雕像也会死亡剧情简介
(👷)《雕像(xiàng )也会(huì )死亡》（(🏽)Les statues meurent aussi，阿兰·雷乃、克(🎾)里斯(🌫)·马尔凯，1953年(nián )(😎)出(chū )品，27分钟(👑)）尖(jiān )锐地(dì )(🛍)批评了(le )(🕯)西方殖民(mín )(✳)主(🔲)义对非洲传(🚥)统艺术的戕害以(🥞)及自称热爱非(😻)洲艺术的(de )上等阶层的贪婪与伪(wěi )善。本片的(de )主角是来自黑非洲的(de )人物雕像、面具和其(🥎)他非洲艺(🙂)术品，但(dàn )是(shì )(🏂)它们的(🤸)演(yǎn )出(chū )场(chǎng )所并非黑人的(🎾)故乡，而是白人的欧洲，艺术品市场和艺术品(pǐn )(🎋)拍卖会是它(tā )们频频出没(méi )(🌮)和(👣)滞留的中(zhōng )转地(💹)。这(zhè )(🏉)些本(běn )来(lái )(👊)被非洲部(🐾)族用来抵抗死亡的面具(👪)和雕像，如今却呆(💹)在博(🐩)物馆的橱窗里(💿)静静地死(🤔)去(📧)。此时，画外音(yīn )(👌)告(💏)诉(sù )我们：“当(💸)人死去(qù )的时(🔞)候，他(tā )便(biàn )进入(🔙)了(🌱)历史；当(dāng )这(zhè )些(xiē )雕像(xiàng )死(🌸)去的(de )时候，它们(men )进(jìn )入(rù )了(le )艺术；这种关于死亡的学问，我们最后(hòu )称(🕺)之为文化。”由于本片具有(yǒu )鲜明而强烈(🐈)的社会批判意(🈂)识(🚪)，自拍竣之日起(qǐ )(🐅)即遭到法国政(zhèng )(🙅)府禁映，直到1963年(🔍)才解禁。本片由长于剪(🏖)辑(🍝)的阿(ā )兰(lán )·雷乃操刀(dāo )剪辑，由(🏁)强于写作的克里(lǐ )斯·马尔凯(kǎi )(👡)撰写(🐼)解说，充分发挥了两人各自的强项(xiàng )，可谓强强合(hé )(🚔)作的(de )(🌮)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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