法国南部的Chauvet岩洞里,有三万年前的原始壁画,还有冰河时期的哺乳动物化石,但洞口一直被落石封住,直到1994年被科学家偶然发现。这个宝贵的洞穴被严密保护着,赫尔佐格只获准进洞拍摄六天,每天四小时,他还采访了相关研究的科学家们,用他特有的方式,探索史前人类对事物的认知和表达方式、艺术和文明史的诞生、以及现今围绕在洞穴四周的好奇人群。他还注意到现代工业对史前遗迹的侵蚀——Chauvet岩洞附近恰有一个核电站,已经因为温水汇流形成生态圈,里面连鳄鱼都有了,Chauvet未来可能受到被淹没的威胁。
这是沃纳·赫尔佐格首次用3D形式拍摄他最热衷的纪录片。
原创谢绝转载
Early in Cave of Forgotten Dreams, Werner Herzogpoints out that the artist appears to be capturing a sense of movement, an almost “proto-cinema” style of representation where a beast is drawn with 8 legs instead of four, which suggestsmovement, said “For them, the animals perhaps appeared moving, living [...] almost a form of proto-cinema."For Herzog, these drawings felt like "frames from an animated film."
Protocinema was named to embody motion and cognition, after a Werner Herzog observation, in which he refers to The Chauvet-Pont-d'Arc Cave paintings as almost "proto-cinema" in style of representation - capturing a sense of movement, "not unlike the futurist paintings of the early 20th century whereby a figure was captured moving through space and time."Proto-cinema is a term that does not bear cinematic conventions, it suggests a form that tackles the issues in film relating to the concepts of truth and fact as well as reality and representation. The curiosity to see beyond and within human life is existent in Herzog's films. Just as early photographs and films reflected the possibilities and limits of the photography in motion, Herzog's films are surveys into the ontology of film. Herzog's relationships with films and filmmaking are the only personal and autobiographical aspects of these films.
People in the Old Stone Age have their own ways to understand the world. In Cave of Forgotten Dreams, two theories by which people know the world had been mentioned: liquidity and penetrability. Liquidity means that objects can transform into each other while penetrability means objects can choose either to communicate or not. Maybe, people painted because art works made by human not only has a larger ability to transmit messages than languages created by human, but also can communicate with future.Comparing with wall painting, with the development of digital technology, we use computers and cellphones to transmit messages in the effect of modern technology, which makes messages are stored and transmitted more easily. However, sometimes we have to accept some messages without willing.
As for wall painting, the observation and imagination of these artists were the same as ours. We feel closer to the drawings on the walls of Chauvet than the painting of, say, an Egyptian mural. These artists are not remote ancestors; they are brothers. They saw like us, they drew like us; we wear essentially the same clothes against the cold. But despite their proximity, there is something fundamental that cuts us off from them. The time they lived in connected everything. They lived in an enormous present, which also contained past and future. A present in which nature was not only contiguous with them, but continuous. They flowed in and out of a continuum of everything around them; just as the animals flow into and out of the rock. And if the rock was alive, so were the animals. Everything was alive. And perhaps this is what truly separates us: not the space of time, but the sense of time. In our minute splicing of our lives into milliseconds, we live separated from everything that surrounds us. Do you know who made your clothes, or even what they are made of? "We are locked in history; they were not," says Herzog.
Work cited
Akçali, Elif. "A Form of Proto-Cinema: Aestheti
cs of Werner Herzog's Documentary Essayi
sm."Cineaction, no. 97, 2016, pp. 50-2.
从结构上说,和所有的赫尔佐格纪录片一样,无聊极了。
这个洞穴在法国南部的阿尔代什省,是20年前发现的,必须通过法国文化部批准才能够进洞。金属步道做得很好,天然的石笋都让出来了。其中一处黑色的岩画,外层有硬硬的钙,至少要数千年才能形成,所以他32,000年的洞穴历史认为可信,不是伪造的。从马戏团杂耍改行当考古的队员,说他每天都会梦见狮子。山洞里静谧得可以听到自己的心跳。墙壁上还有熊的爪印。
外面形成的这个天生桥,可能是他们充满想象力的地标。这个地方的生态,出现了各种各样的动物,也是他们绘画的灵感所在。还有一个未完成的女性的下体。在拜仁的博物馆,与维伦多夫的维纳斯进行比较。实验考古人员展示皮衣和笛子,5个音阶和现在是一样的。香料大师毛宁。旧石器时代的狩猎技巧,跟科技没关系,比如说刺杀斑马的矛,就很有力量。
后面总算做了一点高清资料,否则我真要打他了。而且做出了或明或暗的灯光,还挺有神秘感。把豹子或狮子的两只眼睛画在同一个侧面,很有点毕加索的感觉。
赫尔佐格这部在窄仄空间拍摄的纪录片同样具有剧情片震撼效果,一次穿越三万年前法国岩洞壁画的朝圣之旅,使影片更具超现实,超越时间和历史的艺术风格。柏拉图理想国的洞穴喻未必是无稽可查,我们服膺最初走下山去建造宜居城池的先民,但那所谓文明开端的艺术,还不足与原始岩画媲美。决斗的犀牛,矫健的狮子,成群的野马,熊与狼,一个充满灵性的人用木炭精准勾勒出动物形体,并施以明暗调子过渡,作品栩栩如生,动感十足,让人叹为观止,其中牛的造型不啻于毕加索的圆熟,这是三万年前人类的手笔,画家甚至用红色掌印为自己的作品留下签名。在四面冰川包围的石器时代,一些人拥在洞穴深处,警觉,不安,然而他们已学会捕猎,生火,驱散寒冷和黑暗,并凭借梦想去创造,那时岩洞的钟乳石,这石头的眼泪,还未滴淌成如今高耸的盐柱。科学探测表明,法国肖维岩洞壁画是历经几千年不同的人先后完成的,如今,人们找到了被遗忘的梦的洞穴,却迷失了我们自身,远古人在严酷环境运用自己的才智与精灵对话,接连创作,而现在,我们只是依赖仪器凌驾时间的占有者和收藏家,观赏艺术的野兽,包括这部电影。
Whoever decide to make this 3D is a genius
极简 迷人 配乐赞 能看3D就更完美了 尼姆计划不如预期的好 竟然更喜欢这部
有点做作,略失望
解释避无可避的错时性,更恼人的是解释通达的建构之终点与摧毁只是一纸之隔。赫尔佐格通往电影之途总是将镜头瞄准遥远本身,这么说是因为他不一定是前往了地理上的世界终点,更有人文地标的所谓的世界终点。
让人感动!
3D
荷素是個神經質,只有他才能給這個紀錄片配上這樣一個結局。
看不进去
3D好看
制作精良的,介绍法国南部的Chauvet岩洞里,有三万年前的原始壁画的3D纪录片,那些史前的壁画是令人惊叹,喜欢这类题材的可以看看。
多加1星给那些岩壁上的画,古人们竟有如此高超的技巧,印象派毕加索!
3D
估计是看太多自己吃不消了。
Cave of Forgotten Dreams,多好的名字啊!
粗犷的肩扛和手提摄影配上3D技术估计可以让人眩晕,光影中洞内的壁画配着华丽的女高音相当迷人。赫尔佐格依旧执迷于对未知神秘的探索,关于3000年前古人的灵魂和认知,但更多的只是停留在表面上的美景上。★★★
将岩画类比大银幕。借助岩壁的起伏作画并重复相叠,形成立体感与动感,仍然是比对电影。
3d docu. sheer beauty.
赫尔佐格什么时候开始拍这么工整的纪录片了啊?
3.5 結語挺讚。
感觉就是深夜昏昏欲睡的看了一部关于史前艺术的纪录片。