雕像也会死亡

　　《雕(diāo )像也会死亡》（Les statues meurent aussi，阿(ā )兰·雷乃(nǎi )、克里斯·马尔凯，1953年(😎)出(chū )品，27分(🔸)钟）(🎩)尖锐地批评了(le )西(👁)方殖民主义(yì )对非(🚉)洲传(🚥)统(tǒng )艺(yì )术的戕(qiāng )害以及自称热爱(ài )非(😻)洲(🚸)艺术(🚑)的上等阶层的贪婪(🔊)与(yǔ )伪善(shàn )。本片的主角是来自(zì )黑(hēi )非洲(zhōu )的人物(❔)雕像、面具和(㊗)其(🥎)他(tā )非洲艺术品，但是(🏂)它(🙌)们的演(yǎn )出场所并(bìng )非黑(hēi )人的故乡，而是白人的欧(🔔)洲，艺术品市场和艺术品拍卖会(🐀)是它们频频出(🕯)没和(👣)滞留的中转地。这些(xiē )本(běn )来(lái )被非洲部族(🦇)用来(🈸)抵抗(kàng )死亡(wáng )的面具和雕像(xiàng )(🃏)，如今却呆(💹)在博物馆的橱窗里静(🎥)静地死(🤔)去。此时(shí )，画外(🔤)音告(gào )(💏)诉我们(🔷)：(👵)“当(dāng )人死去的时(shí )候，他便(biàn )(🔎)进(🌂)入(🔙)了历史；当这(zhè )些雕(diāo )像死去的(⏳)时候(hòu )(🚽)，它们进入了(😳)艺术；这种关于死亡的学问，我们最后称(🕺)之为(wéi )文化。”由于本(❄)片(💁)具有(yǒu )鲜明而强烈(liè )的社会批(pī )判意(🈂)识，自拍(pāi )竣(💛)之日(😲)起(🐅)即遭到法(💨)国(🈸)政府禁映，直(zhí )到1963年(nián )才解禁。本片由长(🎆)于(yú )(⛎)剪(🏖)辑的(🐸)阿兰(lán )·雷乃(😼)操刀剪辑，由强(qiáng )于写作的克里斯·马尔凯(kǎi )撰写解说(shuō )，充分发(fā )挥了(le )两人各自的(de )强(🔂)项，可谓(🌸)强(📳)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.