更新时间:2018-04-06
peacebitch • 卡尔·伊曼努埃尔·容克的真正诉讼:几点值得记下来的，关于此片
摘自Nicole Brenez的En quoi l'Authentique Procès serait-il authentique?
1. Godard协助Hanoun制作此片时(1963)给出了这样的指导原则："Take, for example, the concentration camps. The only genuine way to make a film about them would be to film the camp from the point of view of the torturers, with their day-to-day problems [...] What would be most unbearable about such a film would not be the horror emanating from these scenes, but rather their perfectly normal and human aspect."
2. Hanoun采用了Peter Weiss在L'instruction里建立的三条美学原则：a. the reduction of testimonies to their maximum factual density; b. the use of a black backdrop, which suppresses any realistic spatiality and concentrates the spectators' attention on the faces of the protagonists; c. these faces themselves reduced to their primary function (judge, journalist, translator, witness).
3. 影片的另一个灵感来源事艾希曼审判(Adolf Eichmann)录制和播放的影音技巧：static shots of the speakers; short panoramic shots which compensated for reduced number of cameras; alternating shots of the various participants; discontinuity between shots; the constant presence of microphones and headphones; overlapping voices.
4. 关于人声：艾希曼审判在播放时，翻译的声音跟随原声，男女都有。此片中Hanoun将此技巧极端化，完全没有原本的声音，只有翻译：the slow and disjointed rhythm of a form of speech that is dedicated to the translation of another, dissimilar form of speech; accentuation; the attribution of random voices to random bodies, intensified by the film's systematic desynchronization of voice and body.
1. Godard协助Hanoun制作此片时(1963)给出了这样的指导原则："Take, for example, the concentration camps. The only genuine way to make a film about them would be to film the camp from the point of view of the torturers, with their day-to-day problems [...] What would be most unbearable about such a film would not be the horror emanating from these scenes, but rather their perfectly normal and human aspect."
2. Hanoun采用了Peter Weiss在L'instruction里建立的三条美学原则：a. the reduction of testimonies to their maximum factual density; b. the use of a black backdrop, which suppresses any realistic spatiality and concentrates the spectators' attention on the faces of the protagonists; c. these faces themselves reduced to their primary function (judge, journalist, translator, witness).
3. 影片的另一个灵感来源事艾希曼审判(Adolf Eichmann)录制和播放的影音技巧：static shots of the speakers; short panoramic shots which compensated for reduced number of cameras; alternating shots of the various participants; discontinuity between shots; the constant presence of microphones and headphones; overlapping voices.
4. 关于人声：艾希曼审判在播放时，翻译的声音跟随原声，男女都有。此片中Hanoun将此技巧极端化，完全没有原本的声音，只有翻译：the slow and disjointed rhythm of a form of speech that is dedicated to the translation of another, dissimilar form of speech; accentuation; the attribution of random voices to random bodies, intensified by the film's systematic desynchronization of voice and body.
