norway）“的首字母以及策划方“极地光影“专注于“北欧（Nordic）“的首字母及背景。字母“N“上下两处三角形的负空间恰好为画面提供了两道光芒的投射的情境：一道借由挪威国家标志的红蓝双色望向北方的“远方的地平线“，一道成为来自北方的电影光影的投射。同时，亦在主海报之外，为此次电影周期间的八部挪威电影分别制作了对应的海报，从每部电影中各截取一幅标志性的色调与画面模糊化处理成为每张海报的背景，用模糊的视觉诱发窥探的欲望，也直接的呈现每部电影的氛围。简洁利落却极富辨识度的色彩与形式成为此次挪威电影周最有力且让人记忆深刻的视觉识别。
Art direction and Poster Design for The Far Sight Horizon – Norwegian Film Week that was curated by Beyond Frozen Films.
The letter N is picked up to be the core of the visual identity, as it is both the initial of “Norway” that is the keyword of this event and “Nordic” that is the area that Beyond Frozen Films focuses on. The two negative triangular spaces contained in the letter N provide the spaces for two light: One light that is in red is cast to the far north of The Far Sight Horizon in the background of blue. It represents that the audience will look towards Norway, that is in the north of Shanghai, through the films. Another light represents the light of films projected from the north.
From Shanghai in east China to Tromsø in north Norway, the flying distance is 7230 km with an escalation of latitude from subtropical to polar region. In today’s globalized world, such geographic differences are no more the factors of spectacle, instead, from the far sight horizon, the world reveals itself in multiple perspectives and nuances. Today, we shift our views towards Norway through the lens of their filmmakers.
In 1927, the first epic Norwegian film Troll-elgen (The Ghost Elk) was made. The film was a naturalistic depiction of a love story taken place in a Norwegian village, however, what made the film a public success at that time was the surrealistic engagement of a magic elk in the woods with seemingly unnatural powers in the film Troll-elgen paved the way in the rich heritage of the Norwegian films , where fable and reality, nature and culture are always closely intertwined. Such legacy has been carried on by new generation of Norwegian film makers. Since 2015, through collaborating with Tromsø International Film Festival in Norway, Beyond Frozen Point Film Festival has been showing films from the Nordic countries in China. Our films overcome the boundaries of countries and nations, bring past, present and future on the big screens. Together they narrate our shared living experiences that touch the foundation of human existences and individuals’ emotions.
With the support of Shanghai Film Distribution Association, Shanghai Film Federation, Shanghai International Cultural Association in collaboration with the Norwegian General Consulate in Shanghai, 8 films from Norway that represent the highest achievements of the Norwegian filmmakers in recent years will be shown here. Two World War II epic films will open the screenings. The King’s Choice and The 12th Man, both deal with the acton of the individual in the course of history-making. Equally history is also reflected on the fate of the individual. Sonjia tells the true story of the Norwegian World Gold Champion Figure Skater whose career started up in the Nazi Hitler controlled Olympic Games in 1936. The shadow of Nazi also haunted in the poetic depiction of the crucial summer in the Norwegian woods that forever altered one’s childhood in the prize-winning film Out Stealing Horses.
Fast forward to present Norwegian society. Handle With Care depicts a heart-warming journey of a father and his adopted son in a tropical country, whilst the journey in Disappearance goes to the deep winter landscape in a remote Norwegian village. Perhaps the utmost solitude of human existence contains eventually a philosophical question: Where Man Returns through the documentary about a man, a dog and a cabin near the sea. On 22rd July, 2011, Norway was shocked by the worst massacre since WWII. An extreme right-wing Nazist opened fire on Utøya where hundreds of youth gathered for their traditional youth political summer camp. The day Norway lost her innocence. Director Erik Poppe used single-camera trying to reconstruct the unbearable 72 minutes of the shooting and hunting on the island. Utøya: July 22 forces us to think just how should we face the evil ? How can we get in turn with our sorrow and hate? The film gives some very Nordic answers perhaps: one must have the courage to face the evil in order to heal the wound.
Historically the Norwegians are the descendants of the Vikings who more than a thousand years ago put their feet on the other side of the Atlantic by crossing the frozen Bering Strait. The urge for adventures lives in the Norwegian national character. As one traditional Norwegian saying goes: You can never cross the ocean until you have the courage to lose sight of the shore. From the far sight horizon, these films from Norway lead us the way to this northern land, both its history and its contemporary life.
Kaimei Wang
Curator Beyond Frozen Point Film Festival
In 1927, the first epic Norwegian film Troll-elgen (The Ghost Elk) was made. The film was a naturalistic depiction of a love story taken place in a Norwegian village, however, what made the film a public success at that time was the surrealistic engagement of a magic elk in the woods with seemingly unnatural powers in the film Troll-elgen paved the way in the rich heritage of the Norwegian films , where fable and reality, nature and culture are always closely intertwined. Such legacy has been carried on by new generation of Norwegian film makers. Since 2015, through collaborating with Tromsø International Film Festival in Norway, Beyond Frozen Point Film Festival has been showing films from the Nordic countries in China. Our films overcome the boundaries of countries and nations, bring past, present and future on the big screens. Together they narrate our shared living experiences that touch the foundation of human existences and individuals’ emotions.
With the support of Shanghai Film Distribution Association, Shanghai Film Federation, Shanghai International Cultural Association in collaboration with the Norwegian General Consulate in Shanghai, 8 films from Norway that represent the highest achievements of the Norwegian filmmakers in recent years will be shown here. Two World War II epic films will open the screenings. The King’s Choice and The 12th Man, both deal with the acton of the individual in the course of history-making. Equally history is also reflected on the fate of the individual. Sonjia tells the true story of the Norwegian World Gold Champion Figure Skater whose career started up in the Nazi Hitler controlled Olympic Games in 1936. The shadow of Nazi also haunted in the poetic depiction of the crucial summer in the Norwegian woods that forever altered one’s childhood in the prize-winning film Out Stealing Horses.
Fast forward to present Norwegian society. Handle With Care depicts a heart-warming journey of a father and his adopted son in a tropical country, whilst the journey in Disappearance goes to the deep winter landscape in a remote Norwegian village. Perhaps the utmost solitude of human existence contains eventually a philosophical question: Where Man Returns through the documentary about a man, a dog and a cabin near the sea. On 22rd July, 2011, Norway was shocked by the worst massacre since WWII. An extreme right-wing Nazist opened fire on Utøya where hundreds of youth gathered for their traditional youth political summer camp. The day Norway lost her innocence. Director Erik Poppe used single-camera trying to reconstruct the unbearable 72 minutes of the shooting and hunting on the island. Utøya: July 22 forces us to think just how should we face the evil ? How can we get in turn with our sorrow and hate? The film gives some very Nordic answers perhaps: one must have the courage to face the evil in order to heal the wound.
Historically the Norwegians are the descendants of the Vikings who more than a thousand years ago put their feet on the other side of the Atlantic by crossing the frozen Bering Strait. The urge for adventures lives in the Norwegian national character. As one traditional Norwegian saying goes: You can never cross the ocean until you have the courage to lose sight of the shore. From the far sight horizon, these films from Norway lead us the way to this northern land, both its history and its contemporary life.
Kaimei Wang
Curator Beyond Frozen Point Film Festival
从上海到特罗姆瑟，飞行距离 7230 公里，纬度垂直提升，从北纬 31 度的亚热带进入北极圈以北 69.6 度的寒带。在今天全球化的世界上，地理的变迁已不再是制造景观的猎奇因素，远方的地平线为我们打开认知世界的更加新鲜、丰富和多元的视角。今天，通过电影，这个视角转向地处欧洲北方的挪威。
1927 年，挪威电影史上第一部史诗性的大片《神奇的麋鹿》首次公演，这部描述北欧农村男欢女爱的故事，被挪威森林中的神奇麋鹿插上想象的翅膀。现实与神话，文化与自然共同塑造了挪威电影的民族特色，这一文化传承在几代挪威电影人的创作中又被不断赋予回望历史的沉重感与面对现实的责任意识。2015 年，国内第一个关注北欧地区的电影展映活动——极地光影电影节，通过与挪威北方最大的电影节——特罗姆瑟国际电影节的合作，首次在上海落地。众多北欧影片经过我们的传播，被更多中国观众知晓，电影的魅力，那一束穿透黑暗之光将历史在今天再现，将远方带入眼前，跨越民族和国界，对人类共同情感世界和生存困境的关注，都让我们更加着迷于电影的世界。
联合上海市电影发行放映行业协会，上海市对外文化交流协会暨在挪威驻上海总领事馆的支持下，今年的极地光影，以“远方的地平线”为主题，带来近年来在国际电影节受到关注和被当地观众追捧喜爱的八部挪威新片。两部挪威二战史的大片将为本次影展揭开帷幕，国家命运在影像书写中聚焦在一个人的抉择上——无论是一国之王（《国王的选择》）还是一名普通士兵（《第十二人》）；而历史又同样会折射在个人命运的选择上，挪威《花滑女王》的竞技人生起步于被纳粹主义绑架的 1936 年柏林奥运会；在《外出偷马》中，德军占领挪威的二战阴影，成为改变一生的童年经历。回到当代的挪威社会，一段暖心的父子之旅展现出多元化社会的丰富性 （《父子之路》）；一条通往挪威北方的冰雪之旅，试图融化一段难解的母女情怀（《消失》）；纪录片《人归何处》再次把观众带入北极的冰雪世界，将人生选择的终极提问带入一场关于存在与孤独的哲学思考。2011 年 7 月 22 日，一名极端纳粹分子在奥斯陆外的度假岛上，向夏令营中的青少年疯狂开枪，制造了挪威现代历史上最惨重的屠杀案，那一天，挪威失去了纯真。导演 Erik Poppe 用一镜到底的大师手法再现发生在岛上惊心动魄的 76 分钟（《于特岛 7 月 22 日》）。人类如何对付邪恶？如何治愈创伤？这里，挪威电影人为我们提供了一个或许是非常北欧的答案：当我们拥有直视邪恶的勇气时，才是心灵救赎的开始，
一千年前，挪威民族的先辈踩着白令海峡的冰川，成为踏上北美大陆的第一人。探险者成为了原住民，旅行者成为了构建理想的造梦者，电影便是筑梦空间的终极体现。引用一句挪威俗语：只有当你有勇气背弃海岸线的时候，你才能跨越大海。这些来自大海另一边的挪威电影，为我们打开了通向远方的地平线。
王凯梅
极地光影策展人
1927 年，挪威电影史上第一部史诗性的大片《神奇的麋鹿》首次公演，这部描述北欧农村男欢女爱的故事，被挪威森林中的神奇麋鹿插上想象的翅膀。现实与神话，文化与自然共同塑造了挪威电影的民族特色，这一文化传承在几代挪威电影人的创作中又被不断赋予回望历史的沉重感与面对现实的责任意识。2015 年，国内第一个关注北欧地区的电影展映活动——极地光影电影节，通过与挪威北方最大的电影节——特罗姆瑟国际电影节的合作，首次在上海落地。众多北欧影片经过我们的传播，被更多中国观众知晓，电影的魅力，那一束穿透黑暗之光将历史在今天再现，将远方带入眼前，跨越民族和国界，对人类共同情感世界和生存困境的关注，都让我们更加着迷于电影的世界。
联合上海市电影发行放映行业协会，上海市对外文化交流协会暨在挪威驻上海总领事馆的支持下，今年的极地光影，以“远方的地平线”为主题，带来近年来在国际电影节受到关注和被当地观众追捧喜爱的八部挪威新片。两部挪威二战史的大片将为本次影展揭开帷幕，国家命运在影像书写中聚焦在一个人的抉择上——无论是一国之王（《国王的选择》）还是一名普通士兵（《第十二人》）；而历史又同样会折射在个人命运的选择上，挪威《花滑女王》的竞技人生起步于被纳粹主义绑架的 1936 年柏林奥运会；在《外出偷马》中，德军占领挪威的二战阴影，成为改变一生的童年经历。回到当代的挪威社会，一段暖心的父子之旅展现出多元化社会的丰富性 （《父子之路》）；一条通往挪威北方的冰雪之旅，试图融化一段难解的母女情怀（《消失》）；纪录片《人归何处》再次把观众带入北极的冰雪世界，将人生选择的终极提问带入一场关于存在与孤独的哲学思考。2011 年 7 月 22 日，一名极端纳粹分子在奥斯陆外的度假岛上，向夏令营中的青少年疯狂开枪，制造了挪威现代历史上最惨重的屠杀案，那一天，挪威失去了纯真。导演 Erik Poppe 用一镜到底的大师手法再现发生在岛上惊心动魄的 76 分钟（《于特岛 7 月 22 日》）。人类如何对付邪恶？如何治愈创伤？这里，挪威电影人为我们提供了一个或许是非常北欧的答案：当我们拥有直视邪恶的勇气时，才是心灵救赎的开始，
一千年前，挪威民族的先辈踩着白令海峡的冰川，成为踏上北美大陆的第一人。探险者成为了原住民，旅行者成为了构建理想的造梦者，电影便是筑梦空间的终极体现。引用一句挪威俗语：只有当你有勇气背弃海岸线的时候，你才能跨越大海。这些来自大海另一边的挪威电影，为我们打开了通向远方的地平线。
王凯梅
极地光影策展人
