执迷于《欢愉》的人:戈达尔与马克斯·奥菲尔斯  

The Man Obsessed with Le Plaisir : Godard and Max Ophüls

作　　者： 龚金浪(译) 应雄(校译)[3] Junji Hori

机构地区：[1]不详 [2]江西师范大学新闻与传播学院 [3]北海道大学文学院

出　　处：《电影艺术》2024年第3期36-40,共5页Film Art

摘　　要：马克斯·奥菲尔斯的《欢愉》在戈达尔的电影生涯中有着特别的意义。该片上映时,巴赞批评影片过于“奢华”,其“巴洛克风格”与莫泊桑原著故事格格不入。而彼时的新生代影评人特吕弗、戈达尔等人则以全新的评判标准对此观点提出质疑。戈达尔认为,奥菲尔斯精湛的摄影机运动,绝非“多余的奢华”,而是如同“素描”一般在曲线结束时自然显现内容的形式,其本身就是“另一种内容”,他以《影像之书》结尾处对《欢愉》的引用,完成了对巴赞的反驳。Max Ophüls’Le Plaisir holds a special significance in Godard’s film career.When the film was released,Bazin criticized it for being“superfluous luxury”and its“baroqueness”being incompatible with Maupassant’s original tales.However,the new generation of film critics such as Truffaut and Godard questioned this view with a new set of criteria.Godard considered that Ophüls’exquisite camera movements were not“excessive luxury”,but rather a form of content that naturally emerges at the end of a curve like a“sketch”,which is itself“another content”.He refuted Bazin’s criticism of Le Plaisir by quoting it at the end of The Image Book.

关 键 词：马克斯·奥菲尔斯 巴赞 戈达尔 奢华 素描 

分 类 号：J905[艺术—电影电视艺术]