• 观看记录
    视频
    视频
    取消
    全部
    正片

    哦，至高的光

    O somma luce

    影片信息

    正片
    • 片名：哦，至高的光
    • 状态：高清版
    • 导演：Jean-Marie Straub
    • 主演：Giorgio Passerone
    • 年份：2010
    • 地区：法国
    • 类型：剧情片短片
    • 时长：内详
    • 上映：2009-12-31
    • 语言：意大利语
    • 更新：2023-11-08 19:11:14
    • 简介：Taking the last verses of Paradise in Dante Alighieri’s The Divine Comedy, Straub extends the same didactic/exploratory tendencies he already was trying with texts by Cesare Paves..
    2010/法国/剧情片短片/意大利语/

    • 扫一扫用手机访问

     立即播放
    0.0
    6次评分
    0.0
    6次评分

    扫一扫用手机访问

    首页剧情片哦，至高的光

    播放列表

     倒序

    剧情简介

    　　Taking the last verses of Paradise in Dante Alighieri’s The Divine Comedy, Straub extends the same didactic/exploratory tendencies he already was trying with texts by Cesare Pavese in Dalla nube alla resistenza (1979) and its sequel, Quei loro incontri (2006). Now, the meditation deals with repetition, light, and absence, using Edgar Varèse’s genius in an introduction that sets a somber tone so what comes next would be pure light and sublimation. (-bafici.gob.ar)
    　　There's no denying that the late work of Jean-Marie Straub can be highly forbidding, even by the tough-minded, rigorous standards established throughout his career with his late partner Daniéle Huillet. Ironically, one of the aspects of Straub-Huillet work that has made it so challenging, so seemingly resistant to immediate viewing comprehension as well as closer analysis, is the fact that on its surface it often appears quite simple.
    　　The Straubian method entails shooting with direct sound, minimal camera movement, and a highly focused, almost declamatory performance style that foregrounds the text being presented rather than any actorly or theatrical values. There is almost a "readers' theatre" quality to Straub's films. But if one were forced to generalize about this highly developed method, it would probably be most correct to say that it stakes out a territory between two kinds of modernism.. On the one hand, the modernism of Clement Greenberg is present, in that these films insist upon the separation of their elements and the maintenance of each contributing artform in its irreducible specificity. Writing remains writing, not theatre; music is music; and film, film. On the other hand, Straub employs the modernist intransigence of Theodor Adorno's "negative dialectic." The films exist as aesthetic objects, in a relative autonomy. But they simultaneously gesture outward, into the material specificity of the landscape they occupy, the concrete visual and soundworld that envelops the filmic act, but does not transform it into fiction (or vice versa). Straub's method maintains a tension between a documentary foundation -- that which is recorded in the profilmic scene -- and a rehearsal or reconstitution of the creative energies of a previous moment in history -- the instantiation of a text or set of texts not from the "now." From an Adornian standpoint, these two times might one day be reconciled in a utopian social form as yet unformulated. For now, their irreconcilability indicates the work we still have before us.
    　　In some ways, O somma luce is the most satisfying of Straub's landscape based works, although I hesitate to say so. I tend to find it the most open and inviting of his films since Huillet's passing. But I don't entirely trust this impression, and even as I articulate it I wonder if perhaps I missed some complicating nuances. Here, the separation of aesthetic elements is made nearly absolute, and while Straub has mined this terrain before, O somma luce's use of stark sensory contrast is more explicitly bolstered through the film's own thematics. The first eight or so minutes of the film are imageless black digital video. Inside this "video void" (to borrow David Larcher's term), we hear one of the most distinctive works in the modern repertoire, Déserts (first movement) by Edgard Varèse. This 1954 chamber work, which includes electronic elements on tape, is notable for its wide ranging dynamics -- piercing horns, pealing bells, a substantial percussion variance at the base, and generally a great deal of sonic space throughout. In a sense, Déserts is a logical extension of the explorations one finds in Mahler (a Straub favorite), while Varèse has clearly abandoned tonality for clusters of sound that, for lack of the technical expertise to describe them, I would have to call primal in their sense of generative force. This could be said to rhyme, in a broad sense, with Straub's cinematic use of space and landscape. There is a radical particularity in the land formations Straub commits to film or video; in using the camera to register a place's sonic existence, or its reflected light, Straub is also giving us a concrete segment of its accumulated physical history, practically a core sample. So in that regard, Déserts is music that hints at pure sound, the sound between sounds, and the molecular level of deep listening.
    　　The final few notes of the movement are heard in a "sound bleed," a (literally) pivotal moment in O somma luce. This half-second, which takes us from darkness to light, is so out of character with Straub's customary insistence on separation, and on unadulterated straight cuts, that it is quite shocking indeed. Of course, in the context of another filmmaker's work, it wouldn't register as anything strange at all. But there is something in the explicit themes of O somma luce which could explain why such an uncharacteristic transition seemed like Straub's best choice. This pivot, after all, gives us a moment of "total cinema," of music, text, performance, and conventional editing -- an Adornian utopia, if you will -- which then slips away. Afterward, we are in a rustic but nondescript Italian landscape, rocky hills in the background, as actor Giorgio Passerone reads Canto XXXIII from Dante's Paradiso. This Canto is the story of the creation and recognition of Light. In fact, in its description of moving from darkness to illumination, ignorance to knowledge, Canto III clearly prefigures the "Untutored Eye" doctrine of Stan Brakhage's Metaphors on Vision. Dante was an obvious influence of Brakhage, and just as Brakhage posited a pre- and post-lapsarian narrative of light-bathed sensation and the subsequent fall into language, so O somma luce presents an unexpected "knot" of confluence (the music / image union) which is instantly thrown into the past the minute its existence is even recognized. This desire to reclaim the moment of Light's epiphany, while recognizing its impossibility, is encapsulated in lines 67 through 75 of Dante's Canto: "O Light exalted beyond mortal thought, / grant that in memory I see again / but one small part of how you then appeared / and grant my tongue sufficient power / that it may leave behind a single spark / of glory for the people yet to come, / since, if you return but briefly to my mind / and then resound but softly in these lines, / the better will your victory be conceived."
    　　It is, interestingly, at this point in O somma luce that Passerone pauses, picks his script up from the ground, adjusts his glasses, and continues reading. The film then cuts to a left to right tracking shot of the skyline above the landscape, with mountains in the background. The shot ends on a thicket of brush tangled in a ragged fence. Straub repeats this arc (Heideggerian earth and sky, down to the banal ground of private property) twice, with slightly different qualities of sunlight. During this segment, Passerone reads the following lines: "substances, accidents, and the interplay between them, / as though they were conflated in such ways / that what I tell is but a simple light. / I believe I understood the universal form / of this dense knot because I feel my joy expand, / rejoicing as I speak of it." That is to say, Dante believes that he can extract the sense of Holy Light from the ordinary, profane illuminations surrounding him. O soma luce clearly agrees, but from the same sort of standpoint that, once upon a time, "stood Hegel on his head." "Exalted Light" is the close, sensual appreciation of this world, the only one within which we're privileged to exist, the one we are charged with stewarding. For Straub, this is the materialist reading of Dante. It's Canto XXXIII, refracted through the window of "Feuerbach" Thesis 11. (-academichack.net)

    为你推荐

     换一换
    • 8.1
      高清版
      樱桃园
      夏洛特·兰普林,阿兰·贝茨,凯特琳·卡特利吉,欧文·蒂尔,塔什卡·伯根,山德·贝克利,杰拉德·巴特勒,安德鲁·霍华德,梅兰妮·林斯基,伊恩·麦克尼奇,弗朗西斯·德·拉·图瓦,迈克尔·高夫,Simeon Victorov,伊扎克·芬齐
    • 6.7
      高清版
      堕落
      Florence Guérin,Trine Michelsen
    • 6.2
      高清版
      荣华富贵
      杰奎琳·比塞特,坎迪斯·伯根,大卫·塞尔比,哈特·巴克纳,史蒂芬·希尔,梅格·瑞恩,马特·拉坦齐,Daniel Faraldo,妮可尔·埃格特,乔马洛斯,克雷丝·默斯基,Cloyce Morrow,Cheryl Robinson,Allan Warnick,安·里斯利
    • 7.0
      高清版
      下海
      耿乐,齐溪,王茜,曾美慧孜,山姆·米尔胡塞尼,曲高位,樊力哲
    • 9.5
      高清版
      阿甘正传
      汤姆·汉克斯,罗宾·怀特,加里·西尼斯,麦凯尔泰·威廉逊,莎莉·菲尔德,海利·乔·奥斯蒙,迈克尔·康纳·亨弗里斯,哈罗德·G·赫瑟姆,山姆·安德森,伊俄涅·M·特雷奇,彼得·道博森,希芳·法隆,伊丽莎白·汉克斯,汉娜·豪尔,克里斯托弗·琼斯,罗布·兰德里,杰森·麦克奎尔,桑尼·施罗耶,艾德·戴维斯,丹尼尔C.斯瑞派克,大卫·布里斯宾,德博拉·麦克蒂尔,艾尔·哈林顿,阿非莫·奥米拉,约翰·沃德斯塔德,迈克尔·伯吉斯,埃里克·安德伍德,拜伦·明斯,斯蒂芬·布吉格沃特,约翰·威廉·高尔特,希拉里·沙普兰,伊莎贝
    • 0.0
      高清版
      加油喜事
      陈亚兰,王彩桦,李兴文,洪都拉斯,周晓涵,邹承恩,马国贤,潘映竹
    • 7.3
      高清版
      辛亥双十
      狄龙,林凤娇,柯俊雄,汪禹,尔冬升,陈观泰,刘德凯,王道,王玨
    • 8.3
      高清版
      远方
      穆扎菲·奥德默,伊敏·托普拉克,歇沃·简恩瑟,娜赞·克萨尔,弗里敦考克,法特玛·锡兰,埃布鲁·锡兰,诺海尔琛瑟勒,纳兹莉艾顿,埃根派瑟夫,厄康·吉赛尔,阿斯力奥尔亨,艾哈迈德比尤盖恩,艾瑞福阿西,萨摩迪阿斯,艾哈迈德奥哉奥莱特,埃尔汗奥索维,哈坎库腾,艾恩恩戈尔索
    • 4.3
      高清版
      现在就想要
      수지,연희,진위,석봉
    • 6.2
      高清版
      女人本色
      梁咏琪,薛凯琪,林子祥,郑嘉颖,聂远
    • 0.0
      高清版
      你是我的后援会
      杜琪峰,韦家辉,张继聪,白只,廖子妤,余香凝
    • 7.7
      高清版
      天衣无缝的她
      罗文姬,金秀安,金美优,高圭弼,沈完俊,崔贞允,林贤成,李容怡,李美英,权昭贤,俞智妍,延頌荷,千玗嬉,延济旭,崔秀英,郑幼贞,朱惠智,玄素罗,林韩傧,陈善美
    • 6.8
      高清版
      娼街
      乔·达里桑德罗,西尔维娅·克里斯蒂,André Falcon
    • 0.0
      高清版
      风流表哥俏表妹
      潘迎紫,青山,杨燕,金帝,谢玲玲,李亚萍,鲍立,刘丽丽,葛小宝,吴燕,上官亮
    • 8.2
      高清版
      终极笔记
      曾舜晞,肖宇梁,哈妮克孜,刘宇宁,范明,刘雪华,成方旭,刘昱晗,万沛鑫,王劲松
    • 7.8
      高清版
      林肯
      丹尼尔·戴-刘易斯,莎莉·菲尔德,大卫·斯特雷泽恩,约瑟夫·高登-莱维特,詹姆斯·斯派德,哈尔·霍尔布鲁克,汤米·李·琼斯,约翰·浩克斯,杰基·厄尔·哈利,布鲁斯·麦克吉尔,蒂姆·布雷克·尼尔森,约瑟夫·克罗斯,杰瑞德·哈里斯,李·佩斯,皮特·麦克罗比,格列佛·麦格拉思,格洛利亚·鲁本,杰瑞米·斯特朗,迈克尔·斯图巴,波利斯·麦戈法,大卫·科斯塔贝尔,斯蒂芬·斯皮内拉,沃尔顿·戈金斯,大卫·沃肖夫斯基,科尔曼·多明戈,大卫·奥伊罗,卢卡斯·哈斯,戴恩·德哈恩,比尔·坎普,伊丽莎白·玛维尔,拜伦·詹宁斯,朱
    • 0.0
      高清版
      月儿圆
      周波,李桂莲
    • 6.1
      高清版
      战洪图
      鲁速,村里,蔡松龄,孙国禄,刘世龙
    • 6.5
      高清版
      失踪秘闻
      伊丽莎白·班克斯,达科塔·范宁,戴安·琳恩,丹妮尔·麦克唐纳,内特·派克,科曼,科林·唐纳,Amy Tribbey,比尔·萨奇,芮妮·戈兹贝里,Jaden Michael,Sebastian Beacon,克莱尔·弗利,Paige King,朱利托·麦克卡伦姆
    • 0.0
      高清版
      谁撞了我自己
      安霓,苗皓钧,姬晨牧,马克,冉晓东,吴鉴祺,牛婷婷,武玉林
       换一换

      剧情片排行榜

      更多