不是以古諷今就是託今返古。若是前者,實際上佛格森事件與整個Black Lives Matter活動都有它自己的脈絡與當代獨立的訴求,直面事件本身與當下,不是遠比扯個魯迅談中國人、然後文下千篇一律的推文“先知!”、“都快百年了還沒變!”更能切中時弊?如是老人學說網路用語⋯⋯那麼好吧,cringe/corny/phony,現在小孩很難不這麼回嘴吧?
非常有深度的一部纪录片。我一直都想要了解,黑人的故事,而这部纪录片,无疑是非常好的切入点。这部纪录片给我最深的感受之一,就是艺术。音乐、采访、电影片段、旁白的完美结合,充满了平静的悲伤,充满了艺术冲撞。让我不由得一次次赞叹穿插在其中的背景音乐和各种采访、演讲、电影片段,那么扣人心弦,那么融为一体。 我看这部纪录片实在是看得很慢,因为我总会忍不住把其中一些段落一句一句暂停下来抄录下来。甚至有的句子当时看过去了,没有记下来,看了十几分钟二十几分钟还是牵肠挂肚,只好再倒回去重新记录下来。这旁白的口吻像极了我们综英5里面的第一篇,The Fourth of July,那种淡淡的带着平静的,隐藏着巨大悲伤和信念的口吻。很遗憾没有在学这篇之前看到这部纪录片,不然学这篇文章的时候大概会有更深的感悟。也很庆幸发现了这部纪录片,让我更深的了解黑人了历史,黑人的苦难。
我所能做的,就是多听,多看,多感受,多去探寻这个世界的深处,那些我从未看到过的角落,那里发生过什么,正在发生什么,将会发生什么……
还有一个很大的收获,是我对美国人历来注重隐私的习惯有了一种理解,也就是片中所说的,I always been struck , in America, by an emotional poverty so bottomless and a terror of human life of human touch so deep that virtually no American appears able to achieve any viable organic connection between his public stance and his private life.
其他的一些话也非常动人,
Force does not work the way is advocates think in fact it does. It does not, for example, reveal to the victim the strength of the adversary. On the contrary, it reveals the weakness, even the panic of the adversary. And this revelation invests the victim with passion. To watch the TV screen for any length of time, it's to learn some really frightening things about the American sense of reality, We are cruelly trapped between what we would like to be and what we actually are. And we can't possibly become what we would like to be until we are willing to ask ourselves just why the lives we lead On this continent are mainly so empty, so tame and so ugly. These images are designed not to trouble, but to reassure. They also weaken our ability to deal with the world as it is. Ourselves as we are. The root of black man's hatred is rage.黑人的仇恨根源来自愤怒 The root of the white man's hatred is terror.白人的仇恨根源是恐惧。 The question is really a kind of apathy and ignorance , which is the price we pay for segregation, that's what segregation means. You don't know what happening the other side of the wall because you don't want to know.
影片中James Baldwin的两段话震撼人心,摘录如下。
When the Israelis pick up guns,’ ‘or the Poles or the Irish or any white man in the world says ‘Give me liberty or give me death,’ the entire white world applauds. When a black man says exactly the same thing, word for word, he is judged a criminal and treated like one and everything possible is done to make an example of this bad nigger so there won’t be any more like him.’
I can’t be a pessimist because I’m alive. To be a pessimist means that you have agreed that human life is an academic matter, so I’m forced to be an optimist. I’m forced to believe that we can survive whatever we must survive. … But the Negro in this country … The future of the Negro in this country is precisely as bright or as dark as the future of the country. It is entirely up to the American people whether or not they are going to face and deal with and embrace the stranger who they have maligned so long. What white people have to do, is try and find out in their own hearts why it was necessary to have a nigger in the first place. Because I’m not a nigger. I’m a man. . . . If I’m not a nigger here and you invented him — you, the white people, invented him — then you’ve got to find out why. And the future of the country depends on that. Whether or not it’s able to ask that question.
看现实,短期内看美国的种族问题无解。
"Remember This House" Raoul Peck envisions the book James Baldwin never finished -a radical narration about race in America, through the lives and assassinations of three of his friends: Martin Luther King Jr., Medgar Evers and Malcolm X. using only the writer's original words[1]. 获奖情况 第26届哥谭独立电影奖 最佳纪录片[2] 《我不是你的黑鬼》 拉乌尔·佩克[2] 2017年6月,获得预告片界奥斯卡最佳纪录片预告片奖项。[3]
政治无比正确,题材极其老套,詹姆斯·鲍德温的解说词十分牛逼。
IMDb因为这片子很多人恶意刷低分关闭留言和私信功能了
"The story of the Negro in America is the story of America. It is not a pretty story."
解说词是Baldwin的原文。写得真好啊,想拿个小本本记。“White is a metaphor of power.” 把现实,archiving videos 和老电影剪辑结合地真好。有一些事情,终归要相信才有可能。觉得很可惜的是,国人总会自然地觉得这类话题事不关己,但其实在我们的世界里,谁是不知反思的white呢?无论是不是小粉红
"The great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all that we do."
回忆中批判是两件矛盾的事
看完这部的后遗症大概是以后看到黄金时代好莱坞会泛起不适之感。可惜依然流于表象和单方面的抒情。
接触詹姆斯鲍德温的作品之后重温,顿觉是神作。
一副美国黑人兄弟的受难与平权史诗画卷,散文诗一般有韵味的旁白娓娓道来个中的辛酸苦累,对于老电影的大量引用是为亮点,不过整体有些形散意也散,让人抓不住重点,很多观点也实在无法苟同。★★
流麗非常。有個地方讓我很在意,當鏡頭短暫回到二十一世紀的美國街頭時,馬金牧師與美國隊長的公仔在櫥窗併列。此幕是想表達黑人白人已在今日和解?那麼旁白控訴美國的口吻依舊,便是天大反諷;還是,在能賣就是一切的玩具批發資本主義規則前,人種齊頭與否跟本無足輕重?不管何種答案,皆叫人膽顫。
可能是21世纪至今最重要的黑人平权(影像)论文,从虚构电影、纪实与历史角度出发,以黑人自身真正的思考(而非某些看似「公正」其实事不关己的第三方角度)美国种族主义与社会隔阂的真正问题,正如影片中所说,很多人都希望有一劳永逸的「终极方案」,结果只是让问题更加复杂化,以平权观念重看好莱坞电影史也是一个有趣的角度,希望未来读到更多的文献。
以60年代被刺杀的三位黑人领袖为主线,梳理美国黑人平权运动的影像。剪辑得有点散漫,但导演的私人印记非常明显,平静的独白和愤怒的主题对撞出了诗意。对所有弱势群体来说,平权不是来自给予而是要靠自己去争取。FYI,I Am Not Your Faggot...
Not everything that is faced can be changed, but nothing can be changed until it is faced.
想必每个看过"I Am Not Your Negro"的人都会震撼于James Baldwin的写作。这位伟大的美国作家能够将回忆的记述、愤懑的抒情和鞭策如理的文化批评浑然天成地融合在一起,再如此简洁有力地写在笔端。他对于“是白人定义了什么是黑人”这一论断超前而被时间证实。然而电影本身却没提供比文字更多一些的思考
4.5 看着看着,眼泪就慢慢地留了下来。James Baldwin的文字淡而隽永,但同时也有着极强的力量。Samuel L. Jackson的画外音基本上是我在电影史上听到过最好的画外音。这么说吧,我这么讨厌画外音的人居然这么喜欢这部电影,只能说明电影的力量。
詹姆斯·鲍德温的影像回忆录。
辛辛苦苦争取平权这些年,如今简直是一朝回到四十年前。而且那些反平权者的论调这么多年来完全没变……
鲍德温确实文笔极好,电影的旁白很有力、有煽动性,作为少数族裔的一员,很难不被打动;而他也确实一生都困于自己中产知识分子的身份没有走出,一直向白人大众愤怒地控诉或许最好的结果也只能是现在这样,无法更进一步
林肯中心看了这个,震惊于美国社会种族之间看得见看不见的墙。里面有句话说,不知道为了种族平等还有什么没被做的。散场的时候有点懵,I‘m not a pessimist, because I live in the real world.
Baldwin的手稿所传达出的思想来自于他作为非裔美国人的成长经历,也脱胎于60年代的民权运动,旁白(即文字)与资料影像的层面涵盖的是民权运动及之前,纪录片创作者用蒙太奇影像将当下时空与文字所代表的历史中的时空相嫁接相对比,强调出白人美国社会在种族以及其它任何问题上回避现实与真相的劣根性。