Saturday, 24 June 2023

去年在馬倫巴 (Last Year at Marienbad)

                                         

在香港舉行的’法國五月’活動中,重映了不少經典的法國電影。其中一部就是由左派法國新浪潮導演雷奈(Alain Resnais) 執導的經典電影’去年在馬倫巴’(Last Year at Marienbad)。此片在藝術電影世界享負盛名,原因是此片的意思極為難懂! 雷奈捨棄一般電影正路而富邏輯性的敘事結構,用跳躍式,不順序的敘事方式,再加上不少具夢幻風格的影像,令整部電影疑幻似真。雷奈曾經揚言,即使在戲院放映此片時把菲林的次序調亂,亦不會影響故事的發展,因為他創作此片, 根本沒有把敍事的邏輯放在考慮之列。這個說法恰恰同尚盧高達(Jean-Luc Godard)的一句名句相映成趣:電影當然是要有頭,中和尾;但不一定要這個次序!

說回雷奈。雷奈算是當年法國新浪潮的一位代表人物。但他並不屬於高達,杜魯福等為代表的一伙人。 他們自稱為Hitchcoockian- Hawksian, 因為他們尤其推崇希治閣和霍華德(Howard Hawks)的作品。 雷奈是較為接近迪美(Jacques Demy),華妲(Agnes Varda)等導演所屬的左岸派系。縱然如此,雷奈的風格可算是十分獨特。他的風格,明顯地受到如Marcel Proust等現代主義作家所影響,作品中都流露着如那些作者喜歡使用的意識流敘事風格。他的電影往往偏離於傳統的電影敘事法則,加上頗為着重人物內心的特寫,及思考外在世界和內心世界之間的微妙互動。所以,很多人會把雷奈和電影大師褒曼(Ingmar Bergman)和安東尼奧尼(Michelangelo Antonioni)相提並論。幾位電影作者的獨特風格,在二十世紀六七十年代的光影舞台爭妍鬥麗,開啟了歐州藝術電影史的重要一章。'砂之女'導演敕使河原宏,亦都深受雷奈的影響,在其不少作品亦能察覺到他和這位法國電影大師在風格上的互動。

雷奈在電影中最喜歡探索的主題,是關於記憶和回憶的課題。他尤其喜歡了解關於創傷的回憶,在其'夜與霧','廣島之戀'和'去年在馬倫巴'中都時有對此着筆。不論是殘酷戰爭帶來的創傷,失戀帶來的不爽,以至對曖昧情感的回味,雷奈用故弄玄虛的影像和獨特的攝影角度,挑動觀眾思緒,從而找出令自己信服的主觀詮釋。在'去年在馬倫巴',三位主角回憶去年在一個地方,大家相互調情,譜出一段入心入肉,卻又疑幻似真的曖昧關係。雷奈以非線性敘事和碎片式的影像,讓觀眾去猜度究竟幾位主要角色的所見所聞,孰真孰假。是他們真實的經歷嗎?還是在心靈上無意識地作出了扭曲?抑或是,事情根本就没有發生過,只是他們內心想像的一曲餘韻?雷奈不是判官,他不會怒叱'你講大話!',他在片中留下一層又一層的線索,誘發觀眾去建構自己想像出來的版本。

可以加上一個最後的註腳,但由於背後概念深入,所以不宜在此詳談。法國哲學家德勒茲(Gilles Deleuze)曾經寫過兩本關於電影發展的哲學書籍。此君在書中對雷奈致以近乎最高的評價,認為雷奈最能表現其推崇的電影藝術概念-'時間影像'(Time-Image)的電影大師。其實雷奈在其作品中,對時間具開創性的詮釋,就是他可以在電影藝術中佔一重要席位的原因。運用長鏡頭, 非線性敘事手法和夢幻式影像,會把觀眾抽離於理所當然的時間軸,令到觀眾從被動地接受敍事的前因後果,變成主動地建構故事,從而探索時間的本質。夢幻式影像跳脱了時間的基本法則,而長鏡頭摒棄了蒙太奇式剪接手法,令觀眾不用集中於電影人選擇性地想他們集中的情節部份,而原汁原味地感受整個過程,由時間自身去說故事。雷奈的電影,給予了觀眾在主流電影難以發揮到的想像空間。

俯首拾起遺忘了的絲絲回憶,你又會否有心去尋回時光那飄忽的軌跡?


by Ed Law

以戲服人 Film Analysis


Saturday, 10 June 2023

κέραμος : Art and Science of Greek Pottery

                                         

Ideas prevail through ages and eras, yet they are often too abstract for the human mind to perceive, and are all subject to diverse interpretations and unintentional distortions. After all, that is something concrete and material in nature that provides us a window into the past lives of our ancestors - provided that they survived the history's ‘wear-and-tear challenge’.  The importance of the preservation of heritage cannot be overstated - and indeed much of our knowledge of ancient civilizations are derived from the studies and analysis of these artifacts from a long, long time ago. Let's talk about something that is hard enough to stand the test of time - the ceramics from ancient Greece!

Now, it is not mere wordplay when we say ceramics are hard. The pottery ceramic that we will focus on belongs to a large group of chemical compounds termed as ceramics. In terms of chemical composition, they are often some sort of clay or metal oxides, in particular for the pottery, they are often aluminum oxide or silicon dioxide. Due to the molecular arrangement, ceramics tend to be hard. Yet, their chemical structure also dictates them to be brittle, thus they can fracture and break into pieces easily. This property is in contrast to other sort of polymeric and elastic material, which possesses the resilience to ‘bounce back’ due to their more flexible molecular structure. For the production of ceramic pottery, they are mostly conducted through a general 2-stage approach.  The process starts with the preparation of a homogeneous and viscous paste, which is then submitted to firing - baking at a high temperature - to afford the final pottery product.  

The word ‘ceramic’ is derived from the Greek word κεραμικός , which means ‘of or for pottery’. Indeed the Greek demiogod Ceramus was designated as the protector of potters and pottery. of potters. Though the production of pottery in Greece can be dated as early as the Mycenaean  era, it is important to appreciate that the Greek civilization was certainly not the first to engage in the art of pottery. After all, the ancient Greek culture is relatively young when it is compared to the ancient river valley civilizations. Pottery and ceramic products were prevalent in Mesopotamia, Egypt, India and China. One should not be surprised to find out that the applications of the ceramic products were all very similar among different civilizations. From anthropology and comparative religion, it is evident that there has been some interactions between different civilizations. The Babylonians have had some interactions with Egyptians, and the latter's influence on the Greek culture is well-known. The appreciation of pottery has been extended to later time and Roman ceramics represent an important heritage of the Roman Empire. From my previous article, it can also be seen that  the Romans were also well versed in the production of building materials, where the basic approach is still applied to nowadays. 

The applications of pottery in the ancient world went hand-in-hand with the daily life of the people. The most obvious application was as various utensils and containers. The pottery products varied, and the exceedingly large-sized pottery products were to be placed at permanent locations. The more portable-sized ones can be moved around easily and thus they were used in day-to-day situations.

A more important application of the pottery products was for the diverse religious activities. While this issue may sound less relevant to a modern secular audience, the religious outlook was very important for the ancient Greeks, and indeed for any ancient civilizations. The key is that these activities often facilitate community formation for the civilization in question, and they served as a catalyst for the establishment of a cultural identity. The ceramics were used in various religious ceremonies, rituals and funerals. A classic example is the act of libation, which means the ritual pouring of wine to a deity or a spirit, often serving the memories of the dead. These pottery products are important because they give the modern people tools to reconstruct the details of the religious cults themselves. Often the vases were painted with images that described the myths and legends of the ancient civilizations. Through the analysis and interpretations of the paintings on the vases, scholars can decipher the secrets of a bygone era. The study of ancient artifacts is a large subject in its own right and I will not digress here.

The ancient Greek ceramics embrace Classical Ideals in terms of form and composition. The appearance and style reflect the Greek mindset, which is also evident in other art forms such as lyric poetry, tragedies and philosophy. If you have a chance to go to exhibitions that feature these great ancient artifacts, go for it. That is the best way you can have a satisfying peek about the ancient world! 

by Ed Law 

Conatus Classics

Saturday, 3 June 2023

梅維爾 - Le Silence de la Mer

                                   

如果與敵人共處一室,你會作何感受?但如果這位所謂的敵人,能夠用其識見和真誠去打動你,那你又會否有一種否惺惺相惜之感? 不用擔心,今次我不是又談什麼雙雄片,我是談這裡的一位常客 - 梅維爾 (Jean-Pierre Melville)的一部早期作品 – ‘Le Silence de la Mer’ (The Silence of the Sea)。

我們所熟悉的梅維爾,都是擅長拍攝一些風格冷峻,涉及殺手或者販夫走卒的犯罪電影。不過在沉醉於冷色調畫布之前,梅維爾亦有拍攝過一些其他類型的電影。這些電影雖然在題材上南轅北轍,但其實梅維爾已經在嘗試和揣摩自己獨特的風格套路。’Le Silence de la Mer’是一部發生在二次大戰納粹黨佔領法國時的電影,有不少人認為此片的風格頗為’Bressonian’ (羅伯特布烈松Robert Bresson的風格)。因為梅維爾的電影是早於布烈松的作品,所以這位語出驚人的犯罪片大師認為是布烈松抄襲了其風格,亦曾對此事作出批判!

故事發生在納粹德國佔領法國期間。一位名叫Werner的德國軍官,負責駐守在一間住了一位老先生和其姪女的房子,以便對他們作出監視。老先生和女生深知自己不能對敵軍權和槍炮,於是便用了一種更為高端的對抗手法 - 絕對的沉默。他們坐在客廳,對Werner視若無睹,一語不發,完全漠視其存在。不過這個Werner亦不是什麼’希魔打手’。此君不但精通法語,而且深深體會法國的文化和歷史。每一天,他都會禮貌地去’撩’老先生和女生談話。他暢談自己鍾情的法國文學,音樂和藝術,雖然對着的是兩尊不動於山的法國人像。但人終究不是蠟像,是為情感所操控。Werner今晚一場的獨腳戲,又會否成功地打動兩個在意識形態上敵對的普通人呢?

梅維爾這電影,最首要的大義就是告訴我們不應一竹篙打一船人。Werner可謂當時德意志的一股清泉。他深知要服從軍令,但他其實亦是滿腔理想主義,希望德國和法國結合後會有一種文化上的交融效果(事實上尼采也曾有類似的論說,可以算是一種文化上的’歐盟’)。但在現在看來,Werner的想法當然是大錯特錯! 因為納粹德國的動機,明顯是為了殲滅某些民族而發起各種侵略。Werner肯定是一個忠於自己國家的人,但同時他亦希望不同的民族有着文化上的良性互動,他的思歪行為,只能算是當局者迷。有些功利主義的人會認為Werner的想法很天真,很傻,但我相信在現實中更可悲的是,有太少像Werner這樣的人存在。梅維爾的電影並不冷酷,因為他時時刻刻都想刻劃複雜的人性。和布烈松一樣,他只是用一種不濫情的手法去烘托情感,除去表演式的浮誇,描述情感 – ‘as it is’。

那我們的真心膠Werner, 又有沒有反思的空間呢? Werner執行任務其間,進行了一次外勤。當他終於親眼看見了他所信奉的意識形態的廬山真面目後,頓感意興闌珊,可謂’悟以往之不諫’。他難以相信自己的理想和殘酷的現實竟會有這樣的落差。Werner深感愧疚,决定離開老先生的家。不過,女生其實早已為這位不一樣的德國人所感動。在梅維爾的作品中,亞倫狄龍,尤蒙頓等演員面上一個細微的微表情,其實已隱藏千言萬語!此片也是一樣,梅維爾有意無意地展視女生的細微動作,不論是用手指輕敲椅子旁的扶手,或是她突然的抬起頭來,這就是最有力的行動。女生有這樣的體會,是因為她看透了在意識形態以外的共通點:人與人之間共同地相信的良善,這與Jean Renoir的’大幻影’ (The Grand Illusion)中所抒發的想法實為異曲同工。最後Werner離開時,跟他們說了一句再會,女生終於金口一開,對Werner說了一聲: 再會。一句看似不足道的說話,竟然就是對一個人所作的最大肯定。表露情感時,不用像那些韓劇般永遠使用一些煽情大喊包,這就是我們說梅維爾電影’型’的地方了!

你,又會為你所相信的,繼續地去唱這場獨腳戲嗎?


by Ed Law

以戲服人 Film Analysis