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影片名稱: 雕像也會死亡
影片別名: 雕像也已死去、Even Statues Die
影片類型: 紀錄片 短片
影片年份: 1993
制片地區(qū): 法國
由吉蘭·克洛凱,克里斯·馬克,阿倫·雷乃執(zhí)導(dǎo),1953年上映的《雕像也會死亡》,是由讓·內(nèi)格羅尼、弗朗索瓦·密特朗、教宗庇護十二世、Sugar Ray Robinson領(lǐng)銜主演的電影。
《雕像也會死亡》(Les statues meurent aussi,阿蘭·雷乃、克里斯·馬爾凱,1953年出品,27分鐘)尖銳地批評了西方殖民主義對非洲傳統(tǒng)藝術(shù)的戕害以及自稱熱愛非洲藝術(shù)的上等階層的貪婪與偽善。本片的主角是來自黑非洲的人物雕像、面具和其他非洲藝術(shù)品,但是它們的演出場所并非黑人的故鄉(xiāng),而是白人的歐洲,藝術(shù)品市場和藝術(shù)品拍賣會是它們頻頻出沒和滯留的中轉(zhuǎn)地。這些本來被非洲部族用來抵抗死亡的面具和雕像,如今卻呆在博物館的櫥窗里靜靜地死去。此時,畫外音告訴我們:“當(dāng)人死去的時候,他便進入了歷史;當(dāng)這些雕像死去的時候,它們進入了藝術(shù);這種關(guān)于死亡的學(xué)問,我們最后稱之為文化。”由于本片具有鮮明而強烈的社會批判意識,自拍竣之日起即遭到法國政府禁映,直到1963年才解禁。本片由長于剪輯的阿蘭·雷乃操刀剪輯,由強于寫作的克里斯·馬爾凱撰寫解說,充分發(fā)揮了兩人各自的強項,可謂強強合作的結(jié)晶?! his collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker's characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.電影《雕像也會死亡》上映于1953年的紀錄片影片,由吉蘭·克洛凱、克里斯·馬克、阿倫·雷乃執(zhí)導(dǎo),編劇 克里斯·馬克,相關(guān)飾演分別有 讓·內(nèi)格羅尼、弗朗索瓦·密特朗、教宗庇護十二世、Sugar Ray Robinson。這部電影豆瓣8.4分,值得觀看!
wirtten by: Chris Marker 影片本身為法語,下文是對應(yīng)的英語翻譯,來自 https://wiki2.org/en/Les_statues_meurent_aussi,油管所用英字亦為該版本。
。。. When he makes the chair rest upon human feet, the black creates a nature in his image. Hence, every object is sacred because every creation is sacred. It recalls the creation of the world and continues it. The broadest activity cooperates with the world as a whole where everything is fine, where man affirms his reign over things by imprinting [銘刻] his mark and sometimes his countenance [面容、表情] upon them. Animal shapes like the one over this weaving bobbin [編織線軸], plant shapes like the ones over these ornamented boxes, all of creation moves in formation under the fingers of the black artist. God showed him the way, he imitates God and this is the way in which he invents man. Guardians of graves, sentinels [哨兵] of dead people, watchdogs of the invisible, these ancestors’ statues are not made for the cemetery. We put stones over our dead in order to prevent them from escaping. The black maintains them nearby to honor them and benefit from their pour saints’ statues. Nobody worships these severe dolls. The black statue is not the God, it is the prayer. Prayer for motherhood, for the fertility of women, for the children’s beauty. It can be covered with ornaments which have the value of illuminations. It can also be rough, like this earthen ball protecting the harvest, or, still, connected to the earth, to death, by means of shape and by means of matter. This is the world of rigour [嚴厲、精確] , each things has its place within it. These heads don’t have to frightening, they have to be fair. Look carefully at their scars, this magnetic field where every shape from sky and earth comes into being. There’s no need for the object to exist and to serve. This overflow of creation, which deposits [沉淀] its signs like shells upon the smooth wall of the statue, is an overflow of imagination, it is freedom, turning of the sun, flower knot, water curve, fork of the trees, one after the other, the techniquestes of both beast and man. House-mask. Face-mask. Pierrot [啞劇男丑角] of the rivers. Harlequin [滑稽角色、丑角] of