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《奥菲斯的遗嘱》(Le testament d’Orphée)是让·谷克多(Jean Cocteau,1889-1963)最后一部电影作品,于1960年问世,同时也是奥菲斯三部曲中的终结章。仿若一本私人语录,垂暮之年的导演在电影中固执地述说着一生追求的超现实的艺术理念,这部电影更像是他留给艺术界的遗嘱。沿袭了前两部电影的角色设定和意境勾画,这部电影同样弥漫着哲学化的诗意和瑰丽奇特的大胆构想,重复着关于生死轮回的思索。该论文主要通过《奥菲斯的遗嘱》的镜头语言,看兰波的诗歌《地狱一季》中,其超现实主义思想对影片的影响。
The Le testament d’Orphée was the last film by Jean Cocteau (1889-1963), which came out in 1960 and ends in the Orpheus trilogy chapter. Like a private quotation, the director of the twilight years in the film stubbornly described his life’s pursuit of surreal art concept, the film is more like he left the will of the art world. Following the character set and artistic conception of the first two films, this movie is also filled with the bold and imaginative concept of philosophy and magnificence, repeating the thinking about the cycle of life and death. The thesis mainly uses the lens language of “Orpheus’s Wills” to see the influence of Surrealism on the film in Rimbaud’s poem Hell One Season.