不知火海
片名: | 不知火海 |
---|---|
其它片名: | The Shiranui Sea |
导演: | 土本典昭 |
编剧: | 土本典昭 |
摄影: | 大津幸四郎 |
声音: | 浅沼幸一 |
剪辑: | 土本典昭, 市原启子 |
片长: | 153分钟 |
年份: | 1975年 |
类型: | 纪录片 |
国别: | 日本 |
语言: | 日语 |
格式: | 彩色/16毫米 |
影片概述 . . . . . .
中文字幕翻译:中山大树,冯艳
和水俣病医学三部曲同时拍摄的这个作品,尽量避开了对水俣病的科学分析及斗争纪录,而是描写了日常生活中的水俣病。在这部影片中,我们可以看到渔民们一如既往地在不知火海中捕鱼的场景,看到进行康复训练的患者们向我们讲述生活中的喜悦以及对未来的不安。土本的视线及采访,既沉着又细腻,把我们带入一个拍摄者和被拍摄者相互支撑的世界中去。影片的后半部是访问一个湾内稍远些地方的小岛,通过寻找尚未被发现的受害者,揭示了仍在蔓延的水质污染的危害程度。摄影机所捕捉到的不知火海的美丽风景和患者们讲话的姿势及表情,既让我们看到了复苏和重生的希望,同时也使这部杰出的影片充满电影魅力。
down the documentation of the struggle and the scientific analysis to depict the specter of Minamata disease in everyday life. We can fully glimpse the image of fish still quietly swimming in the Shiranui Sea , as well as the lives of the victims of the disease as they talk about their daily joys and their anxieties over the future while in rehabilitation. Tsuchimoto’s vision and words as an interviewer feel calm and precise, leading us into a world in which the filmmaker and the subjects support each other. The second half of the film visits some far away islands inside the bay where previously unknown victims are being discovered and shows the depth of a disease which is showing signs of spreading. The act of healing is wonderfully captured in the expressions and gestures of the patients as they talk against the background of the Shiranui Sea , providing an extremely rare example of cinematic richness.
和水俣病医学三部曲同时拍摄的这个作品,尽量避开了对水俣病的科学分析及斗争纪录,而是描写了日常生活中的水俣病。在这部影片中,我们可以看到渔民们一如既往地在不知火海中捕鱼的场景,看到进行康复训练的患者们向我们讲述生活中的喜悦以及对未来的不安。土本的视线及采访,既沉着又细腻,把我们带入一个拍摄者和被拍摄者相互支撑的世界中去。影片的后半部是访问一个湾内稍远些地方的小岛,通过寻找尚未被发现的受害者,揭示了仍在蔓延的水质污染的危害程度。摄影机所捕捉到的不知火海的美丽风景和患者们讲话的姿势及表情,既让我们看到了复苏和重生的希望,同时也使这部杰出的影片充满电影魅力。
down the documentation of the struggle and the scientific analysis to depict the specter of Minamata disease in everyday life. We can fully glimpse the image of fish still quietly swimming in the Shiranui Sea , as well as the lives of the victims of the disease as they talk about their daily joys and their anxieties over the future while in rehabilitation. Tsuchimoto’s vision and words as an interviewer feel calm and precise, leading us into a world in which the filmmaker and the subjects support each other. The second half of the film visits some far away islands inside the bay where previously unknown victims are being discovered and shows the depth of a disease which is showing signs of spreading. The act of healing is wonderfully captured in the expressions and gestures of the patients as they talk against the background of the Shiranui Sea , providing an extremely rare example of cinematic richness.
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