纪录片自媒体解说素材-新闻动态参考-Ji.Hlava Fest向女权主义作家和纪录片先驱Susan Sontag致敬/Ji.hlava Fest Pays Tribute to Feminist Writer and Documentary Pioneer Susan Sontag
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0504/0204cckupgigcz0.jpgJi.Hlava Fest向女权主义作家和纪录片先驱Susan Sontag致敬
Ji.hlava Fest Pays Tribute to Feminist Writer and Documentary Pioneer Susan Sontag
美国散文家，董事，人权倡导者和女权主义偶像苏珊·桑塔格（Susan Sontag）可能会惊讶地知道她在捷克共和国的追随者的规模。十年来，“桑塔格（Sontag）的大多数书籍，包括她的小说，都被翻译成捷克语 - 我认为这是由于捷克知识分子对她的作品的兴趣。她的摄影书是全球参考作品。从1969年到1993年制作的功能，该系列展示了一系列出色的创意方法。正如Ji.Hlava Fest程序员所说，“她的普遍活动仍然是这位现代历史文艺复兴时期的女性的令人印象深刻的特征”，这在她职业生涯的早期就举例说明了1964作品“'Camp上的笔记”，首先赢得了Sontag的广泛关注，因为她探索了与同性恋文化和艺术有关的单词。 Sontag的文章“摄影”，“在土星的标志”和“关于他人的痛苦”以及她的小说“火山爱好者”，都广为人知，桑塔格的文章“在土星的标志”和“关于他人的痛苦”和“关于他人的痛苦”和“关于他人的痛苦”的作品。捷克读者多年了，桑塔格（Sontag）对电影的兴趣贯穿了她的整个作品 - 使她在某种程度上几乎逾期为该地区的电影节致敬。为了展示苏珊·桑塔格（Susan Sontag）的复杂性 - 她的电影制作和情景写作的方法。就像1969年的“二重奏”Cenek说，对于1993年的“无指导之旅”，维也纳游客的焦虑和不耐烦。 “我对她的整个工作着迷。她的电影是一个鼓舞人心的榜样，也是她对社会，人际关系或公民手势的思考的延伸。编辑。例如，在电影“应许之地”中，她将编辑用作故事的叙述者。” Sontag选择的图像也具有特殊的逻辑。 “她结合了不同的元素，事物和细节，并专注于这些符号的含义，例如教堂，街道，屋顶等。”贝尔索瓦与电影观众分享了她的哲学立场，在建造似乎反映的镜头时她担任论文和文学的职位。 Sontag还使用分析和解码O她补充说，作为传达当代生活更广泛困扰的一种方法。对于知道她的文字的人来说，很多。他认为，Sontag的电影还可以说明“如何在主权创作过程中发展理论概念”，例如电影院，例如电影院。而且，尽管桑塔格（Sontag）在《美国后世界后的第二次世界大战》和《嬉皮时代》（Hippie Eras）中享受了她的鼎盛时期，但她的位置同样重要，但今天她的立场同样重要，“即使即使那样，电影反映了与捷克共和国不同的历史事件或不同的文化。她补充说，70年代或80年代。
American essayist, director, human rights advocate and feminist icon Susan Sontag might have been surprised to know the size of her following in the Czech Republic.
But, says David Cenek, who has curated work for the Ji.hlava International Documentary Film Festival for over a decade, “Most of Sontag's books, including her novel, have been translated into Czech – which I think is due to the interest of Czech intellectuals in her work. Her book on photography is a worldwide reference work.”
This year’s Ji.hlava retrospective, "Susan Sontag: Filmmaking Is a Privilege," is screening – likely for the first time anywhere in Central Europe – six of Sontag’s films, ranging from shorts to features, made from 1969 to 1993 and the collection shows a remarkable range of creative approaches.
As Ji.hlava fest programmers put it, “Her universal activities remain an impressive characteristic of this Renaissance woman of modern history” as exemplified early in her career by the 1964 piece “Notes on 'Camp,’” which first won Sontag wide attention for her explorations of the word as it relates to gay culture and art.
And, as Cenek says, Ji.hlava often takes pride in “trying to recall the film work of a non-filmmaker or a prominent intellectual.”
Sontag’s essays “On Photography,” “Under the Sign of Saturn” and “Regarding the Pain of Others,” and her novel "The Volcano Lover" have all been surprisingly widely known to Czech readers for years, and Sontag’s interest in film runs through her entire body of work – making her in some ways almost overdue for a film fest tribute in the region.
As Ji.hlava programing manager Adriana Belesova puts it, “Basically, we wanted to show the complexity of Susan Sontag – the approach of her filmmaking and writing of scenarios.”
Among the unique gifts Sontag brought to the screen was a flare for subjects others would have easily overlooked, from exploring the formal and psychological basis of couple relationships, as in 1969’s “Duet for Cannibals” to anxiety and impatience among tourists in Vienna in 1993’s “Unguided Tour.”
“Her way of thinking about cinema is completely original,” Cenek says. “I am fascinated by her work as a whole. Her films are an inspiring example and an extension of her thinking about society, relationships or civic gestures.”
One goal of the Ji.hlava tribute, says Belesova, is to celebrate “the topics she shared through her films and also how she communicated through the edit. For example, in the film ‘Promised Lands,’ she uses editing as a narrator of the stories.”
Sontag’s selection of images have a special logic too, adds Belesova. “She combines different elements, things and details, and focuses on the meaning of these symbols such as churches, streets, rooftops, etc.”
Her philosophical stances are shared with film audiences, Belesova says, in the construction of shots that seem to reflect positions she takes in her essays and literature. Sontag also “uses the analysis and the decoding of social constructs” as a method of communicating broader dilemmas of contemporary life, she adds.
“That is what I like – that I think we feel the same about society in the 21st century.”
Cenek adds, “I think her films work a lot for someone who knows her texts. They are certainly proof that no film can be essentially apolitical.”
Sontag’s films also serve to illustrate “how the theoretical concept can be developed within a sovereign creative process” such as cinema, he argues.
“It is certainly instructive to see that an intellectual seemingly distant from film can act and think differently than with pencil and paper.”
And, despite Sontag having enjoyed her heyday in the American post-World War II and hippie eras, says Belesova, her positions are just as relevant today “even if the film is reflecting different historical events or different cultures than in the Czech Republic.”
And besides, women today face much the same struggling for status in many ways as they did in the ‘70s or ‘80s, she adds.
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