摘要
克里斯·马克是当代“论文电影”实践的创立者和革新者,为了理解他延续半个多世纪的论文电影创作之奥秘,文章回到他电影生涯的开始,从三个方面试图挖掘其早期论文电影的风格生成:首先,将马克置入法国电影的特殊文化背景中,寻觅其论文电影特征形成的必然性;其次,以《北京的星期天》为案例,呈现马克从短片创作向论文电影的过渡;最后,结合安德烈·巴赞对于《西伯利亚来信》的评论,通过文本分析,展现出马克论文电影风格的初步成形。
Chris Marker is the founder and innovator of the contemporary practice of"essay film".In order to understand the mystery of his essay film creation that has lasted for more than half a century,this article traces the beginning of his film career,and tries to explore the stylization of his early essay film from the following three aspects.Firstly,Marker plunges himself into the special cultural background of French cinema to search for the inevitability of his essay film characteristics;Secondly,to take DimancheàPekin as a case study,the article presents Marker's transition to essay film in the period of short film creation;Finally,combining with AndréBazin's comments on Lettre de Sibérie,the textual analysis reveals the initial formation of Marker's essay film style.
