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这学期,我与英国黑人女导演尼高斯·安乌拉(NgoziOnwurah)合教一个纪录片制作的课。我大概是九二年左右看到安乌拉的《美丽身体》(TheBody Beautiful),一定又是在新校时跟Ruby Rich念女性主义电影时看的。后来又陆续看到她较早期的《咖啡色孩子》(Coffee Volored Childrcen,1988),及九三年的《而我仍站起来》(And Still I Rise)。开始看到一个有话要说的导演一些贯串的意图与信念,并飞快地成熟的美学。看她的作品,我以为我跟尼高斯有很多不同。她的东西坦率流畅、一气呵成,未开展旅程便把一幅蓝图的所有细节都尽数点算好。至于我的,喜者认为充满文本矛盾,有后设与自省的张力云云,恶者反映为拖泥带水、隐晦艰涩。及至我们的计划制作,带学生去拍东西,才发现全组人中,当所有学生都不同意我们的看法时,只有我们两个教书的同意对方的观点。
This semester, I co-taught a documentary film course with the British black woman director Ngozi Onwurah. I probably saw Anurah’s “TheBody Beautiful” around 1992 or so, and it must have been seen again with Ruby Rich in her new school. Later, she saw her earlier Coffee Volored Childrcen (1988) and And Still I Rise (1993). Began to see a talkative director with some intentions and convictions, and quickly mature aesthetics. Look at her work, I think I have a lot of different with Gaussian. Her stuff was straightforward and smooth, and without travel she took all the details of a blueprint to the point. As for me, hi like those who are full of textual contradictions, tension and so on after setting and introspection, the evil person is reflected as empty-headed, obscure. To our plan making, taking students to shoot things, we found out that when all the students in the group disagreed with us, only the two of our teaching members agreed with each other’s point of view.