週末

週末

HD中字

10.0 |2025年05月05日 |蓝光·4K
简介:
1968年,電影導演讓·呂克-戈達爾已經獲得了太多的成功。 這一年,電影界前輩、法國電影資料館館長亨利·郎格洛瓦提出了整個電影史應該以戈達爾前與戈達爾後兩個概念來劃分的論點。在他看來,38歲的哥達爾結束了一個時代也開創了一個時代。 著名作家路易·阿拉貢早在1965年就已經說過:今天的藝術就是戈達爾。著名存在主義哲學家薩特也宣稱:在戈達爾的影片裏,學問太多了。  其實,除了處女作《筋疲力盡》獲得1960年西柏林電影節最佳導演獎、《狂人比挨洛》獲得1965年威尼斯國際電影節青年評論獎、《中國姑娘》獲得1967年威尼斯電影節評委會特別獎外,戈達爾導演的其他幾十部影片,並沒有給他帶來很好的聲譽,大多數觀衆看戈達爾的電影,不是不知所措,就是焦躁不安。 或許,戈達爾生來就是電影的敵人。  在1967年拍攝的《週末》裏,他讓動作停止--兩個倒垃圾的人直接對着一部攝象機談話,長達7分鐘之久。在這部影片的開頭部分,一個僅僅穿着乳罩和短褲的女人,坐在半明半暗的一張桌子上,直接對着一部推近拉遠的攝象機說話,詳細的敘述她參加的一次狂歡。這個段落也持續了好幾分鐘。思想激進的戈達爾,用這種方式與好萊塢抗衡。因爲在他看來,好萊塢電影流暢的剪輯和快速的節奏,是爲了迎合觀衆,進而麻痹觀衆,使他們沉湎在白日夢中,甘心情願的忍受資產階級的剝削。他甚至認爲,電影本身就是資產階級的,要反抗資產階級,就需要把電影的傳統全部粉碎。這樣不象電影的電影,才使值得拍攝的好電影。
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