纪录片自媒体解说素材-新闻动态参考-“电影的故事：新一代”评论：来自折衷的Cinephile Mark Cousins的新见解/‘The Story of Film: A New Generation’ Review: Fresh Insights From Eclectic Cinephile Mark Cousins
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0507/0829ms2zj2qf4f2.jpg“电影的故事：新一代”评论：来自折衷的Cinephile Mark Cousins的新见解
‘The Story of Film: A New Generation’ Review: Fresh Insights From Eclectic Cinephile Mark Cousins
即使在世界上造成了冠状病毒的所有破坏，电影院也无法制止，所以为什么要标记出考西辛斯（Cousins），这是一个经验丰富的爱尔兰评论家 - 库姆 - 旅行指南，其15小时的“电影：电影：奥德赛的故事：奥德赛”只是一个小费 - 对媒体无限可能性的调查？充分利用他在锁定中的时间，表兄弟在那个马拉松系列中汇编了附录/帽子，在戛纳开幕日提供了“电影的故事：新一代的故事：新一代”电影节。最新一期（令人怀疑的最后一部分）不太关注媒介的位置，而不是前进的方向，主要依赖于21世纪的示例，从阿滕伯格（Attenberg）到扎马（Zama），这是前进的方向。也许比观众需要的更长的结尾，但是，没有人会指责堂兄的简洁。对于那些欣赏导演睁大眼睛看电影的人来说，这部纪录片充满了剪辑，肯定会扩大他们的水平这是表兄弟电影关于电影的最好的事情：他是杂食者，分享了从形式的远处分享选择的选择，这反过来又使观众无法获得艺术屋或电影节的机会，可以品尝到测试测试的机会晦涩和不寻常的电影。您会看到一个有趣的剪辑 - 例如，在JoãoPedroRodrigues的“ The Ornithists”的一棵树上固定的大块头，或者可能通过朝鲜对西方媒体的批评（Slavko Martinov的“宣传”）而经过什么 - 可能会受到启发去看整部电影。Cousins将电影分为两部分。第一个查看了“扩展电影语言”的示例，而第二个则提出了一个更抽象的问题：“我们一直在挖掘什么？” - 但实际上，这些章节也有相同的议程：庆祝不符合的电影。现在，这可能意味着任何数量的事情。有技术创新，例如运动捕获（“猿人星球的战争”）和MartiN Scorsese的“三头怪物”（他曾经在“爱尔兰人”中脱颖而出的钻机）以及叙事。碧昂斯（Beyoncé）的“柠檬水”（Lemonade）和“黑镜：bandersnatch”的“选择自己的冒险”风格也具有资格。当然，有代表的创新，表兄弟特别适合于权衡，因为他早在行业做出如此优先的时候就一直是各种表达的拥护者。 - 除了反映艺术家可以选择通过电影院表达自己的无限方式之外，有时可能会感到有时很难理解所有这些示例的共同点。这也可能是他的观点：相机后面以及那些观看的人都有无限观点的空间。堂兄提供了解开潜在挑战的电影的工具，教会人们如何成为更好的观众 - 不是通过告诉他们正确的观看方式，而是通过鼓励他们他们更深入地参与他们所看到的。在棕榈泉电影节上，我看到了售罄的退休时代男女售罄的房间，以观看该项目的一部分。然后单击：对于那些想要更好地理解历史悠久且语法仍在不断发展的媒介的人来说，考辛斯（Cousins）扮演了电影社会曾经扮演的角色，向人们介绍他们本来不知道的电影。 “感觉比“奥德赛”更具前卫，包括来自新的酷儿经典的剪辑（“月光”的手工业现场，三部跨性别电影）和几种高度非常规的暴力行为（种族灭绝的重新创造了“来自”杀人行为，”斯嘉丽·约翰逊（Scarlett Johansson）在“皮肤下”中的诱惑之一）。但是，艺术中的例子是最令人印象深刻的，只是因为表兄弟认为他足够多的观众培养为“大象坐着”，“利维坦”和“很难成为上帝”（上帝禁止）等耕种。像“ Deadpool”和“ Mad Max：Fury Road”这样的巨大成功的大片。他从“冷冻”中的艾尔莎（Elsa）演唱“ Let It Go”到Lunatic Dance Joaquin Phoenix在“ Joker”中所做的开头，这是两个楼梯场景之间的聪明比赛。表兄弟的大脑像这样，建立了启发的联系（有时是平淡的过渡，迫使他原本诗意的叙述解释了一个剪辑为什么跟随另一个剪辑）。只有一个真正的电影评论家沉迷于这里所代表的全部电影 -cousins是一个真实的电影 - 电影评论家，尽管这是一个通过史诗般的纪录片表达自己的人。 （“电影的故事”的书籍版本当然也值得您花时间。）甚至不必看到早期的项目来欣赏这一后续活动。的确，欢迎新移民，可能会更好地从这里开始并回去。无论如何，除了现实世界的障碍之外，电影的故事仍在继续，这无疑是一件好事。
Even with all the havoc the coronavirus wreaked in the world, cinema could not be stopped, so why should Mark Cousins, the solicitous Irish critic-cum-tour guide whose 15-hour “The Story of Film: An Odyssey” was but a tip-of-the-iceberg survey of the medium’s infinite possibilities?
Making the most of his time in lockdown, Cousins compiled an appendix/capper to that marathon series, delivering “The Story of Film: A New Generation” on opening day of the Cannes Film Festival. This latest installment (doubtful the last) is less focused on where the medium’s been than on where it’s headed, relying mostly on 21st-century examples, from Attenberg to Zama, that point the way forward.
At two hours and 40 minutes, it’s a longer epilogue than audiences needed perhaps, but then, no one would accuse Cousins of brevity. And for those who appreciate the director’s wide-eyed and open-hearted way of looking at cinema, the documentary is brimming with clips sure to expand their horizons.
That’s the best thing about Cousins’ movies about movies: He’s an omnivore extraordinaire, sharing choice morsels from the far corners of the form, which in turn give audiences without the same access to art houses or film festivals a chance to taste-test obscure and unusual movies. You see an intriguing clip — say, a hunk with a hard-on bound to a tree in João Pedro Rodrigues’ “The Ornithologist” or what could pass for a North Korean critique of Western media (Slavko Martinov’s “Propaganda”) — and you might be inspired to seek out and watch the entire movie.
Cousins divides the film into two parts. The first looks at examples that “extend the language of film,” while the second asks a more abstract question — “What have we been digging for?” — but really, the chapters have the same agenda: to celebrate the movies that don’t conform.
Now, that can mean any number of things. There are technological innovations, such as motion capture (“War for the Planet of the Apes”) and Martin Scorsese’s “three-headed monster” (the rig he used to de-age De Niro in “The Irishman”), as well as narrative ones. Beyoncé’s “Lemonade” qualifies, as does the choose-your-own-adventure style of “Black Mirror: Bandersnatch.” And of course, there’s innovation of representation, which Cousins is especially suited to weigh in on, since he’d been a champion of diverse expression long before the industry made doing so such a priority.
If anything, Cousins’ aesthetic appetite is so wide-ranging that it can sometimes feel hard to understand what all these examples have in common, other than reflecting the infinite ways that artists can choose to express themselves through cinema. That may as well be his point: There’s room for infinite points of view behind the camera, as well as among those who do the watching. Offering the tools for unpacking potentially challenging movies, Cousins teaches people how to be better spectators — not by telling them the right way to watch, but by encouraging them to engage more deeply with what they see.
Back when “The Story of Film” was released, I found myself wondering just who its audience might be. At the Palm Springs Film Festival, I saw sold-out rooms of retirement-age men and women settle in to watch a hefty chunk of the project. Then it clicked: For those wanting to better understand a medium whose history is vast and whose grammar is still evolving, Cousins has assumed the role that film societies once played, introducing people to movies they wouldn’t otherwise know about.
“A New Generation” feels a bit edgier than “An Odyssey” did, including clips from new queer classics (the hand job scene from “Moonlight,” a trio of trans movies) and several highly unconventional acts of violence (the genocidal re-creations from “The Act of Killing,” one of Scarlett Johansson’s seductions in “Under the Skin”). But the art-cinema examples are the most impressive, if only because Cousins thinks highly enough of the audience he’s cultivated to serve up the likes of “An Elephant Sitting Still,” “Leviathan” and “It’s Hard to Be a God” (God forbid).
It’s great that Cousins can draw people’s attention to such movies while also finding original things to say about such massively successful blockbusters as “Deadpool” and “Mad Max: Fury Road.” He opens by cutting from Elsa singing “Let It Go” in “Frozen” to the lunatic dance Joaquin Phoenix does in “Joker” — a smart match between two staircase scenes. Cousins’ brain works like that, making inspired connections (and sometimes insipid transitions, when forcing his otherwise poetic narration to explain why one clip follows another).
Only a true film critic indulges the full range of movies represented here — and Cousins is a true film critic, albeit one who expresses himself through epic-length docu-essays. (The book version of “The Story of Film” is certainly worth your time as well.) One needn’t even have seen the earlier project to appreciate this follow-up. Indeed, newcomers are welcome and might do better to start here and work their way back. In any case, real-world obstacles aside, the story of film continues, and that’s most certainly a good thing.
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谢谢楼主分享，发现宝藏了。
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