置身巴黎大街上的实拍:好莱坞与新浪潮

Location Shooting in the Streets of Paris:Hollywood vis-a-vis the Nouvelle Vague

没有比较,就没有历史,没有历史,就没有故事,更遑论叙事,亦即一个攸关人及其视角的艺术行动。诚然,20世纪50年代盛极一时的好莱坞大举移师巴黎实拍的风气,与战后美法间一系列经济政策关系匪浅,但,若少了那几个以《电影手册》为策反据点、以场面调度为电影之真的终极圭臬的“新浪潮五虎将”的积极介入,“就地取材”,最终也只能流于最片面意义的写实主义,并至多引来批评家的阵阵奚落。从某种程度上来说,得是引领日后新浪潮的那几个年轻影评人,才让好莱坞到巴黎大街上实拍这件事具备了绝对意义上的创造性,不仅先行催生出法国本地影坛的突变,继又受惠于此:外部环境之变虽能左右影史走势,但唯有一种迷影式的目光,该历史才得以无限生成。

Without comparison,there is no history and without history,there is no story,not to mention storytelling,an ex⁃ercise of which man’s being is indispensable.True,the trend of Hollywood taking on location shooting in Paris in the 1950s is highly related to a series of economic agreements between France and America,but this in situ preoccupation will soon become a pretext for those Young Turks taking over Cahiers du cinéma,intensely in confrontation with the communist critics in the context of the cold war,to privilege mise-en-scène as the criterion par excellence regarding the realism.Quite arguably,it is thanks to this cinephilic commitment that the Nouvelle Vague could be possible and only in this way could it rejuvenate,by turns,Holly⁃wood,then in crisis:the exterior conditions surely can influence the history of cinema,but only an endeavor up to the cinephilia could guarantee its everlasting becoming.