论文部分内容阅读
1926年春,吉加·维尔托夫访问布鲁塞尔期间看了一个法国年轻人的第一部长艺术片。据维尔托夫本人的记述,这部影片使他既狂喜又困惑。他的笔记很少议论除他自己以外的什么见解和设想,然而这部不足挂齿的影片却引起这位公认的苏联纪录电影大师如此强烈的兴趣,竟促使他动笔记下自己的观感,这就特别值得注意了。我们今天要讨论的就是雷内·克莱尔的仅一小时长的短小精致的喜剧片《沉睡的巴黎》。看起来这部影片更接近于麦克·塞纳特的风格和手法,而与当时正茁壮成长的欧洲和苏联先锋派的作品没有多少相近之处。然而就在这场电影中,维尔托夫却感受到一种认知的震动,他在同年4月12日的日记里是这样记叙这种感受的: “在‘艺术电影院’看了一部《沉睡的巴黎》。非常引人伤心。 “两年前我拟定过一个计划,在技术手法上和这部影片完全一
In the spring of 1926, during his visit to Brussels, Geija Vertov saw the first minister art piece of young Frenchman. According to Vittorov’s own account, the film made him ecstatic and confused. His notes rarely talk about ideas and ideas other than himself, but the meager film has aroused so much interest in the acknowledged Soviet record-film master that he was forced to write down his own perceptions. Particularly noteworthy. What we are going to discuss today is René Claire’s short but elaborate comedy “Sleeping Paris.” It seems that the film is closer to the style and approach of Mike Senat, not much in the same way as the avant-garde works of Europe and the Soviet Union that were thriving at the time. However, in this movie, Vittorf felt a kind of cognitive vibration, which he wrote in his Diary of April 12 of the same year: “I saw at the” Art Cinema “a” Sleeping Paris. “Very charismatic.” I drafted a plan two years ago, technically and completely