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更新時間：2023-12-30 12:24
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以東方武術(shù)為主題的《暴力醒思》，
長篇影評
1 ) 暴力在我們思考前就已經(jīng)出現(xiàn)
冥想的暴力
克里希納穆提說暴力不是愛
但是暴力確實很矯情注入我們的愛中
我們暴力不是為了愛
當(dāng)然你也可以說是為了愛
那是世界的一種生物
在我們思考前就已經(jīng)出現(xiàn)
并且是這樣的：
在愛與恨暴力中存在
而那些恨暴力的人同時也是有可能愛的
那是他選擇的方式
克里希納穆提說暴力不是愛
但是暴力確實很矯情注入我們的愛中
我們暴力不是為了愛
當(dāng)然你也可以說是為了愛
那是世界的一種生物
在我們思考前就已經(jīng)出現(xiàn)
并且是這樣的：
在愛與恨暴力中存在
而那些恨暴力的人同時也是有可能愛的
那是他選擇的方式
2 ) 無形無象的意識形態(tài)舞蹈
從紀(jì)錄片In the Mirror of Maya Deren里面摘了兩段話，可以做影評。
This is the most personal film of maya. She doesn’t appear in the film, but she is the camera. She is moving. She is breathing in relation to this dancer. She is composing so that the one shadow or the three shadows or at times the no shadow of this dancer against the background are the integral part of the dance. Every kind of quality of texture is a really felt part of the frame. So I feel, this is very personal.
[Maya Deren] Metamorphosis in the large sense meant that there was no beginning and no end. And indeed I found out from the Chinese boy who performed the movements here that this school of Wu Tang is based on the book of change and that it’s theory is that life is an ongoing process, constantly, and it is based on a negative-positive with a constant revolution into another negative and positive and so on. So my first problem became to construct a form as a whole, which would suggest infinity. Now the Wu Tang based on negative-positive principle translate that in physical terms into the breathing. And that’s why it’s called an interior boxing because the movements are governed by an interior condition and so I determined to treat the movement as a meditation that one circles around the idea in time terms.
This is the most personal film of maya. She doesn’t appear in the film, but she is the camera. She is moving. She is breathing in relation to this dancer. She is composing so that the one shadow or the three shadows or at times the no shadow of this dancer against the background are the integral part of the dance. Every kind of quality of texture is a really felt part of the frame. So I feel, this is very personal.
[Maya Deren] Metamorphosis in the large sense meant that there was no beginning and no end. And indeed I found out from the Chinese boy who performed the movements here that this school of Wu Tang is based on the book of change and that it’s theory is that life is an ongoing process, constantly, and it is based on a negative-positive with a constant revolution into another negative and positive and so on. So my first problem became to construct a form as a whole, which would suggest infinity. Now the Wu Tang based on negative-positive principle translate that in physical terms into the breathing. And that’s why it’s called an interior boxing because the movements are governed by an interior condition and so I determined to treat the movement as a meditation that one circles around the idea in time terms.
“道可道，非常道。名可名，非常名。無，名天地之始，有，名萬物之母。故常無欲，以觀其妙。常有欲，以觀其徼。此兩者同出而異名，同謂之玄。玄之又玄，眾妙之門?！保ù蛄藗€道可道，輸入法自己全打出來了。）
入定冥想不是凝滯 而是一瞬中有千變?nèi)f化 戾氣與慈心完美平衡（請叫我過度解讀婊 反正覺得挺有境界的 空間啊運(yùn)動啊打光啊
瑪雅·黛倫從武當(dāng)派的武學(xué)中道家思想出發(fā)建構(gòu)的“時間的立體主義”表達(dá)。不過怎么看她都是把武術(shù)當(dāng)舞蹈拍的……先鋒派的手法體現(xiàn)著內(nèi)/外空間，音軌構(gòu)成之中。
瑪雅：“我要做的是最大的分析這個點(diǎn)。這里發(fā)生了什么，運(yùn)動越來越有深度。然后力度到頂點(diǎn)結(jié)束了，走向相反的方向，變?yōu)榘察o的狀態(tài)。就在這兒...從這里，影片開始回放。”“這個運(yùn)動不同尋常的地方在于平衡。中國人5世紀(jì)就發(fā)明了?！?/p>
中國功夫大百科。除了中間一段是用刀，其他全是中國拳腳功夫的大百科??！可能這是第一次把鏡頭如此細(xì)膩、專注、深情的對準(zhǔn)中國功夫！從內(nèi)柔外剛的太極拳到快準(zhǔn)狠的內(nèi)家拳，各種拳術(shù)，最后的一組太美了！——這就是暴力的冥想！
應(yīng)該可以相信瑪雅德倫是把拳法當(dāng)作一種巫術(shù)儀式或是一種肢體表演或是一種舞蹈動作 她并沒有清楚理解到中國拳法中所蘊(yùn)涵的一些傳統(tǒng)東方哲學(xué)意味 比如從片名《暴力的冥想》即可知其不知//但 打拳倒放 確實有點(diǎn)意思 類似昨天《女巫的翻繩游戲》 the begin is the end is the begin
A young Oriental man with a headscarf and bare torso shadowboxes indoors in front of a series of unadorned walls, light, dark, both shades. He is then shown exercising outside with a sword in an area surrounded by a low stone wall and overlooking a river, before there is a return
把武術(shù)拍成舞蹈～
老人家年輕的時候打得真不咋地
這個48年拍的武術(shù)攝影/剪輯比后來香港邵氏流行的武俠片還要expressive許多 現(xiàn)在的很多武俠片里都能看到這部短片的影子。Maya Deren真的是好有才華。
刀或人，聲或影，時或空：黛倫對何謂暴力的全面探討。
20/1/2006 9:40pm bc
這中國男人開始時白眼現(xiàn)身，樣子很搞笑
一直以來都對導(dǎo)演如何拍身體移/舞動非常感興趣 畢竟不僅要抓好肢體表達(dá)和細(xì)節(jié) 還要同時兼顧身體與身外空間的交互 除了我對結(jié)尾落點(diǎn)有些意外之外這部做得都很到位 況且影片的意義在標(biāo)題里已經(jīng)揭示了
太極和武術(shù)動作的大混雜 我實在沒啥感覺！
武者，舞也。
對武術(shù)與舞蹈的邊界的反思，對肢體運(yùn)動和鏡頭運(yùn)動的關(guān)系的審視。渾然一體的流暢與呼吸，是攝影機(jī)與肢體共同完成的舞蹈。
鏡頭太近了，再遠(yuǎn)一點(diǎn)點(diǎn)就好。如果她的生命再長一些，是否會沉迷于東方文化？
1.笛聲+鼓聲。2.拳術(shù)+刀術(shù)。3.男主角百分百是個實力派而不是偶像派。4.神經(jīng)病....
連看兩遍~~~有點(diǎn)類似枯山水的觀看。冥想的路徑是先以一種方式關(guān)照一件事物，忽然遠(yuǎn)離，再以另一種方式接近它。枯山水中的舍石可以很暴力，因為它是對連續(xù)的時間波紋的擊打。但它同時與冥想相關(guān)，它是同一種運(yùn)動的另一觀看角度。Maya用剪輯逼近了這種觀看，她同時也證明了很凝視的也應(yīng)當(dāng)是很身體的。