听！鸟儿在歌唱 Para recibir el canto de los pájaros (1995)

Name: 听！鸟儿在歌唱 Para recibir el canto de los pájaros
Genre: 剧情
Cast: 杰拉丁·卓别林 Geraldine Chaplin

导演: Jorge Sanjinés
编剧: 豪尔赫·圣希内斯
主演: Guido Arce / Marcelo Guzmán / Reynaldo Yujra / 杰拉丁·卓别林 / Lineth Herbas
类型: 剧情
制片国家/地区: 玻利维亚
语言: 西班牙语
上映日期: 1995
片长: 97min
IMDb: tt0114087

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听！鸟儿在歌唱的剧情简介 · · · · · ·

　　Rodrigo, a film director, intends to make a film about the Conquest in a remote village in the Bolivian altiplano. Initially receptive to the idea, the Indian community living there reacts violently when some local wildlife is destroyed. Para recibir el canto de los pájaros is a little more subtle in its portrayal of cultural conflict than Sanjinés's earlier film, Yawar Mallku ... (展开全部) 　　Rodrigo, a film director, intends to make a film about the Conquest in a remote village in the Bolivian altiplano. Initially receptive to the idea, the Indian community living there reacts violently when some local wildlife is destroyed. Para recibir el canto de los pájaros is a little more subtle in its portrayal of cultural conflict than Sanjinés's earlier film, Yawar Mallku — where violence is seen as the only legitimate response to western cultural domination — for it not only shows that not all that is western is bad, but it even highlights negative elements within Andean culture. Most important for this discussion, Para recibir el canto de los pájaros plays with the film-within-a-film convention inherited from Hollywood, but it sometimes tricks the spectator making him unsure as to whether a scene is part of the film or part of the everyday reality of a film crew from La Paz in the Andes. Underlying the scene in which the producer, Pedro Barrón, emerges from the pit in which he has been trapped, and sees his Conquistador double walk nonchalantly past him, is the crucial notion of self-consciousness. Pedro realizes that his role as film producer in the late twentieth century is a re-enactment of 'his' role as Conquistador in the early sixteenth century. The spectator is drawn into this playing-off of two time-continuums, and in effect achieves a double-consciousness in which he can see Aymara culture from within and also from without.
　　A heavy-handed allegory by a veteran Bolivian film-maker about the racism endemic in his country and the more universal inability to learn from history. It opens with masked conquistadors (the harquebus angels) lined against the Andean altiplano skyline, as a mainly mestizo film crew track up the hill like Aguirre's invading army in Herzog's Wrath of God. Thus begins a series of broad parallels, culminating in a siege, whereby the crew, assailed by the Indian community (who have refused to be in their historical movie), almost resort to the use of the ancient harquebuses in their possession. The song of the title refers to the birds of the Indians' annual music festival: the crew shoot them for sport. Beautiful scenery.

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我要写短评

听！鸟儿在歌唱的短评 · · · · · · ( 全部 5 条 )

0 有用 Mannialanck 看过 2011-03-18 13:59:45

7。看片子，赏风俗，看评论，长见识

1 有用杨浦小囡看过 2021-06-05 14:02:15

TV movie

1 有用容与行看过 2021-12-13 22:02:06

現代アートハウス入門vol.2第三夜。其实比起电影本身，更有意思的是难得一见的民俗和珍贵的视点。作为掌握现代科技和话语权的一方，站在弱势者的立场讲述被歧视者的故事、记录他们的风俗是太难得的事情。影片里白人对于原住民的二次入侵以电影拍摄的形式展开，在反思作为入侵者根深蒂固的偏见的同时，也对于拍摄行为的暴力性进行了反思。片中出现的法国女政治家被小田香解读为作为外来者的可能性，我很喜欢这个设定和他的解释... 現代アートハウス入門vol.2第三夜。其实比起电影本身，更有意思的是难得一见的民俗和珍贵的视点。作为掌握现代科技和话语权的一方，站在弱势者的立场讲述被歧视者的故事、记录他们的风俗是太难得的事情。影片里白人对于原住民的二次入侵以电影拍摄的形式展开，在反思作为入侵者根深蒂固的偏见的同时，也对于拍摄行为的暴力性进行了反思。片中出现的法国女政治家被小田香解读为作为外来者的可能性，我很喜欢这个设定和他的解释。4 (展开)