The Cabinet of Jan Švankmajer

扬·史云梅耶的橱柜

1984  13‘40“

It's a tribute to the Czech animation master Jan Švankmajer who is their inspiration. In this film Švankmajer's head is an opened book. He teaches an unnamed child about illusions and perspectives.

The program was made up of extracts from Švankmajer's work interspersed with analysis from critics, art historians and Surrealists, linked by nine animated sequences by Quay Brothers.

这是向他们的启蒙者Jan Švankmajer致敬的作品。在影片中Švankmajer的脑袋是一本打开的书。他在教授一个无名儿童关于幻觉和透视的知识。

作品摘录了Švankmajer的一些作品片段，穿插着批评家、艺术史学家和超现实主义者的评论，奎氏兄弟用自己的九段动画把它们串连起来。

This Unnameable Little Broom

没有名字的小扫帚

1985  10'45"

A reduction of the Epic of Gilgamesh, the earliest surviving work of literature. The Gilgamesh figure is a sort of grotesque fascist despot on a tricycle, ruthless patrolling his sandbox kingdom. The film was produced with some fabulous design and rapid, mechanical camera movements.

现存最古老的文学作品《吉尔伽美什史诗》的简化版。Gilgamesh样子稀奇古怪，像个法西斯暴君，他骑着三轮车在沙池王国中无情地巡视着。影片有很多不错的设计构思，镜头移动快速而且机械。

Street of Crocodiles

鳄鱼街

1986  20’35”

Adapted from a short story by Polish writer Bruno Schulz, Street Of Crocodiles takes the mixture of organic material and mechanical objects further. A man spits into the eyepiece of an old kinetoscope and sets the musty machine in motion, plunging the viewer into a netherworld among the dirt and grime. Screws twist out of objects and move about. Bizarre machines perform pointlessly repetitive and unproductive tasks and a small urchin brings supposedly inanimate objects to life by casting reflected light upon them.

《鳄鱼街》改编自波兰作家Bruno Schulz的 一部短篇小说 ，它更进一步地将有机材料和机械物体做了混合使用。一个男人往一台老放映机的镜头上吐了口唾沫，这台发霉的机器就运转起来，把观众带进一个灰尘污秽中的阴曹地府。螺丝从物体中扭动出来，四处活动。一些奇怪的机器毫无目的地重复着没有效益的工作，一个小顽童将光照射在无生命的物体上使它们活动起来。

Stille Nacht 1 - Dramolet

平安夜1：德拉莫莱特

1988  1'45"

Making use of magnets and iron filings, the Quays create an eerie frosting on a Christmas scene.

奎氏兄弟使用磁铁和铁屑为圣诞节场景制作了一层怪异的霜。

Anamorphosis

失真图像

1991  13'45"

This documentary is about an artistic technique, anamorphosis, which often used in the 16th and 17th centuries. It  relies on a deliberately deformed image that can be made to reappear in its true shape when viewed in an unusual way. Quay Brothers provide several examples.

这部纪录片是关于图像失真这种艺术技法的，此技法在十六、十七世纪经常被采用。它故意将图像进行变形处理，使其在非常规方式下观看才会显示本来形状。奎氏兄弟列举了一些例子。

Stille Nacht II - Are We Still Married?

平安夜2：我们的婚姻还存在吗？

1992  3'19"

When indie label 4AD were putting out the most interesting music, Quay Brothers agreed to create a music video for the band His Name Is Alive. It was initially inspired by a photo of a girl standing in front of a door holding a paddle. She repeatedly stretches her legs to stand on tip toe in a rhythmic motion, watched by a little rabbit.

A mournful voice sings, "Are we still married?"

当独立厂牌4AD不断发行有趣的音乐作品时，奎氏兄弟同意为His Name Is Alive乐队制作一部音乐片。该片最初的灵感来自于一幅手握球拍站在门前的女孩照片。她随着节奏不停地踮着脚尖，一旁有只小兔子看着她。

一个悲切的声音唱着，“我们的婚姻还存在吗？”

Still Nacht III - Tales From Vienna Woods

平安夜3：维也纳森林的故事

1992  4'10"

A gun is fired and a bullet flies through the surrounding forest. A deer is shot. As the camera circles slowly around to the front, we see that the table has been decorated with the same antlers.

一支枪开火了，子弹飞向周围的树林。一只鹿被射中。镜头缓慢向前，我们看到桌子也装饰着鹿角。

Still Nacht IV - Can't Go On Without You

平安夜4：没有你不会误入歧途

1993  3'47"

Another video for His Name is Alive revisits the imagery and characters of Are We Still Married?, and set in the same world as the previous promo. A new character, black-clad male figure wearing a demonic mask, seems locked in a power struggle with the rabbit who is trying to prevent him from obtaining a precious egg.

另一部为His Name is Alive制作的影片，有着跟《我们的婚姻还存在吗？》相同的意象和主角，场景也一样。一个新角色，戴着恶魔面具的黑衣男子，似乎被魔力束缚，而且魔力来自兔子，它正努力阻止他拿到那只宝贵的蛋。

Rehearsals for Extinct Anatomies

演练失传的解剖

1987  13'56"

The starting point was a piece of music that Leszek Jankowski had written for a Kafka-themed project. It is also loosely inspired by an etching by Fragonard. Oscillating hands each hold a pen. Lines become jumbles that become balls. A forlorn woman lies in bed. Some brutal destruction is remorselessly rehearsed outside the door.

Leszek Jankowski为一部卡夫卡式作品所作的音乐成为该片的出发点，它还多多少少地从Fragonard的蚀刻画中获取了灵感。每个摆动臂都握着一支钢笔，线条越来越乱后来变成了球。一个孤独的女人躺在床上。门外，毁灭正无情地上演。

The Comb

核子

1990  19'23"

 Based on a fragment of text by the Austrian writer Robert Walser. It opens in the shadowy bedroom of a black & white sequence. A beauty restlessly sleeps in her bed. The surreal room with saturated colours seems to be controlled by the girl. The soundtrack alternates between multilingual gibberish and Leszek Jankowski's guitar-based score.

根据奥地利作家Robert Walser的文字片段改编。开头是黑白场景中的幽暗卧室。一个美女不安地睡在床上。超现实风格的屋子色彩很饱和，它好像是被女孩掌控着。影片声音背景有时是各种语言的胡言乱语，有时是Leszek Jankowski的吉他演奏。

In Absentia

缺席

2000  19'20"

Sourced from an electronic piece originally composed for the opera Freitag in 1991, it's a collaboration with the celebrated avant-garde composer Karlheinz Stockhausen. In a room penetrated by shifting light, a white-dressed woman writes a letter obsessively to her long-absent husband. The pencils, the sharpener, the paper,  clenching hands, blackened fingernails convey her mindscape.

取材于1991年的歌剧Freitag中的一个电子音乐片段，它是和著名前卫作曲家Karlheinz Stockhausen合作完成的。变幻的光线照射着屋子，里面有个白衣女人，正迷乱地给长期在外的丈夫写信。铅笔、卷笔刀、纸张、握紧的手、黑色的指甲传达出她的内心感受。

The Phantom Museum

幽灵博物馆

2003  11’17”

Subtitled "Random forays into the vaults of Sir Henry Wellcome (1853–1936)'s Medical Collection", it was created as a video installation for a British Museum exhibition. With no abstraction or surrealism the film is presented in a mixture of live-action and stop-motion animation. Many of the exhibits are explicitly sexualised.

副标题是“对Henry Wellcome爵士 (1853–1936)存放医学收藏品的地窖的随机参观”，是为不列颠博物馆的一个展览所做的视频装置作品。影片既没有抽象也没有超现实，只是混合了真人表演和停格动画两种表现形式。很多陈列品都明白无误地跟性有关。

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