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《雕像也会(huì )死亡(🐽)》（Les statues meurent aussi，阿(ā )兰·雷乃、克里斯·(📿)马(🌫)尔(ěr )凯，1953年出品，27分钟）尖锐(ruì )地批评了(🎡)西方(fāng )殖民主(💆)义对非(🥄)洲(🛹)传(🚉)统艺术的戕(qiāng )害以及自称热(rè )爱非洲艺术的上等阶层的贪婪与(yǔ )伪善。本(🚢)片的主(zhǔ )角(🚣)是(shì )来(🥁)自(zì )黑非洲的人物雕(diāo )像(xiàng )、面具(jù )和(hé )其他非洲艺术品(🙂)，但(dàn )是它们的演出(🤸)场所(🙄)并(㊙)非黑人的故乡，而(ér )是白人的欧洲(zhōu )，艺术(🤲)品市(shì )(⛳)场和艺(yì )术品拍卖会是它(🐀)们频频出没和(🕯)滞(zhì )留的(de )中转地。这(💹)些(xiē )本来被非洲部族(zú )用来抵抗死(sǐ )(➡)亡的面(miàn )具(jù )和雕像(🥋)，如今却呆在(zài )博物馆(🐩)的橱窗(🔈)里静静地死(🐡)去。此(cǐ )时，画外(⏲)音告诉(👌)我们：(🥤)“当人死(sǐ )去的(de )时候，他(🏴)便进(📐)入了历史(🌱)；当(dāng )(🐖)这些雕像死去的时候，它们进入(rù )了艺术；这(🎦)种关于死(sǐ )亡的学(🛃)问，我们最(🤼)后称之(✖)为文化。”由于本片具有(💁)鲜明而强烈的社会批判(pàn )意(🌲)识，自(🚪)拍(pāi )竣(jun4 )(🐱)之(zhī )(🖱)日起即遭(zāo )(🐅)到法国政府(fǔ )禁映(yìng )，直到1963年(nián )(♊)才解(jiě )禁。本(běn )片由长于剪(jiǎn )(🎆)辑的阿(🍝)兰·(🍈)雷乃操刀剪辑，由(yóu )强于写作的(♈)克里(🍗)斯·马尔凯撰写解说，充分发挥了两人(👅)各自的(🎆)强项，可谓强强合作(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.
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