《雕(🆓)像也会死亡》(Les statues meurent aussi,阿兰·雷乃(💤)、克里斯(sī )·马尔凯,1953年出品,27分钟(zhōng ))尖(jiān )锐地批评(píng )了西方(fāng )殖(💆)民(mín )主(🔲)义对非洲(zhōu )传统艺术(shù )的(📞)戕害(hài )以(yǐ )及自称热爱非洲艺(yì )术的(🐶)上等阶(🤯)层的贪婪(🔊)与伪善。本片(piàn )的主(zhǔ )角(🥁)是来自黑非洲的人物雕(💱)像(🦗)、面具和(㊗)其(🥎)他(tā )(🥔)非洲艺(yì )术品,但是(🏂)它们的(de )演出(🙄)场所并(bìng )非(fēi )黑人的(🎾)故(⏰)乡(xiāng ),而是白人的(🧤)欧洲(zhōu ),艺(🕙)术(shù )品市场和(⛳)艺术品(🎋)拍卖会是(shì )它们(🧣)频频出(chū )没和滞留(liú )的中转地。这些(🥊)本(🍑)来被非洲(🚗)部族用来(lái )抵抗死亡(wáng )的面具(👪)和雕(diāo )像(xiàng ),如(💅)今却呆在博(🐩)物(wù )馆(😝)的橱窗(🙎)里静静地死去。此(😙)时(🤥),画外(wài )音告(gào )诉我们(men ):“当(dāng )(💸)人死去的时(🔞)候,他便进入(🔙)了历史;当这(zhè )些雕像死去(qù )的时候(hòu )(🚽),它(tā )们进(jìn )入了艺术;这种关(guān )于(🐂)死(sǐ )亡(🛃)的(de )学(👩)问,我们最(📬)后称之为文化。”由于本片具有鲜明而强烈的(de )社会批判意识,自拍竣之(zhī )日(😲)起即遭到法国政府禁映,直到1963年(🔍)才解禁。本片由(🎁)长(zhǎng )于剪辑的(de )阿兰·雷(👔)乃操(cāo )刀剪辑,由强(🍏)于写作的(de )克里(🤠)斯·马尔凯撰写解说,充(🖥)分发(🌲)挥了(👅)两人各自的强项(xiàng ),可谓(🌸)强强合(hé )作(zuò )(🧔)的结晶。
This 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.
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