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疯癫大师 Les Maîtres fous (1955)

Les Maîtres fous

导演: 让·鲁什
类型: 恐怖 / 纪录片 / 短片
制片国家/地区: 法国
语言: 法语
上映日期: 1955-08(洛迦诺电影节)
片长: 36分钟(加长版) / 28分钟
又名: 通灵仙师 / Mad Masters / 疯狂的主人
IMDb: tt0048363

豆瓣评分

7.9

5星

32.5%

4星

36.5%

3星

27.3%

2星

1.7%

1星

2.0%

好于 11% 短片

评价:

疯癫大师的剧情简介 · · · · · ·

　　Les Maitres Fous is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as laborers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at leas... (展开全部) 　　Les Maitres Fous is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as laborers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governorgeneral, the engineer, the doctor's wife, the wicked major, the corporal of the guard.
　　The roots of the Hauka lie in traditional possession cults common among the Songhay and Djerma peoples of the Niger River basin. Gifted men and women may enter trance and become possessed by any of a number of strong gods, such as Dongo, god of thunder and the sky.Supplicants consult the god through the trancing medium and receive advice about their problems, cures for diseases, comfort and support, or reprimands for their wrongdoings. Like these traditional possession cults, the Hauka sect co-existed with Islam and incorporated many Islamic saints and heroes into its rituals. Most of its adherents were Muslims.
　　Hauka first appeared in Niger, it is thought, in the person of a former soldier who participated in the savage battles of the second German offensive of World War I in 1917 and 1918, in which West African troops were decimated despite their spectacular performance. This soldier made the pilgrimage to Mecca and returned to Niger in the 1920s. In his village, in Rouch's account, he found the people "doing a traditional dance and the soldier was possessed, very violently possessed, and while possessed he said 'I am the avant-garde of the new gods who are coming from Malia [the Red Sea]. My name is Governor Malia and I am the first of the new gods who are coming and they are the gods of strength'."
　　The Hauka were quickly suppressed by the French authorities in Niger, with the support of traditional chiefs and priests who feared the popularity of the new movement and its challenge to established authority. But the Hauka cult spread, even within the jail walls, and by 1935 the British administration in Ghana again attempted to suppress it and to jail the cultists. Fires broke out in response throughout Accra, and eventually there was an agreement that Hauka priests would limit their ceremonies to certain places and to Saturdays and Sundays. This was still the case in 1954 when Rouch filmed Les Maitres Fous, which was banned by the colonial government in 1955.
　　The Hauka movement was a phenomenon of the colonial era. After the independence of Ghana in 1957, migration was controlled and many Hauka who had settled in Accra returned to Niger. Niger itself gained independence three years later, and the Hauka began to subside and to be absorbed into the traditional religious system. Dongo, for example, the old god of thunder, is now considered the father of the Hauka. As Rouch has pointed out, "there was no more colonial power and there never was a Hauka called Kwame N'krumah." The events filmed represent the end of the Hauka development. Today the film is shown in the villages of Ghana and in the Niger Cultural Center.
　　The imagery in Les Maitres Fous is powerful and often disturbing: possessed men with rolling eyes and foaming at the mouth, eating a sacrificed dog (in violation of taboo), burning their bodies with naming torches. Beyond the imagery, the themes are also powerful, and have had an impact in our own culture:Jean Genet's The Blacks was modeled upon the Hauka inversion in which blacks assume the role of masters, and Peter Brook's Marat/Sade was influenced by the theatricality and invented language of Hauka possession. Yet, as Rouch reminds us in an interview in Cineaste, possession for the Hauka cultists was not theater but reality. The significance of this reality is left ambiguous in the film, although Rouch's commentary suggests that the ritual provides a psychological release which enables the Hauka to be good workers and to endure a degrading situation with dignity. The unexplored relation of the Hauka movement to their colonial experience 1-S perhaps the most intriguing issue raised by this ceremony in which the oppressed become, for a day, the possessed and the powerful.

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疯癫大师的短评 · · · · · · ( 全部 134 条 )

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6 有用打电话给没有人看过 2021-02-03 21:01:09

这一部恰好是反“真实电影”的。独白解说领先影像一步，是一种引导。另外，最重要的是，让·鲁什韵律十足的剪辑“共谋”了这场通灵。

0 有用小易甫看过 2012-11-03 20:40:08

让·鲁什的电影基本上就是一直有解说，英文字幕都这么高端，而且我从不知如何欣赏所谓的“真实电影”。

7 有用 OreoEmpanada 看过 2019-01-18 21:41:35

Jean Rouch的第一部Ethnofiction从里到外都是一部极其复杂的里程碑式作品，他的Cine-Trance在这里与Hauka仪式中的Trance合二为一，忠于被压迫阶级在特定情形下的视角及其眼里殖民者的形象，是以虚构与虚构的叠加对抗传统民族志电影所信奉的，毫无价值的“客观”真实。Rouch整个创作姿态所承载的意义远远超越了纪录片的表面形式本身。

5 有用杨小槑看过 2023-01-24 14:49:20 北京

7.这些劳工找到了一种属于他们的，可以短暂舒缓现实愤懑，回避实际苦难的精神空间。虽然这显得过于原始、癫狂、无理性，渴望在另外一个空间中实现真正的自由，从而拥抱那个属于本真的自我。我觉得仪式中，被殖民者对于殖民者在现代社会身份的模仿，因无法界定其褒贬意图，而有开阔的解读空间。

0 有用洛城市民雷女士看过 2024-02-24 21:14:51 北京

直击非洲宗教，Haukas神们竟然是总督，火车，医生妻子等殖民角色，他们口吐白沫表情狰狞，举行仪式一个个降神附体，为杀狗献祭吃哪一部分等等问题不断开会，散去后却都回到正常工作，一个个开心而平凡，忏悔的不再不纯洁，impuissant问题也被解决，工作快乐，JR不禁提问我们所嘲笑的原始宗教是不是有我们civilisation不知道的remèdes，在开头他就写这是我们的reflet。

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疯癫大师的影评 · · · · · · ( 全部 4 条 )

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LaFrontera 2020-04-27 03:47:47

Jean Rouch and the Gay Science of Things

by Clara Pacquet ... Rouch’s success among the heirs of Surrealism was decisive for what followed. In 1950, in Paris, when he was developing an interest in Antonin Artaud’s Theater of Cruelty,[ref]See Rouch’s text, “L’Autre et le Sacré: jeu sacré, je... (展开)

seamouse 2006-08-15 00:15:03

通灵电影要多长时间来通观众

除去表现麻醉品状态下的癫狂，真正通过节奏去通灵的电影似乎并不多，那些受限于时间，没办法在剧情上铺垫前因后果或在文化上引人入胜的MV也做不到。通灵电影这词的发明者让.鲁什或许是最早的一批确实能通过简易操控的摄影器材、跟上黑非洲的节奏，去纪录当地人通灵状态的电影... (展开)

帽子 2019-06-17 11:33:28

遗失的良药

赫尔佐格在大师课上力推这部电影。这部片长20分钟左右的影片作为纪录片，电影是直接电影理念的，也可以说是人类学纪录片，它在1957年的戛纳电影节上获奖。我很讨厌对宗教信仰有所求的祭祀行为，认为这种功利主义很低级。鲁什导演不是这么看的，通过他的摄影机我们看到了在50... (展开)

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评论被折叠，是因为发布这条评论的帐号行为异常。评论仍可以被展开阅读，对发布人的账号不造成其他影响。如果认为有问题，可以联系豆瓣电影。

泰伦斯与马赛克 2014-11-10 02:47:47

疯癫与狂欢

在看完此片之后，我和大部分的影迷一样，感觉很是无感。得出的结论就是‘具有西方人偏见的某种民族志纪录片’这样的陈词滥调。但是后来，看福柯的‘疯癫与文明’，我发觉，我的判断其实是基于理性主义，甚至工具理性的对于疯癫的本体化的定义。福柯的书持续的攻击着这种所谓的... (展开)

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讨论区 · · · · · ·


中文字幕已发布	来自壹点零	1 回应	2024-11-26 21:33:28
谁给个中文字幕版本啊？YouTube上全是法文英文的	来自Little Soul	1 回应	2024-08-16 02:11:33
ol	来自一"一	4 回应	2024-08-16 02:10:26
影片介绍	来自一枝笔		2008-07-09 11:40:25

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