Misery in Borinage
片名: | Misery in Borinage |
---|---|
其它片名: | 伯利纳奇的苦难/Misère au Borinage |
导演: | Joris Ivens, Henri Stork |
制片人: | Jean Fonteyne, Paul Hennebert |
摄影: | Joris Ivens, Henri Storck, François Rents |
音乐: | André Asriel |
片长: | 28分钟 |
年份: | 1933年 |
类型: | 纪录片 |
国别: | 比利时 |
语言: | |
格式: | 35mm/B and W |
影片概述 . . . . . .
资本主义世界大危机。工厂倒闭废弃,成百上千的无产阶级在饿肚子!
这部比利时电影的基石之作便是由以上这几句反抗宣言开篇的。1932年,一场空前的大罢工使得瓦隆区的煤矿工业陷入瘫痪,然而矿主和警察的回应则显得冷酷无情。当时,该地区以外的大部分民众对此事件并不了解并且漠不关心。因此,André Thirifays, Pierre Vermeylen以及Club d’Ecran电影小组的所有年轻成员决定用他们自己手里特有的武器——摄影机对这场灾难进行见证。
在一位医生和律师的帮助下,影片花费很少,拍摄过程十分艰难又惊心动魄,随时都要防止摄影机被警察发现,但同时也得到了民众的支持。影片是残酷而精彩的,在愤怒和怜悯两种情绪的撞击下充满了力量。它为工人阶级留下了斗争历史上最有力量的影像:对工人的驱逐,挤满了孩子的贫民窟,枯瘦茫然的脸庞,高举卡尔马克思画像的游行队伍,黎明时分在废石堆拣煤块的穷人,乞讨的矿工等等,此外镜头间衔接所带来的冲击也值得一提:一边是空着废弃的房屋,一边是睡在大街上无家可归的人;一方面是饥荒肆虐毫无救助,一方面大笔金钱则花在对教堂的修建上…
“从很多方面来看,这部比利时电影的基石之作都是具有革命性的。它是第一部具有见证性的电影…第一次用虚构的方式表现真实…第一次用纪录的影像来表达一种观点…第一次从社会层面深入一个已经处于解体中的地区。<伯利纳奇>差不多把一切都验证过了。”
《比利时电影百科全书》,主编:Guy Jungblut, Patrick Leboutte 和 Dominique Païni,Yellow Now出版社,1990年
“本片的影像和文字可分成两段:一段是严格意义上的纪录片,展示典型案例,艰苦的生活条件...另一段导演则站在了工人阶级的立场之上。这导致影评人R. Jauniaux指出,影片第二段并不客观,社会党人被推到一旁,只有共产主义者才有空间,因此这是一部具有宣教性的电影…”
Josette Debacker,《比利时电影画报》 1979年8月号
Crisis in the capitalist world. Factories are closed down, abandoned.
Millions of proletarians are hungry!
With these words of manifesto and revolt, this founding film of Belgian
cinema opens. It is one of the most important references in the
documentary genre. In 1932, a great strike had paralysed the coalmines
of Wallonia and the response of employers and the police had been
merciless. Throughout it all the broader population was ill-informed
and largely indifferent. André Thirifays, Pierre Vermeylen and all the
indignant young people involved in the Club de l'écran, decided to bear
witness to this dire poverty using their weapon, the camera.
With the aid of a doctor and a lawyer, with very little funding, hiding
from the police but supported by the whole population, the shoot took
place in difficult and exciting conditions. The film is hard,
magnificent. It has lost nothing of its force, its strong emotional
impact of indignation and compassion. It has left to the working class
the strongest images of its history and struggles: evictions;
thin-faced and absent-looking children packed together in slum houses;
the procession with the portrait of Karl Marx; the collecting of low
grade coal on the slagheaps at dawn; the begging miner etc. There is
also the shock of images placed side by side: houses standing empty
while homeless people sleep in the street, near-famine conditions with
no aid, whereas big sums of money go to construct a church...
这部比利时电影的基石之作便是由以上这几句反抗宣言开篇的。1932年,一场空前的大罢工使得瓦隆区的煤矿工业陷入瘫痪,然而矿主和警察的回应则显得冷酷无情。当时,该地区以外的大部分民众对此事件并不了解并且漠不关心。因此,André Thirifays, Pierre Vermeylen以及Club d’Ecran电影小组的所有年轻成员决定用他们自己手里特有的武器——摄影机对这场灾难进行见证。
在一位医生和律师的帮助下,影片花费很少,拍摄过程十分艰难又惊心动魄,随时都要防止摄影机被警察发现,但同时也得到了民众的支持。影片是残酷而精彩的,在愤怒和怜悯两种情绪的撞击下充满了力量。它为工人阶级留下了斗争历史上最有力量的影像:对工人的驱逐,挤满了孩子的贫民窟,枯瘦茫然的脸庞,高举卡尔马克思画像的游行队伍,黎明时分在废石堆拣煤块的穷人,乞讨的矿工等等,此外镜头间衔接所带来的冲击也值得一提:一边是空着废弃的房屋,一边是睡在大街上无家可归的人;一方面是饥荒肆虐毫无救助,一方面大笔金钱则花在对教堂的修建上…
“从很多方面来看,这部比利时电影的基石之作都是具有革命性的。它是第一部具有见证性的电影…第一次用虚构的方式表现真实…第一次用纪录的影像来表达一种观点…第一次从社会层面深入一个已经处于解体中的地区。<伯利纳奇>差不多把一切都验证过了。”
《比利时电影百科全书》,主编:Guy Jungblut, Patrick Leboutte 和 Dominique Païni,Yellow Now出版社,1990年
“本片的影像和文字可分成两段:一段是严格意义上的纪录片,展示典型案例,艰苦的生活条件...另一段导演则站在了工人阶级的立场之上。这导致影评人R. Jauniaux指出,影片第二段并不客观,社会党人被推到一旁,只有共产主义者才有空间,因此这是一部具有宣教性的电影…”
Josette Debacker,《比利时电影画报》 1979年8月号
Crisis in the capitalist world. Factories are closed down, abandoned.
Millions of proletarians are hungry!
With these words of manifesto and revolt, this founding film of Belgian
cinema opens. It is one of the most important references in the
documentary genre. In 1932, a great strike had paralysed the coalmines
of Wallonia and the response of employers and the police had been
merciless. Throughout it all the broader population was ill-informed
and largely indifferent. André Thirifays, Pierre Vermeylen and all the
indignant young people involved in the Club de l'écran, decided to bear
witness to this dire poverty using their weapon, the camera.
With the aid of a doctor and a lawyer, with very little funding, hiding
from the police but supported by the whole population, the shoot took
place in difficult and exciting conditions. The film is hard,
magnificent. It has lost nothing of its force, its strong emotional
impact of indignation and compassion. It has left to the working class
the strongest images of its history and struggles: evictions;
thin-faced and absent-looking children packed together in slum houses;
the procession with the portrait of Karl Marx; the collecting of low
grade coal on the slagheaps at dawn; the begging miner etc. There is
also the shock of images placed side by side: houses standing empty
while homeless people sleep in the street, near-famine conditions with
no aid, whereas big sums of money go to construct a church...
导演阐述 . . . . . .
"By its very essence, cinema is an art within the reach of the masses.
And yet it has never been used to interest the masses in their own
evolution, their own expression. On the contrary, up to the present
time, cinema has only served to entertain them, put them to sleep, turn
them away from their worries and problems. The worker is a character
unknown to the screen...
As for the value of a social document, most of the time even the most
elementary expression of life is removed from them. During the creation
of our film, one fact took on particular importance and would be hard
to exaggerate: it is the quality of this material, a quality that can
only come from direct contact with life, with daily existence."
“从本质上说,电影是一种大众可触及到的艺术。然而,它却从未用来关注民众自身的发展和他们的自我表达。恰恰相反,在此之前,电影只是用来娱乐、催眠,以及帮助人们从苦恼和问题中暂时解脱出来的工具。人们对大银幕上的工人角色一直都很陌生。
作为社会性纪录的价值,大多数时候连生活最基本的部分都被忽略掉了。在电影拍摄过程中,有一件事对我们来说尤为重要,并不得不始终坚持,那就是素材的质感,只有通过与最日常的生活本身直接进行接触才可以获得的质感。”
Joris Ivens, Henri Storck, 《比利时电影画报》访谈摘录, Documents 34, 第四期, 1934年1月号
“<伯利纳奇的苦难>可以说是一份报道。它不是那种之前写好剧本的纪录片,也不是对主题进行充分研究过后带有主观观点的影片。这是一次充满真诚和激情的讲述,因为Joris和我被那些人的苦难与悲惨的生活处境所震撼。我们想要展现工人阶级以及这个但丁式的人间炼狱,因为这里有人在遭受着难以想像的苦难、屈辱,并奋起反抗。我们还感受到一种想要加入他们的亲密情感,并且相信这份纪录本身足以唤醒那些此前对于这种苦难毫无概念的民众,并传达出它可怕的内涵。”
Henri Storck, 《纪录片探索》, G. Leroy Levin, 纽约, 1971年
state of decomposition. Borinage practically invented it all..."
Une encyclopédie des cinémas de Belgique. Under the direction of Guy
Jungblut, Patrick Leboutte and Dominique Païni, Ed. Yellow Now, 1990
"There are two sections to the images and texts: one is strictly
documentary, showing typical cases... vile living conditions... The other part
is that of the directors siding with the working class. This caused a
film critic, R. Jauniaux, to say that the second part is not objective,
that the socialists are being pushed aside, leaving room only for the
communists, that this is a propaganda film..."
Josette Debacker, Revue belge du cinéma, August 1979
And yet it has never been used to interest the masses in their own
evolution, their own expression. On the contrary, up to the present
time, cinema has only served to entertain them, put them to sleep, turn
them away from their worries and problems. The worker is a character
unknown to the screen...
As for the value of a social document, most of the time even the most
elementary expression of life is removed from them. During the creation
of our film, one fact took on particular importance and would be hard
to exaggerate: it is the quality of this material, a quality that can
only come from direct contact with life, with daily existence."
“从本质上说,电影是一种大众可触及到的艺术。然而,它却从未用来关注民众自身的发展和他们的自我表达。恰恰相反,在此之前,电影只是用来娱乐、催眠,以及帮助人们从苦恼和问题中暂时解脱出来的工具。人们对大银幕上的工人角色一直都很陌生。
作为社会性纪录的价值,大多数时候连生活最基本的部分都被忽略掉了。在电影拍摄过程中,有一件事对我们来说尤为重要,并不得不始终坚持,那就是素材的质感,只有通过与最日常的生活本身直接进行接触才可以获得的质感。”
Joris Ivens, Henri Storck, 《比利时电影画报》访谈摘录, Documents 34, 第四期, 1934年1月号
“<伯利纳奇的苦难>可以说是一份报道。它不是那种之前写好剧本的纪录片,也不是对主题进行充分研究过后带有主观观点的影片。这是一次充满真诚和激情的讲述,因为Joris和我被那些人的苦难与悲惨的生活处境所震撼。我们想要展现工人阶级以及这个但丁式的人间炼狱,因为这里有人在遭受着难以想像的苦难、屈辱,并奋起反抗。我们还感受到一种想要加入他们的亲密情感,并且相信这份纪录本身足以唤醒那些此前对于这种苦难毫无概念的民众,并传达出它可怕的内涵。”
Henri Storck, 《纪录片探索》, G. Leroy Levin, 纽约, 1971年
state of decomposition. Borinage practically invented it all..."
Une encyclopédie des cinémas de Belgique. Under the direction of Guy
Jungblut, Patrick Leboutte and Dominique Païni, Ed. Yellow Now, 1990
"There are two sections to the images and texts: one is strictly
documentary, showing typical cases... vile living conditions... The other part
is that of the directors siding with the working class. This caused a
film critic, R. Jauniaux, to say that the second part is not objective,
that the socialists are being pushed aside, leaving room only for the
communists, that this is a propaganda film..."
Josette Debacker, Revue belge du cinéma, August 1979
获得奖项 . . . . . .
评论列表(0) . . . . . . ( 发表新评论 ) ( 更多评论 )
幕后花絮 . . . . . . (上传花絮) (展开所有)
影片图集 . . . . . . (更多/我要上传)
相关视频 . . . . . . (更多/我要分享)
对本影片资料作出贡献的会员 . . . . . .
4444(创建者)
Joris Ivens导演的其它影片 . . . . . .
相关资讯 . . . . . .
- CDFF2009 DAY2:亨利斯托克回顾展映后交流实录 2009-05-26
- CDFF2009 DAY2 亨利·斯托克回顾展--研讨会现场 2009-05-25
- CDFF2009将举办亨利·斯托克回顾展 2009-05-15