秃鹰之血 Yawar mallku (1969)

Name: 秃鹰之血 Yawar mallku
Genre: 剧情, 犯罪
Released: 1969-11-20
Duration: 1 h 10 min

导演: 豪尔赫·圣希内斯
编剧: 豪尔赫·圣希内斯 / Óscar Soria
主演: Marcelino Yanahuaya / Benedicta Mendoza / Vicente Verneros Salinas
类型: 剧情 / 犯罪
制片国家/地区: 玻利维亚
语言: 西班牙语 / 盖楚瓦语 / 英语
上映日期: 1969-11-20
片长: 70 分钟
又名: Blood of the Condor / 秃鹫之血
IMDb: tt0065228

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秃鹰之血的剧情简介 · · · · · ·

　　"The Bolivian fiction feature Yawar Mallku is one of the most famous examples of Latin American militant cinema. Like most of these American militant films, this one was made on a modest budget in spite of major obstacles. Bolivia has no significant filmmaking traditions or facilities. Mules had to be used to transport the filmmakers and their equipment to a high and remote Ind... (展开全部) 　　"The Bolivian fiction feature Yawar Mallku is one of the most famous examples of Latin American militant cinema. Like most of these American militant films, this one was made on a modest budget in spite of major obstacles. Bolivia has no significant filmmaking traditions or facilities. Mules had to be used to transport the filmmakers and their equipment to a high and remote Indian community where parts of the film were shot. The Quechua-speaking Indians of this Andean community were initially hostile to the filmmakers until a coca-leaf divination ritual confirmed the filmmakers' good intentions.
　　"It is in cultural and ideological terms that Yawar Mallku is most important. This controversial film is a powerful and thorough attack on United States imperialism. In the film, members of a Progress Corps (read Peace Corps) working, ironically, in an obstetric clinic, surgically sterilize unsuspecting Indian women. Jorge Sanjinés, aware of Bolivia's historic underpopulation and high infant mortality rate, had been deeply disturbed by media reports that the U.S. Peace Corps operated in such a fashion in his country. Though U.S. officials denied such activities, the film created a furore and, in the opinion of Sanjinés, was a major factor in the expulsion of the Peace Corps from Bolivia in 1971.
　　"In Yawar Mallku, U.S. imperialism is not depicted solely as an attempt to biologically eliminate an "inferior" race, but also as a more subtle yet all-pervasive force. The theme of cultural imperialism is amply illustrated: the rock music played in the clinic (in contrast to the indigenous flute music), the American-style clothes donated to the Indians (in contrast to the traditional, hand-woven garb), the pin-ups in the house of the Indian who has migrated to La Paz. Linguistic imperialism is exemplified in a sequence in which an upper-class Bolivian mother addresses her children in English, a language commonly used by the upper classes but generally not available for study by the Indians. Sanjinés emphasizes the ties of Bolivia's ruling classes to U.S. imperialism in a banquet sequence where leading Bolivian doctors and their U.S. counterparts fail to supply the blood that a wounded Indian needs to survive. For Sanjinés, U.S. imperialism is literally and figuratively robbing Bolivian Indians of their blood—their right to life according to their own traditions and customs."

秃鹰之血的获奖情况 · · · · · · ( 全部 )

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我要写短评

秃鹰之血的短评 · · · · · · ( 全部 20 条 )

2 有用 Mannialanck 看过 2011-05-23 23:33:03

6。作品真挚有想法，无奈画渣看不清

0 有用吹牛伯爵看过 2022-12-05 06:38:36 上海

乌卡茂小组的“第三电影”作品。毋庸置疑，圣希内斯是毛主义的忠实信徒，片尾高举起枪支的劳动人民之手应验了Chairman Mao的名言警句：“枪杆子里出政权。”但相比同时期的大陆电影制作，圣希内斯的电影保留了深厚的民俗文化积淀，例如烟草占卜的神秘主义传统，尽管民俗传统是否是人民抗争的良药，圣希内斯对此的肯定态度还是需要怀疑，因为巫术迷信时常麻痹信仰者，虚无缥缈的神灵只能暂时带给其心灵的慰藉，却无法破... 乌卡茂小组的“第三电影”作品。毋庸置疑，圣希内斯是毛主义的忠实信徒，片尾高举起枪支的劳动人民之手应验了Chairman Mao的名言警句：“枪杆子里出政权。”但相比同时期的大陆电影制作，圣希内斯的电影保留了深厚的民俗文化积淀，例如烟草占卜的神秘主义传统，尽管民俗传统是否是人民抗争的良药，圣希内斯对此的肯定态度还是需要怀疑，因为巫术迷信时常麻痹信仰者，虚无缥缈的神灵只能暂时带给其心灵的慰藉，却无法破坏统治者的根基从而解决物质、阶级的问题。形而上学的问题不在圣希内斯的考察范畴内，但一种原住民（印第安人）银幕话语空间的构建自觉形成，当拍摄群落村庄时，其中远景的拍摄景别脱胎于印加文化的集体主义观念，充作圣希内斯电影语言的文化基座。（见笔记） 2022.8.22 (展开)

0 有用 sirius_flower 看过 2023-09-27 00:47:32 美国

圣西内斯在尝试一种把游击队与行刑队运动画面用粗粝美学快剪拼接的实验，在开枪的人、倒下的人与安第斯的雪山之间来回剪辑（后来Gomez有类似的形式运用）成为他电影的基本元素。Quechua非演员的冷峻面容和几乎无法判断的石头般的神情作为影像天然的素材直接在挑战典型叙事电影的人物模型，其情绪的表露完全不诉诸私人性质的表情，而总是以集体化的呼喊、运动与安第斯竖笛吹奏的音乐等形式完成。这种表达模式与外来的美... 圣西内斯在尝试一种把游击队与行刑队运动画面用粗粝美学快剪拼接的实验，在开枪的人、倒下的人与安第斯的雪山之间来回剪辑（后来Gomez有类似的形式运用）成为他电影的基本元素。Quechua非演员的冷峻面容和几乎无法判断的石头般的神情作为影像天然的素材直接在挑战典型叙事电影的人物模型，其情绪的表露完全不诉诸私人性质的表情，而总是以集体化的呼喊、运动与安第斯竖笛吹奏的音乐等形式完成。这种表达模式与外来的美国和平队成员形成鲜明对比，后者对语言的极度依赖和对土著的高高在上的态度决定了他们对土著的轻视，也为最后土著发现美国人的绝育诊所并将他们抓捕埋下伏笔。因为语言（quechuan、西语、英语）与表达的质地差异，片子在面向不同观众时会形成不同的效果，从而让电影具有不同的宣传效力（这也是第三电影的基本特征） (展开)