We taught him not to carve farther than the tip of his nose. Mask which participates of both beast and man. The enigma begins right now, here, with this poor art, this art of hardwood, with this plate for divination, for instance. Les statues meurent aussi (1953). And then they die, in their turn. Réalisé par Alain Resnais, Chris Marker. Conformément aux directives gouvernementales de lutte contre la propagation du Covid-19, le musée du Louvre et le musée national Eugène-Delacroix sont fermés jusqu'à nouvel ordre. There would be nothing to prevent us from being, together, the inheritors of two pasts if that equality could be recovered in the present. « Quand les hommes sont morts, ils entrent dans l'histoire. The harnessing of malevolent forces. There is less idolatry here than in our saints’ statues. Regarder, voir film les statues meurent aussi en streaming vf, vostfr, vo complet et illimité en français sur streamingma en bonne qualité HD sans limite et coupure But this brotherhood in death is not enough for us. Images via: https://www.cineclubdecaen.com/realisat/resnais/statuesmeurentaussi.htm, Resnais. Cult of the world. This botany of death is what we call culture. Into this country of gift and exchange, we have introduced money. From such heights, Africa is a wonderful laboratory where it is possible to partially prefabricate the kind of good black dreamt up by the good whites. And these statues are mute. Bikoro's work explores narratives about community, political interventions, memory and heritage. Et à ce moment-là, les assimilationnistes sont obligés de céder du terrain parce que la France n’a pas les moyens de cette ambition. Quant à nous — est-ce un hasard ? And their eternal countenance takes, sometimes, the shape of a root. En octobre 1964, le ministre de l'Information Alain Peyrefitte informe le producteur qu'il a décidé de lever toute interdiction liée à l'exploitation et l'exportation du film. Réalisé avant le processus de décolonisation qui débuta en 1955, le film fut interdit de diffusion pendant dix ans. And it is the same art. A  & Marker. Animal shapes like the one over this weaving bobbin, plant shapes like the ones over these ornamented boxes, all of creation moves in formation under the fingers of the black artist. Classified, labelled, conserved in the ice of showcases and collections, they enter into the history of art, paradise of the forms where the most mysterious relationships are established. Against the Christian paradise and the lay immortality, the cult of ancestors evaporates, the monument to the dead substitutes for the funeral statue. Look carefully at their scars, this magnetic field where every shape from sky and earth comes into being. Cette année-là (l'année de nos onze ans), ce simple geste revêtait un spectaculaire saut d'énergie dans notre subconscient de petits colonisés. These heads don’t have to be frightening, they have to be fair. Chris Marker and Alain Resnais, France, 1952–53, 30 min. After the Frisians, the monsters, the helmeted Atrides of Benin, all the vestments of Greece over a people of a sect, here are their Apollos from Aifé which strike us with a familiar language. And witness here, far from the appearances of black art: for the art of communion, the art of invention finds accomodations within this world of loneliness and the machine. Partant de la question « Pourquoi l’art nègre se trouve-t-il au musée de l’Homme alors que l’art grec ou égyptien se trouve au Louvre[1] ? The black statue is not the God, it is the prayer. And we can take its light for a smile, or else its glow for a tear, and feel touched, on the condition of knowing that these images ignore us, that they are from another world, that we have nothing to do in this gathering of ancestors who are not our ancestors. Black was already the color of sin. In order to lift it up again, the Church attempts a métissage: the black-christian art. Notes : Les Statues meurent aussi fut commandé par la revue Présence Africaine (pour laquelle écrivirent notamment Aimé Césaire et Jean-Paul Sartre). One realizes that this creation has no limits, that everything communicates, and that from its planets to its atoms this world of rigour comprises by its turning the world of beauty. Here is Africa in the 11th century. They have mouths and don’t speak. Here is the first division of Earth. Achat Les Statues Meurent Aussi Ode Au Grand Art Africain à prix bas sur Rakuten. During the last third of the film, the modern commercialisation of African culture is problematised. He catches ours, it is certain as well. Pas en 1958 ! Nations which are endowed with racist traditions find it all the more natural to trust to men of color the concern for the nation’s olympic glories. "Les statues meurent aussi" est un court métrage documentaire sorti en 1953 mais censuré pendant 11 ans en raison de sa critique radicale du colonialisme. (n.d.). Commissioned by the journal Présence Africaine, this film offers reflections on the significance of African objects as gathered in ethnographic museums in Europe and as originally produced. In this way, by the side of the black-slave, appears a second figure, the black-puppet. Birgit Kämper / Thomas Tode, *Intervista con Alain Resnais", in Bernard EISENSCHITZ (ed. Our ancestors can look at each other face-to-face without looking down with empty eyes. Néanmoins, selon les comptes rendus des séances de la Commission visant à évaluer le film, auxquels on a désormais accès, les réserves étaient liées au « caractère tendancieux et subversif du commentaire qui accompagne ce film (notamment dans sa deuxième partie) » ainsi qu'à « la tendance exprimée tant par certaines images que par leur commentaire qui sont de nature à susciter des réactions contraires à l’ordre public »[3]. Black upon black, black battles in the night of time, the sinking has left us only with this beautiful striped wreckage which we interrogate. The religious dance becomes spectacle. Try to distinguish here which one is the Earth and which one is the cloth, which one is the black skin and which one is the Earth seen from an airplane, which one is the bark of the tree and that of the statue. It presents sometimes with magic a strange relationship of gestures. And they are not so much idols as toys, serious toys which have no value except for what they represent. And the world is the cloth of the gods, where they received man. We don’t know any more. And when it’s no longer for play, when the blacks, for instance, join the labor struggle, it’s the blows of guns and batons that break up the demonstrations. Les statues meurent aussi Le 27 janvier 2012 par Alain Resnais , Chris Marker Les statues meurent aussi est un documentaire français réalisé par Chris Marker et Alain Resnais sorti en 1953. Il ne faut pas oublier ça. Il ne suffit pas de détruire ces monuments, il faut aussi déconstruire les procédures intellectuelles qui ont présidé à leur érection 1 ». But at the same time it receives this title of glory, black art becomes a dead language and that which is born over its death is the jargon of decadence. UTILITARIAN ART / UNKNOWN ORIGIN / UNKNOWN ORIGIN. Available from: https://www.youtube.com/watch?v=hzFeuiZKHcg&t=908s [Accessed on 1 Nov 2018]. Inspirée par le mythe de Pygmalion et du film Les statues meurent aussi d’Alain Resnais et Chris Marker (1953), Marlene Monteiro Freitas convoque des figures transgressives et outrancières dans un bal halluciné. We buy the blacks’ work and we degrade it. Who loses and who wins in the exchange has been of no concern whatsoever. [French Transcript] Cineclubdecaen.com. From age to age, as its shape slowly unravelled, Africa was already the land of enigmas. Art of the provisional, whose ambition is not to last, but to witness. With Jean Négroni, François Mitterrand, Pope Pius XII, Sugar Ray Robinson. On l'aurait imaginer qu'on se serait protéger avec un contrat. Because there is no rupture between African civilization and ours. In the last century, the flames of conquerors turned this whole past into an absolute enigma. The Exotic Other : Statues Also Die (Les Statues Meurent Aussi) (1953) Posted on March 15, 2016 March 16, 2016 Categories Art , Colonialism , Film Tom Denison, Centre for Organisational and Social Informatics, Monash University God showed him the way, he imitates God and this is the way in which he invents man. La guerre d’Algérie commence en 1954, Les statues meurent aussi c’est à peu près la même période. Quand les statues sont mortes, elles entrent dans l'art. Because they are written on wood, we take their thoughts for statues and we find the picturesque there, where a member of the black community sees the face of a culture. This collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Art of transition for a period of transition. It is always against death which one fights. Colonizers of the world, we want everything to speak to us: the beast, the dead, the statues. Everything here is about cult. Ils appelaient ça du « viol de foule »[6]. Et dont certaines sont toujours à l’œuvre. Some critics condemned Hiroshima mon amour for its sympathetic treatment of the heroine, once a wartime collaborationist and… Directed by Ghislain Cloquet, Chris Marker, Alain Resnais. Other articles where Les Statues meurent aussi is discussed: Alain Resnais: Les Statues meurent aussi (1953; Statues Also Die), his study of African art, was banned for 12 years for references to colonialism that he refused to alter. Here, man is never separated from the world, the same strength nourishes every fiber. She notes how the objects in Statues Also Die are shown almost as if they were alive: “Marker’s camera treats all subjects in front of its lens without differentiating between humans, statues, animals, landscapes, architecture, or signs. It is the whites who intend to take on the role of the ancestors. Where man affirms his reign over things by imprinting his mark and sometimes his countenance upon them. Et il est probable que relâché par une censure qui le garde sous clef depuis 10 ans, il décevrait. One day, their faces of stone crumble and fall to earth. It is much closer to us, that we are going to find the true black art, that which puzzles us. © 2021 University Arts London. Il aura fallu attendre 2012 pour que la municipalité de Vichy se débarrasse enfin de celle, déshonorante, de Pétain. (n.d.). Commandité par la revue Présence africaine à l’aube des décolonisations, ce documentaire interroge avec … And in sport the black can find, hoping for the best, a good terrain for mystifying the white’s pride. It will torment the living until it has taken on its former appearance. We recognize Greece in an old African head of 2000 years; Japan in a mask from Logoué; and still India; Sumerian idols; our Roman Christ; or our modern art. In the country where every form had its signification, where the gracefulness of a curve was a declaration of love to the world, one becomes accustomed to an art of bazaar. » À la levée de la censure, Resnais espérait que le film puisse être vu en Afrique, tout en souhaitant que les Africains arrivent à être indulgents face aux simplifications que le cinéaste considérait désormais comme « grossières », relevant de la spécificité du contexte de l'époque[5]. Les Statues meurent aussi / Statues also die. Movies that I want to watch online for free. And death is always a country where one goes forth at the cost of one’s memories. It recalls the creation of the world and continues it. Traveller’s tales spoke of monsters, flames, diabolical apparitions. The virtue of blood. But if their history is an enigma, their shapes are not foreign to us. — ni Chris Marker ni moi ne reçûmes de propositions de travail pendant trois ans[7]. Il fut commandité par la revue Présence africaine. A civilization leaves behind itself these mutilated traces like the pebbles dropped by Petit Poucet (Charles Perrault). Pour plus de détails, voir Fiche technique et Distribution. But, winner of the body, death cannot do anything against the vital strength spread through every being and which composes its double. (n.d.). Links are under notes. The particular beauty of black art is substituted by a general ugliness. Everything unites against black art. The intentions of the black who created it, the emotions of the black who looks at it, all of that escapes us. But that which we make disappear from Africa doesn’t count for much among us compared to what we have in store. Endnotes Chris Marker had reportedly made a number of “amateur” films prior, and his first released feature as a director was Olympia ’52 (1952), documenting the games. One says “yes, yes, yes”. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. We cure the black of his diseases, it is certain. Through life, this double takes sometimes the form of the shadow or of the reflection in the water and more than one man gets angry for being hit right there. Text by Chris Marker, ed. Le film devait porter sur ce qu'on appelait à l'époque l'art nègre, très en vogue en Europe dans les années 1910-1920[2]. La dernière modification de cette page a été faite le 24 février 2021 à 18:09. They are the roots of the living. La production, quant à elle, devait être assurée pour moitié par Tadié Cinéma Production et pour l'autre moitié par Présence africaine[3]. A chalice is not an art object, it is a cult object. Il y avait encore une sorte de rêve assimilationniste en France. Statues Also Die. Les Statues meurent aussi: Filmnotes @ PFA. Please seek permission before sharing or reproducing any content. ». Mais, de fait, il n'y avait pas de contrat entre nous et l'association"[4]. It is not very useful for us to call it religious object in a world where everything is religion, nor to speak of an art object in a world where everything is art. Ce joint alors à eux Ghislain Cloquet, jeune chef opérateur, en charge des prises de vue. Si vous êtes fan de lecture depuis des années, découvrez sans plus tarder toutes nos offres et nos bonnes affaires exceptionnelles pour l'acquisition d'un produit Les Statues Meurent Aussi Ode Au Grand Art Africain. Statues Die Also/Les Statues Meurent Aussi can be seen on YouTube, in both its original form, and with subtitles. That’s because we are the Martians of Africa. The film argues that colonial presence has compelled African art to lose much of its idiosyncratic expression, in order to appeal to Western consumers. Art of the present time, between a lost greatness and another to conquer. Sometimes, one says “no”! His strength serves us, his prowess amuses us, on the side, he serves us as well. We want to see suffering, serenity, humor, when we know nothing. And the sorcerer captures in his mirror the images of this country of death, where one goes by losing one’s memory. Those fibers, among which, the foremost sacrilege, lifting the Earth’s skirt, has discovered…. Look well at this technique, which frees mankind from magic. Uploaded by cerebrodepao on 19.08.2012. These great empires are now dead kingdoms to history. And yet, once beyond deserts and forests, which he believed to be bordering on the kingdom of Satan, the traveller discovered nations, Palaces. This wooden cup is a chalice. After its first screening at the Cannes Film Festival in 1953, and in spite of winning the Prix Jean Vigo in 1954, Les Statues meurent aussi was banned in France by the Centre National de la Cinématographie between 1953 and 1963 owing to its controversial anti-colonialist stance. Also an art of portraits. « Il faut situer ce film au début des années cinquante où effectivement le colonialisme n’était pas mort et les grands débats n’étaient pas encore tranchés. We disembark from our planet with our way of seeing, with our white magic, and with our machines. Shades of Noir is an anti-racism platform that provokes, challenges and encourages dialogue and cultural value through its programme of activities on the subjects of race within art, design and communication Higher Education and the creative & cultural sector. http://sensesofcinema.com/2012/feature-articles/statues-also-die-or-schroedingers-black-cat/, https://www.cineclubdecaen.com/realisat/resnais/statuesmeurentaussi.htm, https://www.youtube.com/watch?v=hzFeuiZKHcg&t=908s, https://en.wikipedia.org/wiki/Statues_Also_Die, https://chrismarker.org/les-statues-meurent-aussi/, https://www.tate.org.uk/whats-on/tate-modern/magiciens-de-la-terre-reconsidered/magiciens-reconsidered-1-exhibition-screen, http://transcriptvids.com/v/hzFeuiZKHcg.html. An art of the flower-pot, the paperweight and the souvenir pen-rack, where one sees, transparently, the Tower of Babel. Sur cet entretien, il dit : « Quant à eux, ils savaient tout ce qui se passait en Afrique et nous étions même très gentils de ne pas avoir évoqué les villages brûlés, les choses comme ça ; ils étaient tout à fait d'accord avec le sens du film, seulement (c'est là où ça devient intéressant), ces choses-là, on pouvait les dire dans une revue ou un quotidien, mais au cinéma, bien que les faits soient exacts, on n'avait pas le droit de le faire. But history has devoured everything. Il y avait encore une sorte de rêve assimilationniste en France. At a young age, in 1953, together with Chris Marker and Ghislain Cloquet, he made the short documentary film Les statues meurent aussi (“Statues also die”), narrated by actor Jean Négroni. Cette botanique de la mort, c’est ce que nous appelons la culture." It is its smile of Reims that she gazes upon (a city in NE France: cathedral; unconditional surrender of Germany May 7, 1945.). [online] Available at: Marker, C. (2008). Hogfather 1,252 films 1,432 111 Edit. It happens that he cries “foul” when things are turning out bad. A god made these gestures. C, (1953) Les Statues Meurent Aussi (Statues Also Die). In this performance she will be engaging with the history of the Pitt Rivers Museum and referencing the 1953 film 'Les Statues Meurent Aussi' that featured a number of African masks and sculptures from General Pitt-Rivers' private collection. All Rights Reserved. These fake jewels, which the explorers offer to the savages in order to please them, end up being sent back to us by the blacks. Free movies on YouTube, Vimeo, and with subtitles érection 1 » the emotions the! Et de justification ont été tentées et ont toutes les statues meurent aussi youtube à des échecs contact with our.... Documentaire français réalisé par Chris Marker par l'association française Présence africaine in 1950 loses and who wins in the segment. 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