Comarts 135 31 March 2012 The wind blows strongly, whistling through the tall pines with countless snows whirling in the air. Under the pale hazy sky, wandering cows are driven by men and women in thick winter coats. Once inside, through the clear window, you see the cold, severe snowstorm. Different from the atrocious outside, inside the classroom, there is a safe, warm and peaceful world. Yellow chairs have been lifted up orderly on the tables; One turtle crawls along the floor and explores this little world, a moment later, another comes across and joins him.
As we hear the soft and sweet melody of a flute, branches covered with snow sway violently in the wind. On the narrow country road between those great trees, an old white van jogs along to pick up every child at each house. The destination is a school which only has one classroom and one teacher. Children jump off the van and walk into the school, leaving trails of little footprints. “Morning, sir!” every child greets the teacher standing at the door. And here the story starts. It is a French documentary movie about the life of one old teacher and children of different ages in an isolated town away from the noisy world. The movie doesn’t apply any fantastic special effects and the camera shots are simple and real. It is the plain and pure shots that make the movie To Be and To Have different and why catches audiences’ heart.
Just as the beautiful countryside landscape doesn’t need any further decoration, the teacher’s kindness and affability is sincere. He is an impressive person with a grizzled beard and rimless glasses, an old fatherly man looking like Jean Reno, kind and gentle. Even though he looks a little bit serious in his black sweater, he is never really angry with children. It seems that he has endless patience and enthusiasm. Even though there is one kid who always forgets the number after six, the teacher just sighs faintly, looks at the child’s eyes softly and asks again, without any complaint and intolerance. Even though there are some conflicts and fighting, he lets them put themselves in others’ shoes and make them conscious of their mistakes. He teaches them how to draw and how to read; he teaches them how to make pancakes; he celebrates their birthdays; he holds up umbrellas for them on a rainy day; he grades their homework in the quiet yellow light of the lamp at night; he talks with some children and encourages them; he says that they should help each other in the future. Indisputably, he is a good enlighted teacher, who treats his students with incredible care and patience. He enjoys being a teacher and spending time with children just as those children enjoy their time with him.
More than a teacher, he is also their close friend. In the winter, they go snowboarding on a slope covered with thick snow where the freezing air is filled with joyous laughter. In the early spring, with the crisp rhythmic music, cars drive through the fields in green and yellow stripes to visit a middle school where some big students will attend next year. After a hasty drenching rain, the summer comes and they take the train to have a picnic in the countryside. The cicadas start to sing in the fresh green trees. Branches wave in the breeze. Pieces of paper on the desks seem to fly in the air. Chugga, chugga, the train bawls and hurtles through the forests. Kids look at the nature outside, playing with the flickering light and a horse toy. They sit and eat in the shade of a big tree. They look for a girl who is lost in the green bristlegrass. The camera doesn’t move too much and the shots are quiet, as the same height as those kids, to capture their eyes as well as their beautiful spirits.
In the end, children leave the class happily for the summer vacation. They kiss the teacher and say goodbye. After every kid leaves, the teacher usually equipped give people a strong sense of reliance sighs and looks out somewhere deeply, depressed in the heartbroken silence. It is a classroom that has turtles, goldfishes and vibrant plants, a classroom that has pictures of numbers, letters and self-portraits of Van Gogh, a classroom that has a quiet bear sitting in the corner, a classroom that has three tables and some innocent cute children, a classroom that he has been with for 20 years, but not anymore in the future. The mows have already been rolled standing in the field. The time passes and the seasons change, leaving an endless memory and missing.
《夏山學(xué)校的孩子們》(法)(1997)
創(chuàng)建一所滿足孩子需要的學(xué)校,而不是讓孩子來滿足學(xué)校的需要
處于對(duì)孩子的信任,尼爾把學(xué)校交給了孩子
唯一能治愈孩子的方式,就是站在他這邊,給他以贊許
我知道你并不是像現(xiàn)在這么高興,你怎么知道我在晚上流淚呢?看你的畫,不難猜到
我們看到一些孩子像百科全書一樣,能回答所有的問題,而我卻只能回答其中的十分之一
但這是對(duì)教育的成見,認(rèn)為教育只是傳授知識(shí),真正的教育是傳授一些更加深的東西,教育就是生活。而學(xué)校卻觸及不到生活的這一重要部分,情感
“當(dāng)我小的時(shí)候,大孩子們決定不要再開全體成員大會(huì)了,而創(chuàng)立一個(gè)獨(dú)裁制度,對(duì)這個(gè),我嚇壞了,我意識(shí)到我們年紀(jì)小的孩子完全喪失了發(fā)言權(quán),作為一個(gè)習(xí)慣于自己的想法被別人傾聽的孩子,在這個(gè)獨(dú)裁制度下,沒人會(huì)聽你講什么事情,讓我們很難承受我記得,因?yàn)橄氲竭@個(gè),自己曾經(jīng)感到害怕。曾經(jīng)哭過
事實(shí)上,我們并沒有被看做是孩子,而更多的是被看做成人,而成年人們呢?他們變成孩子
簡單地說,這就是夏山學(xué)校讓你學(xué)到的嗎?我學(xué)會(huì)了某種在這個(gè)方向上的東西,獲得了一種深深的改變,不是學(xué)到的,而是經(jīng)歷了的。
《山野猶有讀書聲》(法)(2003)
我天哪,法國的紀(jì)錄片節(jié)奏好慢啊。不過好寧靜,好喜歡。
善于使用長鏡頭
本片在使用長鏡頭的同時(shí),充分地表現(xiàn)了主體的調(diào)度,環(huán)境的狀態(tài),情緒的變化。對(duì)于人物的塑造以及情節(jié)的推動(dòng)有巨大作用。長鏡頭在紀(jì)錄片中的使用可以加大故事的真實(shí)性,從而強(qiáng)化人物的表現(xiàn)力。長鏡頭會(huì)從最客觀的角度,把內(nèi)容最大程度完整地記錄下來。
人物表情的捕捉
本片有很多孩子作為故事的主體。相比于成年人,孩子對(duì)于攝影機(jī)的存在沒有那么敏感,會(huì)把自己最真實(shí)的一面體現(xiàn)出來。而對(duì)于紀(jì)錄片來說,真實(shí)性是放在第一位的。能夠捕捉到人物最真實(shí)的表現(xiàn),對(duì)于這部紀(jì)錄片來說是特別珍貴的優(yōu)點(diǎn)。
清晰的敘事手法
本片主要為雙線敘事,一是學(xué)校課堂內(nèi),二是課外山村生活。每個(gè)孩子的家庭情況都不一樣,但是相同的是孩子們都熱衷于課堂,熱愛學(xué)習(xí)。本片的主角老師,也是串起整個(gè)故事的關(guān)鍵人物。在這樣一個(gè)普普通通的山村里,老師不僅要在課堂上盡職盡責(zé),還要在孩子們生活中教導(dǎo)他們?nèi)绾巫鋈?,如何更好地生活?/p>
本片沒有片面地?cái)⑹稣n堂上的故事,而是將課內(nèi)外相結(jié)合。這樣的敘事手法更加豐富了整個(gè)故事的結(jié)構(gòu),使得整部影片更加完整,觀眾的感受也更加強(qiáng)烈。
感受
法國奧弗涅地區(qū)的中心平原,山村的生活恬淡寧靜,時(shí)間在這里仿佛變得緩慢而悠長。在這個(gè)小村莊里,有一座似乎穿越了時(shí)空、如古時(shí)私塾般的學(xué)校。一個(gè)老師,一個(gè)班級(jí),幾名不同年齡的孩子。喬治,村中唯一的老師,20年中送走一批批學(xué)生。這所學(xué)校如同與世隔絕一般,靜靜走過春夏秋冬,喬治和孩子們讀書、學(xué)習(xí)、玩耍,用平淡的言語帶他們認(rèn)知眼前的繁華世界。
在這樣一個(gè)特殊的學(xué)校里,喬治作為唯一的教師,孩子們可能會(huì)更喜歡把他當(dāng)作以為朋友。他會(huì)教孩子們做一些簡單的食物,會(huì)帶孩子們一起玩滑雪板,一起乘火車去郊游,早晨在門口迎接他們,雨天為他們打傘,幫他們慶祝生日,安慰他們,鼓勵(lì)他們,告訴他們要團(tuán)結(jié),不要欺負(fù)別人也不要被別人欺負(fù)。最后,和孩子們吻別,看著他們漸漸離去的背影,他的眼神如此專注,是多深的祝福與戀戀不舍!
不論是長鏡頭還是大部分平視客觀的拍攝角度,都完美地符合這部紀(jì)錄片安靜、溫暖的氛圍。
勉強(qiáng)及格。法國鄉(xiāng)村教師的分層班。大部分內(nèi)容其實(shí)無用,額外拍的兩個(gè)孩子里,男孩是在調(diào)節(jié)戲展現(xiàn)了有侵犯性的領(lǐng)袖感,跟拍的好。此外鄉(xiāng)村牛場(chǎng)、教小孩不準(zhǔn)動(dòng)手的束縛其實(shí)隱著人類社會(huì)可疑的惡,但未展開談。結(jié)尾有提升,即將退休的老師和升學(xué)的孩子,在暑假做最后的告別,有《愛的教育》的意思了
淚奔了,成長是件多么難的事啊…像烏龜爬啊爬啊,探頭探腦,一步一步地。好的鏡頭就等同于一位好的老師,會(huì)懂得約束自己的權(quán)力,它耐心地看,小心地表揚(yáng)或評(píng)判,平等對(duì)待每個(gè)被拍攝的個(gè)體。它不是監(jiān)控,懸在教室上頭,刺探每個(gè)被攝對(duì)象的疏漏和錯(cuò)誤。它讓教室成為庇護(hù)所,它走近、停留和溝通,以致更重要地,引導(dǎo)被拍攝的人,與被拍攝的人相互學(xué)習(xí)。老師教育、送走一批又一批孩子,鏡頭同樣見證成長,教我們何以為人。
可愛平淡的一群小孩。
紀(jì)錄與寫實(shí)
老師真好,小朋友真純。
8.0/10。法國某村莊一小學(xué)的一個(gè)學(xué)年:學(xué)生們(與他們唯一的老師)充滿溫情與清新的各種日常生活與互動(dòng)。影片在生活流電影/直接電影(樸素的影像質(zhì)感、極少畫外配樂、零旁白、松散的敘事結(jié)構(gòu)等)與傳統(tǒng)故事片(剪輯語法、對(duì)戲劇性的相對(duì)倚重等)兩種影調(diào)間割裂徘徊。
忒可愛~~
看這電影時(shí)還不知道avoir什么意思呢
全身散發(fā)著法國味道 寧靜 生活化 還有沉悶。。幸好不怎么話癆
“在他威嚴(yán)的外表下有一種極深的關(guān)懷,細(xì)致和謹(jǐn)慎。”
那年去東南大學(xué)看 見著真人 小男孩可愛死了!
不可多得
我只看了能看的僅有的一小段,只想說。我希望我也能成為他那樣的老師,有耐心,細(xì)心,善心。
朱利安算乘法那段真是太搞笑了,哈哈!這樣的紀(jì)錄片很好?。讨卫蠋?,平凡卻偉大!
生命天真無邪。
三星半。只有我看到鏡頭后隱藏的東西了嗎?沒有人察覺到違和感?
慢調(diào)調(diào)的溫情紀(jì)錄片
Be & Have !中文翻譯稍微有點(diǎn)zuo啦。簡單的紀(jì)錄片,沒有刻意的編排卻有最多最豐富的情節(jié)。生活本身,簡單安靜,雖然是抽取的典型案例。算術(shù)語文攤餅洗手道歉,他們學(xué)這些。據(jù)說“存在”和“擁有”是法國孩子進(jìn)入學(xué)堂最初所學(xué)的兩個(gè)單詞,這兩個(gè)詞也是一切法語動(dòng)詞變位的基礎(chǔ),象徵著人類學(xué)習(xí)的啓蒙。
當(dāng)你看到兩只一大一小慢爬的烏龜時(shí)。
1.JOJO才是主角!太可愛了!maitre把他手擦干凈時(shí)候他的得意樣萌爆!2.原來在哪兒學(xué)習(xí)都是很重要的,都是需要麻麻在旁邊輔導(dǎo)全家人關(guān)陣滴!3.鄉(xiāng)村長大的孩子童年才是豐富,那個(gè)小胖子小學(xué)快畢業(yè)乘法不會(huì)但是開拖拉機(jī)做飯樣樣能手!4.很敬佩maitre!在這里教了20年的書,幼兒園小學(xué)。最后超級(jí)感動(dòng)哇!