《雕(diāo )像也(yě )会(huì )死亡》（Les statues meurent aussi，阿兰(lán )·雷乃、克里斯·(📿)马(mǎ )尔凯，1953年出(chū )(📼)品(pǐn )，27分钟）尖锐(ruì )地批评了(🎡)西方(fāng )殖民主义(✳)对(🔲)非(🥄)洲传(🚉)统(tǒng )艺术(🐖)的戕害以及(jí )自称(chēng )热(😚)爱非洲艺(yì )术的上(🚑)等阶层的贪婪(lán )与(yǔ )(🤷)伪善(💞)。本片(piàn )的(📎)主角是来(🥁)自黑非洲的人(rén )物雕像、面具和(🎛)其他非洲(zhōu )(🥔)艺术品，但是它们(🏂)的演出场所并非(👓)黑人(rén )的(de )故乡，而是白人的(de )欧洲，艺术品(pǐn )市(shì )场和艺术品(pǐn )拍卖会(🥕)是它(tā )们频(pín )频(pín )出没和(🕯)滞(zhì )留(👣)的中(zhōng )转地。这些本来被非洲部族(zú )用(yòng )来(🦇)抵(dǐ )抗(🈸)死亡的(🐛)面(🌹)具和雕(👪)像，如(🃏)今却(💅)呆在博物馆(🐩)的(de )橱(😝)窗里静(🙎)静地死去。此时，画外(wài )(⏲)音告诉我们：“当人死(💸)去的时候，他便进入了历(🔙)史；当这些雕像死(sǐ )去的时候，它们进入了艺(yì )术；(👗)这(zhè )种关(guān )于(🍺)死亡(🐂)的学(🛃)问，我们(💅)最后称之为(wéi )文化。”由于本片具有鲜明而强烈(👅)的(de )社会(huì )批判意识，自拍(pāi )竣(🐱)之(zhī )(🖱)日起即遭(🐅)到法国(✒)政府禁映，直(zhí )到1963年(nián )(♊)才解禁。本(běn )片由长于(🎁)剪辑(jí )的阿兰·雷(léi )(🕌)乃操(cāo )刀(😼)剪辑，由强于写作的克里斯·马(🐑)尔(🖥)凯撰(zhuàn )写解说，充分发挥了两人各自(zì )的强项，可(kě )谓强强合作(zuò )(🍐)的结晶。 This collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker's characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.
……