{"title":"丹尼尔·费尔法克斯著《辛海姆档案的红色岁月》(1968-1973)","authors":"M. Grosoli","doi":"10.33178/alpha.22.07","DOIUrl":null,"url":null,"abstract":"Right in the middle of Irma Vep (Olivier Assayas, 1996), a VCR excerpt from Classe de lutte (Medvedkin group, 1969) is shown during a dinner party. In the context of postmodernist Paris, those militant, raw, politically engaged images look like footage from another planet, a veritable foreign body. As recently as 2012, in Something in the Air (Après mai), the same director would zoom into the aftermath of 1968, thoroughly reconstructing the historical fabric of those years.","PeriodicalId":113407,"journal":{"name":"On the Cultural Circulation of Contemporary European Crime Cinema","volume":"5 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Red Years of Cahiers du Cinéma (1968–1973), by Daniel Fairfax\",\"authors\":\"M. Grosoli\",\"doi\":\"10.33178/alpha.22.07\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Right in the middle of Irma Vep (Olivier Assayas, 1996), a VCR excerpt from Classe de lutte (Medvedkin group, 1969) is shown during a dinner party. In the context of postmodernist Paris, those militant, raw, politically engaged images look like footage from another planet, a veritable foreign body. As recently as 2012, in Something in the Air (Après mai), the same director would zoom into the aftermath of 1968, thoroughly reconstructing the historical fabric of those years.\",\"PeriodicalId\":113407,\"journal\":{\"name\":\"On the Cultural Circulation of Contemporary European Crime Cinema\",\"volume\":\"5 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-03-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"On the Cultural Circulation of Contemporary European Crime Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.33178/alpha.22.07\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"On the Cultural Circulation of Contemporary European Crime Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.33178/alpha.22.07","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
就在《伊尔玛·维普》(奥利维尔·阿萨亚斯，1996)的中间，在一次晚宴上播放了《阶级》(梅德维金集团，1969)的VCR节选。在后现代派巴黎的背景下，那些好战的、原始的、涉及政治的图像看起来就像来自另一个星球的镜头，一个名副其实的异物。就在最近的2012年，在《空气中有东西》(Something in the Air, apr s mai)中，这位导演将镜头拉近1968年的余波，彻底重建了那些年的历史结构。
The Red Years of Cahiers du Cinéma (1968–1973), by Daniel Fairfax
Right in the middle of Irma Vep (Olivier Assayas, 1996), a VCR excerpt from Classe de lutte (Medvedkin group, 1969) is shown during a dinner party. In the context of postmodernist Paris, those militant, raw, politically engaged images look like footage from another planet, a veritable foreign body. As recently as 2012, in Something in the Air (Après mai), the same director would zoom into the aftermath of 1968, thoroughly reconstructing the historical fabric of those years.
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