[揽瓜阁精读] 193.非洲导演

darcyzhx

1

香草安然

文章大意：讨论S film的特点。旧观点认为最重要的是 sociopolitical commitment，作者观点认为最重要的是他的 film适应于西非的文化（not socio）。举了三个例子来说明。
Many critics: primary=sociopolitical commitment
But author: adapt film to west african culture
    --characters and motifs in traditional west        african storytelling
      Eg：tree;tricster
    --moreover, derive from WA dilemma tales
      Eg: with several alternative
    --finally:initiatory journeys

长白山神树

生词：
compatriot- 同胞
motif -主题
salient -突出的
protagonist -主人公
predicament -困境
denounce -告发/谴责
analogously -类似的，近似的
dialectical -辩证的
结构:评论家和S自己对于自己电影的看法——S的电影特点1:能够在传统西非故事中找到——S的电影特点2:起源于西非神话
P1:评论家们认为塞内加尔导演S作品的特点是社会政治的投入。介绍S的背景，他对自己作品的定位:不是用来取悦爱国主义，而且提升对于她们社会过去和现在的现状的认知。S成功把西方媒介运用到自己描述西非文化的电影中，他发现了在非洲原始文化和策略内能够使得他的观点，被有文化和没文化的塞内加尔观众都接收
P2:S的很多电影的特点追随起来都能够在传统的西非故事叙述中找到。然后举例，S的…作品中的一些场景。S作品的特点，就像大部分西非叙事一样，体现了集合的观点或态度。又举了个例子 （口述传统中的原始的困境）
P3:S的很多作品起源于西非传说，这些传说的获益依旧是听众们争论和决定的点。S的电影这种开放式的结尾就是留给观众自己去补足:比如…电影，他这种开放式的叙事也能够被他频繁的定格所验证。正如很多西非神话一样，S的电影也是通过主角的世界观的改变希望来改变观众的观念。他的电影批判了社会和政治不公，主角的社会良知都起源于由社会环境对立面的急剧的自我良知。很多评论家都认为，这种辩证的元素更多是与西非的故事有关，而不是与他自己的思想体系。

Premiere

193 非洲导演
Senegalese 塞内加尔人 塞内加尔的
P1: many critics: OS works’ primary characteristic is its sociopolitical commitment. OS:trained in M in methods of socialist realism and asserts his films are not for compatriots（同胞）, but to raise their awareness of the past and present realities of their society. But his originality as a filmmaker lies most strikingly in his having successfully adapted film, originally a Western cultural medium, to the needs ,pace, and structures of West African culture.作为电影制作人，他最引人注目的独创性在于，他成功地将原本是西方文化媒介的电影改编成了西非文化的需要、节奏和结构。African oral culture techniques and strategies that enable him to express his views and to reach both literate（有读写能力的，识字儿的） and nonli S viewers.
P2: Some characters and motifs form S can be traced those found in WA. E.g. tree. Most characters are types embodying collective ideas or attitudes. And these types face archetypal （原始的 典型的）predicaments（困难）.
P3: S’s films derive from WA dilemma tales. Open-endedness of most of OS’s plots reveals that S leaves it to his viewers to complete his narratives. His frequent use of freeze-frames which carry the suggestion of continued action. His film denounce social and political injustice. Protagonists’（主角）social consciousness emerges from self-consciousness brought about by the juxtaposition（并列） of opposites’ social context. Such binary（二重的）oppositions used analogously in WA tales and are related to A oral storytelling more than to the M components of his ideology.