剧情简介
《雕(🆓)像也会(huì )死(sǐ )亡》（Les statues meurent aussi，阿(🏴)兰·雷乃、(😧)克里斯(sī )·马尔凯(kǎi )，1953年出(🚤)品(pǐn )，27分钟(👑)）尖锐地(dì )批(pī )评(píng )了西方(🙍)殖(zhí )民主义对(duì )(🛹)非洲传统艺术的戕害以(yǐ )及自称(chēng )热(✖)爱非洲艺(yì )术(shù )的(de )上等阶层的贪(🤷)婪与伪善。本片的主角是(🌚)来(lái )自(zì )黑(hēi )非洲(zhōu )的人物雕(💱)像(🦗)、(🌑)面具和其(🥎)他非洲艺术品，但是它们的演(yǎn )出场(㊙)所(suǒ )并(🙀)非(🙉)黑人的故乡，而是(🥫)白人(👃)的欧洲，艺术品(😍)市场和艺(yì )术品拍卖(mài )(🕐)会(🐀)是它们(men )(🧣)频(pín )频出没和滞留(🤘)的中转地。这(zhè )些(xiē )本来被非洲部族(zú )用来(🈸)抵抗死亡的面(🐨)具和雕像，如今却(🚶)呆(dāi )(💹)在博(bó )(🐩)物馆的橱窗里静静(jìng )地死去。此时(🤥)，画外音告诉我们(🔷)：“当人死去的时(shí )(🔞)候(hòu )，他便进(jìn )入了历史(shǐ )；当(🖍)这些雕像死(🌸)去的时(🏓)候，它(tā )们进入了艺(👗)术(shù )；这(zhè )种(zhǒng )关于死亡的学问，我们最(📬)后(hòu )称(chēng )之(💑)为文化。”由(yóu )于本片具有鲜明而(ér )(👅)强烈的社会批判意识(shí )，自拍(pāi )竣之(👼)日(😲)起(🐅)即遭到法国政府(🛃)禁(jìn )映(🍾)，直到1963年才解禁。本(🐣)片由(🎁)长于剪辑的阿兰·雷(👔)乃操刀剪辑(🔝)，由强于写作的(🍗)克里斯·马尔凯撰写(xiě )解(jiě )(🕤)说，充分(fèn )发挥了(le )(👅)两人各自的强项(xiàng )，可谓强(qiáng )强合(🚔)作的结晶。
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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