驅黑咒語

HKIFF 2014 第三回:01/04/2014 @ agnes b. cinema

A Spell to Ward Off the Darkness (2013) / Ben Rivers & Ben Russell

A Spell to Ward Off the Darkness (2013) / Ben Rivers & Ben Russell

第一次於電影節中選看「前衛眼」類別的電影。根據以往看實驗電影的經驗,進場前已有心裡準備會隨時中招。然而,這次沒有看得不明不白。以實驗電影來說,《驅黑咒語》的主題算是鮮明易懂,電影以靜態的畫面去營造一個空間,把時間拉長,或是將聲畫錯置,扭曲時間。或者因為曾經看過類似的表達手法,所以對我來說沒有驚喜,但背後的用意仍然值得思考。

片中分了三個部份來探討北歐文化信仰的核心:Commune、Solitude、Black Metal Music。無名字的主角由音樂人Robert Aiki Aubrey Lowe飾演,他穿梭於幾個場所,首先路過一個集合不同背景人士的公社,然後獨自一人遊蕩於北歐林間和湖泊,最後來到隱蔽的live house參與一場黑金屬搖滾演出。主角從頭到尾不發一言,他在參與各種與他人有關的活動,但同時與所有人保持距離。不刻意融入,也沒有脫離,只是適當地把周遭發生的一切置身其外以保持自我。這不就是我所追求的人生態度嘛?(遠目)

實驗電影中最常探討的便是聲音。在《驅黑咒語》中,聲音不僅包括環境聲、人們的對話、黑金屬音樂,沉默也是其中一個重要角色。在黑暗中特別能察覺沉默的存在,也只有面對沉默才能迫使人面對真正的自己。(所以沉默也有著溝通的功能?)網上亦有人對片中的沉默(Silence)作出詳盡的文字分析:

“The three-part dialectical progression of A Spell (commune à solitude à black metal scene) unveils the question of silence as an intensive, darkening invalidation of discursive human identity, an increasingly powerful warding off of its terrible psychic spell.

In the first stage, silence is a presence hovering within and without human conversation, disclosing it’s essentially hallucinatory, centrifugal, and hypocritical structure. Everything that is said within this phase, however meaningful or senseless, is absorbed and cancelled by the parallel silence of camera and protagonist. Here silence is something erasing human identity from within human nature itself.

In the second stage, silence is what haunts human self-presence and aloneness in the minute and expansive forms of the external world. All of the natural and cultural objects of human attention here appear submerged in silence, existing within their own kind of visible yet inaccessible stasis, so that the movements of the protagonist communicate arbitrariness and absence of purpose beyond whatever is necessary to maintain stillness. Here silence is a planetary-cosmic presence cancelling the human centripetally from without.

In the third stage, silence is what secretly unnames the human inside the negativity of its own desperate self-representation, in the shared a-community of musical non-belonging. This is a deeper and higher vertical silence, a positive world-silencing silence heard in music’s negativity as a force driving logos into itself, into the unlying inner word—pure yes/no… Here silence is a third presence cancelling the human identity from internal and external nature, at points of impossible unity between center and periphery. Simply: the silence directly seen within the reflective human face, in some more than others.”

聲音與影像的關係也是最常涉獵到的課題。在黑金屬演出一段中,畫面不斷特寫團員們那化了妝的白臉,集中注視他們慢慢彈奏到開腔演唱,不過越看下去便會發現聲畫開始脫軌。一如所料,導演意圖讓觀眾注意自身的觀影位置,以及對時間空間的自覺: “It is more like time as a trick, rather than editing as a trick : the temporal shift is there to allow the possibility for cinema to act psychically, to operate outside the time we experience in reality. This move also helps to focus the attention of the film viewers on themselves.” 雖然這手法談不上新鮮,但能簡單直接帶出動機。

關於觀影過程,說實在是有點鬱悶,不是因為那些近乎靜止的長鏡頭,也不是因為非敘事形式讓人納悶,而是身邊坐了一對全程郁來郁去玩手指的煩膠情侶,我被嚴重干擾到無法集中精神。幸而最後黑金屬音樂像降鬼般把他們鎮壓至完場。看來電影需要驅逐的不是黑暗,而是這些劣質觀眾。

參考:
Ben Russell, 2014 – Débordements
The Whim: Silence: A Darkness to Ward Off All Spells

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