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原文出處:
http://16mmshrine.blogspot.com/2005/11/freedom-new-wave.html



Oh, the French New Wave.
It comes up time and time again on this website,
as it does with any critic’s hack reviews. Generally,
critics use a New Wave comparison in the rare instances where the film
they’re reviewing doesn’t follow the exact plot structure of Rambo 3,
and they’re too lazy to pinpoint the exact cause.
So they just wave their hands dismissively,
mutter something about European sensibilities,
and light another cigarette. A definition of the style of the New Wave
is hard to come by.
喔,法國新浪潮嘛。
在這個網站上這個詞一直被提出來,好像它跟影評的文章很有關係。
通常呢,影評們會使用<新浪潮>這個字,
拿來跟那些跟<藍波第三集>的劇情結構不一樣的片子作對比。   (LMFAO....)
而這些影評也懶到根本沒有指出確切的原由是什麼使它們兩種片型不一樣,
所以他們只能呢喃著歐洲人的性情敏感,然後點上一支香菸。
新浪潮的風格定義是很難說的阿。
                                                                               
Some say it’s a cinema that rejected the conventions and
styles of traditional film forms,
embraced the authorial theory of film criticism,
and utilized new innovations in camera technology to
make movies free from traditional studio constraints.

Others say that they were just trying to make American films
but didn’t want to get out of bed before noon,
so everything looks like a lazy and pale imitation of a Hollywood picture.
I firmly believe that this difference of opinion doesn’t come down
to which critic you ask, but rather what film you watch.
有些人說: 新浪潮是一種對俗濫傳統電影形式的拒斥,並且擁抱電影評論中的作者論;
新浪潮努力去開發攝影新技術,將電影從傳統的攝影棚的約束中解放出來。
                                                                               
另外一些人說: 新浪潮電影作者只是嘗試著去拍一些美式電影,
但是因為他們不想在中午之前起床,所以他們片中的所有東西,
看起來就像是對好萊塢電影的懶散蒼白的模仿。
                                                                               
我堅定地相信這兩種意見的差別不是來自你問哪個影評,
而是來自你看了哪些片子而使你有這樣的觀感。
                                                                               
                                                                               
Cleo From 5 to 7 falls into the latter category of French New Wave.
Directed by Agnes Varda, the film follows the titular character between
the titular afternoon hours, as she waits to get test results from the doctor.
Cleo starts the film off a rich, spoiled brat, and ends up finding both love
and a certain joie de vivre. Replace the protagonist with Jimmy Stewart,
and this could have been a Frank Capra movie
if he’d cut his teeth making crappy tour diaries of his friends’ band
instead of filming war documentaries.
                                                                               
The choppy and rough editing style is fresh, to be sure,
but I’m not sure if it services the saccharine plot
nor the real-time aesthetic. Nevertheless, it is distinctive,
and if that’s your sole criterion for watching films,
then you should be pleased. If not, just wait for Rambo 4.
<五點到七點的克麗歐>就屬於這兩種意見的後者。
此片由華達導演,這部片記錄了一個很表面的角色在一個很表面的下午時光中,
等待她的醫生即將給她的身體檢查報告。
克麗歐在片中開頭,被呈顯為一個有錢而被寵壞的頑童,
但在片尾卻找到了愛情以及joie de vivre(joy of life)
把主角換成詹姆士史都華,這部片就變成了Frank Capra的片子,
如果他能努力製作他朋友樂團的糟糕巡迴紀錄,而不是拍戰爭紀錄片的話。
                                                                               
突然多變而粗糙的剪輯風格是很新鮮,
但是我不確定這樣做是否能使電影劇情本身精純化,
我也不確定這作法,是否跟這部片企圖表現的"真實時間呈現"相符合。
不管這樣,這種剪輯是有特色的,如果說你看片的評判標準就僅僅是很特殊的片就看,
那你應該可以從此片中得到樂趣。
不然的話,你可以等待<藍波第四集>的上映。

OTHER MAJOR DIRECTORS OF THE FRENCH NEW WAVE:
其他新浪潮的大導
                                                                               
Jean-Luc Godard:
A true innovator, Godard broke the mold with his film Breathless,
which told a classic Hollywood gangster story with all the boring bits cut out.
Thanks for bringing Attention Deficit Disorder into the mainstream, Jean-Luc.
Darren Aronofsky really appreciates it.
高達:
一個真正的革新者,高達用他的電影<斷了氣>打破了既有的電影格式,
在<斷了氣>中講述了一個經典的好萊塢式黑幫故事,
只不過高達把所有的無聊段落全部剪掉了。
高達,謝謝你把注意力缺失症帶進主流電影,
Darren Aronofsky(迷上癮的導演)感謝您。
                                                                               
                                                                               
                                                                               
Francois Truffaut:
Truffaut made a series of sweet but sad films about growing up in Paris,
like The 400 Blows or Love on the Run.
He’s sort of like the sad clown of the French New Wave,
only without a sense of irony,
so watching his films is like reading high school poetry about ex-boyfriends
楚浮:
楚浮拍了一堆甜蜜而哀傷的電影,內容是關於在巴黎成長的故事,
例如<四百擊>或是<愛情逃跑>都是這樣的故事。
他有點像是法國新浪潮裡面的悲傷小丑,只不過把嘲諷的部份拿掉了。
所以看他的片,就像是在讀高中生寫的那些關於前男友的詩。
                                                                               
                                                                               
                                                                               
                                                                               
                                                                               
Claude Chabrol:
All of the French New Wave guys really liked Hitchcock,
but none so much as Chabrol, who pattered his career after
the great suspense master, in that he made one movie a hundred times.
That movie was about adultery and murder, and starred Stephane Audran.
Apparently some variety of mind-flayer,
Chabrol sucked all the irony out of Truffaut and injected it into
his own films, making his movies seem like the cool kids who
sat in the back row of film class and snickered at all the sappy parts
in Summertime.
夏布洛:
所有這些法國新浪潮的傢伙都很喜歡希區考克,
可是沒有人像夏布洛一樣,喋喋不休地跟著懸疑大師的後面不斷重複。
他像是同一部電影拍了一百次似的,這電影總跟通姦還有謀殺有關,
並由Stephane Audran主演。
夏布洛把所有的諷刺成份從楚浮的電影當中吸出來,放到自己的電影裡。
這使得看他的電影,就像是在看那些坐在電影課後排的酷小鬼,
酷小鬼總是對 裡面顯得愚蠢的橋段吃吃竊笑。
                                                                               
                                                                               
                                                                               
Eric Rohmer:
I don’t think I’ve actually seen any Eric Rohmer films,
so you’ll have to fill in your own irreverent commentary.
It’s easy. First, start by describing his entire oevre with a
massive generalization based upon a vague remembrance of a film
you might have seen a few years ago on PBS. Then,
insert a derogatory remark based upon a cultural stereotype of the French.
Add an obscure reference or brief but incisive comment that
indicates your ignorance and flippant attitude are affectations rather than
a function of low IQ, and essentially invalidates your previous remarks.
Cook, uncovered, for 24 hours, or until the site traffic meter falls to
a respectable level.

侯麥:
我沒看過他的片子,但是你可以自己寫下你自己的不敬評論。
這很簡單。首先.藉由你在PBS上面看到的某片的模糊記憶,
以一個相當普遍化的方式來描述他的畢生作品。
接下來,加入一些對於法國的文化類型帶有貶義的描述。
加上一些模糊但尖銳的指涉或概要,指出你的輕率跟無禮是一種裝模作樣,
而不是顯示你的低智商。並且使你剛才講的概要無效化。
烹煮,開鍋,等待二十四小時,
或者等到本站的網路流量監控器的數字到達一個可敬的地步

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