西萨科《巴马科》中的新自由主义暴力与审美反抗(2006)

J. S. Williams
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摘要

摘要Abderrahmane Sissako著名的《巴马科》(2006)在巴马科的一个共享庭院里对国际货币基金组织和世界银行在非洲的债务政策进行了公开审判。通过正式的寻址和mise en scène策略,西方和非洲电影美学和观众模式也受到了考验,这似乎是对奥斯曼·塞姆贝政治参与的社会现实主义的风格化回归。然而,通过允许一系列惊人的物质(人类和非人类,真实和虚构)以图形的方式漂移到其框架中,并侵入经济和地缘政治的规律,巴马科也坚持物质过程和美学摩擦,在后殖民艺术电影中开辟了不受寓言和意识形态思维要求约束的新的视觉思辨和阐释的混合空间。作者在两个离散的情节中(移民证词的延伸场景,自杀后的葬礼游行),详细地关注了蒙太奇中复杂的、自我反射的裂痕和断裂,展示了Sissako在形式上的诗意投资不仅暴露了而且直接抵制了电影中无情的霸权暴力。这种暴力美的形成要求我们重新认识政治美学的本质和银幕暴力的功能。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Neoliberal violence and aesthetic resistance in Abderrahmane Sissako’s Bamako (2006)
Abstract Abderrahmane Sissako's celebrated Bamako (2006) stages a public trial of the debt policies of the International Monetary Fund and World Bank in Africa in a shared courtyard in Bamako. By putting both western and African film aesthetics and modes of spectatorship also on trial through formal strategies of address and mise en scène, it appears a stylised return to the politically engaged social realism of Ousmane Sembène. Yet, by allowing an astonishing array of matter (human and non-human, real and fictional) to drift graphically into its frame and intrude into the very law of the economic and geopolitical, Bamako also insists on material process and aesthetic friction, opening up new hybrid spaces of spectatorial speculation and interpretation in postcolonial art cinema not bound by the demands of allegory and ideological thinking. Focusing in close detail on the intricate, self-reflexive rifts and fractures of montage in two discrete episodes (an extended scene of migration testimony, a suicide followed by funeral procession), the author shows how Sissako’s poetic investment in form not only exposes but also directly resists the hegemonic violence the film implacably relates. Such formations of violent beauty demand we reconceive the very nature of political aesthetics and the function of screen violence.
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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