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《德朗西·阿韦尼尔》(DrancyAvenir,1997),《迪斯尼乐园》(Dis neyland,2000),《IsDead》,《永别》(Adieu,2003):十年以来,法国再也没有比阿诺·德帕利埃的出现更令人震撼和更鼓舞人心的事情发生。《伊尔玛·维普》(IrmaVep,1996)、《情感命运》(LesDestin啨essentimentales,2000)和《魔鬼情人》(Demonlover,2002),以及之后的《清洁》(Clean,2004):这一系列作品描绘出的是由奥里维耶·阿萨亚斯所创建的一个独特的世界,虽然连贯却又无法一笔概括。这两个电影人之间并没有一丝相似。不要试图为他们编造一些虚假的默契或者人为的对立。如果喜欢(或不喜欢)他们的任何一部影片,便试着与之共同思考。却不要简单地相信,像这样的作品,这样的创作轨迹毫无由来,并不存在于构成它们存在条件的现实世界中。这个世界叫做法国电影。此时它正在以惊人的速度扩张(今年以来的作品层出不穷),它比以往任何时候都显得更加焦虑(并非毫无缘由),同时又更加过分地浸淫在作者派野心和各种各样的自满中。于是寻找更多的理由来同时证明每一个选择的独特性和理解阿诺·德帕利埃、奥里维耶·阿萨亚斯和其他人———为数众多,但是绝对的少数和独特———的作品的必要性成为可能。
Drancy Avenir (1997), Disneyland (2000), IsDead, Adieu (2003): France has no more than a decade The advent of Noble de Plaiere is even more impressive and inspiring. Irma Vep (1996), Les Destin essentials (2000) and Demonlover (2002), and later Clean (2004): This series The work portrays a unique world created by Orihia Assayas, though coherent but in no way generalizable. There is no trace of similarity between the two filmmakers. Do not try to fabricate some false or artificial opposition to them. If you like (or do not like) any one of their videos, try to think together. But do not simply believe that such works of art, such a creative trajectory without any reason, does not exist in the conditions that constitute their existence in the real world. This world is called a French movie. At this time it is expanding at an alarming rate (an endless stream of work since this year), more anxious (not without cause) than ever before, and at the same time overly overly involved in the author’s ambitions and all kinds of Complacency. So looking for more reasons to prove both the uniqueness of each choice and the understanding of Arnold Perpignan, Orihia Assayas and others - a myriad of but absolute few and unique - - The necessity of the work is made possible.