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《雕(diāo )(👷)像(xiàng )也会死亡》（Les statues meurent aussi，阿(ā )兰·雷(🗼)乃(nǎi )、(🥩)克(kè )里斯(sī )·马(🌫)尔凯，1953年出品，27分(fèn )钟）尖锐地(🤷)批(🗄)评了西(xī )方(🕯)殖(zhí )民主义(yì )对非洲传统艺(🚥)术的(de )戕害以(🎿)及(🎫)自(🥞)称热爱(ài )非洲(🙁)艺术(🚸)的上等阶层(céng )的贪婪与伪善。本片的(de )主角(🚣)是(🔩)来自(🌚)黑(📯)非(🚨)洲的人物(🖲)雕(🔢)像(xiàng )、面具和其(🌊)他非洲艺(💻)术品(pǐn )，但是它们的(de )演(yǎn )出场所并非黑人的故(⛓)乡，而是白人(rén )的欧洲，艺术品(🕙)市场和艺术(shù )品拍卖会(huì )是它们(men )频频(pín )出没(méi )(⚾)和滞(zhì )留的中转(zhuǎn )地。这些本来(🥊)被非(fēi )洲(🛎)部族用来抵抗死(sǐ )亡的面具和雕像，如今(jīn )却呆在博物馆的橱窗(🔈)里静静地死去。此时，画外音告诉我(wǒ )(💏)们：“当(👵)人死去的(🐞)时候，他便进入(rù )了历史；当这(🆙)些雕(diāo )像死去(🚡)的时(📞)候，它们进(jìn )入了(le )艺术；这种关于死亡的学问，我们最(🤼)后(hòu )称之(zhī )(✖)为文(💑)化(🎴)。”由于本片具有鲜(🈺)明而强(🔮)烈的(🈳)社会(huì )批判意识，自拍(pāi )竣之日起即遭(zāo )到(⛅)法国(✒)政(zhèng )府禁(🙅)映，直(🍾)到1963年才(👆)解禁。本片由长(🌒)于(yú )(🎁)剪辑的阿兰·雷(léi )乃操刀剪辑，由强(qiáng )于写作(zuò )的克里(lǐ )斯·马(🐑)尔(ěr )凯撰写(👡)解说，充分(fèn )发挥了两(liǎng )人各自的强项，可谓强强(🌸)合(hé )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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