Erenlai - 按日期過濾項目: 週五, 29 十月 2010
週五, 29 十月 2010 17:28

From the cradle to the cradle

A review of documentary ‘Cradle of Happiness’, directed by Asel Juraeva, Kyrgyzstan, 2010, Digi-Beta, color, 20’

The movie starts in a hospital: white ceiling, white gloves, the sound of a heartbeat reproduced by the echography machine, a robotic sound that will stop as we see a doctor or a nurse take what seems to be surgical instruments of abortion. Then a fade out opens on to a dusty road, two little boys play at the foreground. A close-up lets us guess that they are twins.

This 20 minute movie is about the simple and happy life of these two little boys who basically spend their time playing in the garden, eating, watching TV and sleeping. The scenes are filmed at their eye-level, thus adopting their point of view and making us enter their world where adults are scarcely present: their mother, pregnant, who bathes and dresses them, their grandparents and their father who appears only once as he comes home.

So the space of representation in the movie just varies between the house and the garden in a continuous coming and going (va-et-vient). But another reality pierces through the opening created by the screen of the TV: the uninterrupted broadcast of images of war and violence contrasts with the serene sequences that depict the games and the activities of the family. As the camera lingers on the eyes of the little boys mesmerized by the TV, one of them suddenly lowers his look as though sadness has invaded him. That scene preludes the only fight scene between the twins (inside the house) which is followed by a long shot of the deserted garden where a toy gun remains.

The movie impresses by its scarcity of information: we only know that it takes place in Kyrgyzstan because of this strange sentence which opens the movie both in Russian and English: “Kyrgyzstan is a country of short films!” But we don’t know which village or town or city; also none of the people are named, there isn’t either any time indication. In fact, the movie is almost mute, only punctuated by the chirping of the boys. And this is what precisely gives to the movie its universal meaning and its interest. What we are told here is not the story of a particular family but the story of humanity through its particularism, with a certain Rousseauistic perspective: the innocent happiness of humans in nature disturbed by the corruption of a violent outside world that will maybe see these boys grow old to be soldiers; the opposition between childhood and adult age, the close tangle of life and death.  But the movie is not pessimistic as it finishes on a note of hope with the birth of the twins’ little sister: the circle closes finally on life.

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「身穿花紅長洋裝,風吹金髮思情郎……想起情郎想自己,不知爹親二十年,思念想欲見,只有金十字,給阮母親做遺記,放阮私生兒,聽母初講起,愈想不幸愈哀悲,到底現在生亦死,啊,伊是荷蘭的船醫。」

片名︰一個女人與五本大象
導演︰Vadim Jendreyko
發行︰法國 Nour Films

堪稱現今德譯俄語文學第一把好手的Swetlana Geier,1923年誕生於烏克蘭首府基輔(Kiew),原名Swetlana Iwanowa。

 

片名︰一個女人與五本大象
導演︰Vadim Jendreyko
發行︰法國 Nour Films

堪稱現今德譯俄語文學第一把好手的Swetlana Geier,1923年誕生於烏克蘭首府基輔(Kiew),原名Swetlana Iwanowa。

「奇拉.塔西米克的電影都和記憶的創建與銷毀有關,他的作品以一種批判卻同時具有創意的方式,思考著在國家的歷史中,什麼是必須保留給後代,重要而有價值的記憶和事件。」

 

「奇拉.塔西米克的電影都和記憶的創建與銷毀有關,他的作品以一種批判卻同時具有創意的方式,思考著在國家的歷史中,什麼是必須保留給後代,重要而有價值的記憶和事件。」

多元文化呈現和多元記憶保存是海蒂.哈妮曼(Heddy Honigmann)多部紀錄片背後,共同的拍攝動機。透過豐富的視覺元素和曲折的敘事步調,哈妮曼的紀錄片為觀眾展示了隱藏在我們週遭的美麗人性。

多元文化呈現和多元記憶保存是海蒂.哈妮曼(Heddy Honigmann)多部紀錄片背後,共同的拍攝動機。透過豐富的視覺元素和曲折的敘事步調,哈妮曼的紀錄片為觀眾展示了隱藏在我們週遭的美麗人性。

筆者美學觀點是如此的:每個人在觀賞作品時,都一定會有自己的觀點;把自己當成一張白紙的觀點並不存在。因為「我」之所以為「我」,都有專屬自己過去的經驗、記憶和歷史。「一張白紙」的美學立場,非常可能是一種虛假、虛構的立場。

 

西門町中華路一帶,有許多久遭廢棄的細長形街屋:它們每層樓都有條狹窄的走廊,兩側陳列著長年光線不足、悶熱潮溼、堆滿雜物與垃圾的小房間。身處其中,實在難以想像此地荒廢前的居住情景──當居住空間被如此扭曲、切割,置身其中的人要怎樣提升生活品質?

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