昆西四季

第一段是Tilda和伯格的老友记，说到了同天生日和同为军人子女，借由自己家庭经历讲人类经验传递“历史从不自断舌根”。致敬Ways of Seeing

第二段讲人类与动物的观照（恰遇伯格妻子逝世），其中有名与实、语言与存在的问题，一头狮子曾是狮子，引德里达说“我所是的动物”，对它者的探讨，语言（不通）是人与动物之间的一道深渊，海德格尔说语言是存在之屋人通过语言预知死亡然后向死而生，伯格说别闹啦我们作为会死的动物去说动物不理解死亡不是很可笑么。

第三段讲政治与叙事，自由主义经济失败但是意识形态输出成功，以至于毫无alternative，左翼要集合力量，资深老左伯格发问：well在地狱里我们才需要团结，天堂里，不存在的，不是吗？大家尬笑。红色歌曲蒙太奇。

第四段回归昆西乡野，用镜头语言讲人如何生活在自然中，伯格说在乡野你总是有一个horizon，四季不是降临在你身上，而是与你共生inhabit。钢琴配乐new age风。

总结：相约昆西，伯格的哲学课。

这部纪录片分四个部分，有两个主角。处在全片核心的这一位是作家、画家、有时还会出现在很多纪录片里当解说员的John Berger,另一位是近些年经常出现在国际电影节上的女演员Tilda Swinton，也是本片的四位导演之一。两人都来自于伦敦，生日在同一天，父亲都曾参军，却是年龄相差34岁的忘年好友。这部纪录片的标题，也就是两人对话的起点，就在阿尔卑斯山脚下的Quincy，John Berger大部分的时间都住在这里。Swinton从削苹果的方式共情到两人对父亲的回忆，然后在不同的素描画像中感受对方的心境，再到生活中的趣事。展现了一个脱离了艺术家身份的John Berger。跟如今的很多纪录片相比，这部纪录片的规模算是比较简陋，除了两位大名鼎鼎的当事人。但是里面的情感共振还是挺强的，他会说出一些看似平淡随意却让人感受到大量信息的话，例如：“劳动才能让你更好的融入土地。”Swinton读的那首诗很打动我，叫《第七个》，也是John Berger的著作：“如果你要来到这世界上，最好出生七次，……你自己必须是那第七个。也许意识到一切皆是轮回，这位老人才显得如此睿智，有力量。可惜的是，本片上映的第二年，他就去世了，也是在一个冬天，白雪覆盖了阿尔卑斯山。

会听会看会思考——《昆西四季》

今天聊聊电影《昆西四季》。

片名The Seasons in Quincy: Four Portraits of John Berger (2016)，别名约翰·伯格四季肖像(台)。

本片是一部英国传记纪录片，影片于2016年2月13日在第66届柏林电影节上首映，拍摄记录了英国艺术批评家、作家约翰·伯格最后的一段时间。

约翰·伯格（John Berger）出生于1926年11月5日，2017年1月2日去世。他是当代英国艺术评论家、作家、画家、编剧，被誉为西方左翼浪漫精神的真正传人。

上世纪70年代，他凭借一部《观看之道》颠覆了人们对于传统西方美学的认知，1973年之后便在阿尔卑斯山脚下法国南部小镇昆西定居长达40余年。

本片与传统意义的纪录片有较大不同，并没有简单的记录主人公生活经历，而是选取了他生活中的几段重要经历。

《昆西四季》由四部短片组成，四部短片之间相互独立又有关联，分别是《聆听之道》（Ways of Listening）《春》（Spring）《政治之歌》（A Song for Politics）和《收获》（Harvest），由蒂尔达·斯文顿、英国影视文化学者柯林·麦凯布、克里斯托弗·罗斯和巴泰克·茲耶多斯执导。

第一篇章《聆听之道》。

从篇名就在致敬约翰·伯格最为著名的纪录片《观看之道》。约翰·伯格当初成名就是靠着那部极富颠覆性的《观看之道》。

纪录片《观看之道》于1972年在BBC播出，通过质疑视觉图像背后隐藏的艺术形态问题，批判传统西方文化和美学。约翰·伯格凭借独到的观察力，从全新角度解读欧洲传统油画，对艺术史去神秘化，剖析艺术、艺术家和政治的关系，分析观看行为本身的意义与歧义。这些观点完全推翻了以往的艺术解读，拉近了普通人与艺术之间的距离，令人耳目一新。

约翰·伯格说：“如果我是一位讲故事的人，那是因为我懂得聆听。”《聆听之道》拍摄于冬季，用对话和聆听的方式开始讨论，这种开篇方式也挺符合老人家的“道”。

第二篇《春》。

如同篇名，讲述的就是春天里的故事。

春天里万物复苏，在本段约翰·伯格探讨了人与动物的关系。约翰·伯格将观察对象转移到动物身上，在随笔《为何凝视动物》（Why Look at Animals?）中写到：“动物看人时，眼神既专注又警惕。它看其他种类的动物，当然也可能如此。动物并非在看人时才有这种眼神。但是唯有人类才能在动物的眼神中体会到这种熟悉感。其他的动物会被这样的眼神所震慑，人类则在回应这眼神时体认到了自身存在。”

若说动物是最原始的隐喻，那是因为人和动物之间的基本关系是隐喻性的。

将人与动物之间的关系转移到不同阶级人类之间同样适用，虽然春天充满生的气息，在这个篇章的讨论中却包含着大量对立和消亡。

《为何凝视动物》原文可参考这里。

http://6tt.co/rDsP

第三篇《政治之歌》。

这个篇章就直白地多了，这个篇章中一群左翼青年来到约翰·伯格住所聚集在一起，热烈的讨论当下政治局势，就像夏天一样热烈。大家热烈的表达各自激进的政治主张，唾弃着资本主义社会的种种弊端，画面中不断穿插底层人士辛勤劳作画面，宛如一片火红的力量。

约翰·伯格用自己的实际行动支持黑豹运动，积极表达自己的革命意愿。

其实我觉得这种纸上谈兵也只能是口嗨，任何时候社会制度都要和当时的生产力相适应，谁都知道共产主义好，但生产力完全达不到的时候就强行实施，只能步子太大劈了叉。如果革命失败，更容易给敌人落下口实，成为资本家维护自身统治的工具。

第四篇《收获》。

秋季到了，这是收获的季节。整部影片在一片萧条皑皑白雪中开启，在一片轻快明媚阳光中落幕，十分圆满。

纪录片表面记录昆西的四季，实则也是约翰·伯格的四季。春华秋实，约翰·伯格的思想也开枝散叶，得以开花结果。

能够从他人思想中汲取有益元素，那么本片效果也就达到了。只要思想能够流传，创作者也就成了永恒。

会听会看会思考，

能讲能做能启发。

这里是硬核影迷集散地，欢迎关注公众号：妙看影视

1.The way of watching and listening to animals.

2.Storytelling about politics（actually everything）(2008 fake 《New York Times 》,which was an excellent program calls for our hope of Utopians—— looking forward to change that into reality.)

3.People are intended to forget. ( All the malicious and cruel stuffs cause by politicians or us humans)

4.Excess of information that isn’t organized will becomes noise.(Answer to opinion 3)

5.Peace in countryside——Marginal areas——closer to nature and origin.

6.Intellectual and homeland? One or another? Has that ever exist?

7.Maybe joining in Party is an access to me to wake up my responsibility to this time. It won’t be worshipping, but critical thinking and motivation to make changes.(In a way——another angle. Not compromise. )

8.I’m little addicted to Mysticism recently.

9.“Each lion was a lion, and each fox was a fox.”——John Berger

10.“If you set out in this world, better be born seven times. Once in the house on fire, once in a freezing flood, once in a wild madhouse, once in a field of ripe wheat, once in an empty cloister, and once among pigs in sty. Six babes crying, not enough. You yourself must be the seventh. When you must fight to survive, let your enemies see seven. One, away from work on Sunday. One starting his work on Monday, one who teaches without payment, one who learned to swim by drowning, one who is the seed of a forest, and one whom wild forefathers protect. But all their tricks are not enough, you yourself must be the seventh.”——John Berger

在纪录片《昆西四季：约翰·伯格的肖像》里，蒂达尔与约翰·伯格有一段饭桌前的对话。他们讲到了父辈对待子辈的态度。蒂达尔重复了约翰·伯格书里的观点：父辈总担心让孩子们了解过去的真相，怕他们会被伤害、污染；然而孩子们需要历史，只有了解历史，他们才能正常认知世界。蒂达尔又讲到了战争。她认为，人们不清楚的，并非战场上那些事，而是从战场归来之后的事。

当然，这不是全部。这部纪录片还谈到了人与动物的关联、政治对生活的影响以及城镇与农村之间的互相围城。以上一切主题，统统浸泡在时光里，由优美的摄影机记录在案，不容反悔。

大雨的上午，时间缓慢悠长。约翰·伯格的影像与遐思被定格。想到这位睿智的哲学家去年已经去世，我在邯郸非常伤感。

再看《昆西四季》，被片中更多的片段打动。对最近一段时间的自己启发很大，记录于此。

·战争的沉默

I mean, there’s one specific kind of silence which I personally struggled with, which is the idea of not talking to one’s children about such... possibly the inability to hand this on. You know, we talk a lot about handing experience on, “standing on each other’s shoulders”, and so the idea of your experience kind of being cauterized, and not handing it on to your children, such as my father’s generation. That silence is what I’m talking about.… And I suppose that they would say, “well, we fought so that we wouldn’t have to talk to our children about it, we fought so that our children wouldn’t know. But, “history cannot have its tongue cut out.”It doesn’t really work, that silence, because the curiosity and the need to know is still there. And they need to learn. It is not the going into battle that I find most difficult to imagine, it is coming back from battle.

The resistance of the word “inconsequential”. “To protest is to refuse being reduced to a zero and to an enforced silence. Our protests by building a barricade, taking up arms, going on a hunger strike, linking arms, shouting ,and writing, in order to save the present moment, whatever the future holds.”

·叙事，信息，与现代性

And each lion was lion, each ox was ox.

For me, a storyteller is like a passer. I mean that’s very like somebody gets contraband across the frontier. I mean, stories come to you all the time, if you listen if you listen, if you listen.

One of the features of our time is that people worship ideas. And objects, but ideas particularly. Quite arbitrary, without really understanding their meaning. I mean, take modern art. The idea of modernity, this is the criteria by which people judge things without really enquiring what makes things modern, if the thing is really modern.

I think the idea of information is power, that just more information informs a public has been disproved, right? I mean that is to say that the war crimes of the Bush administration or whatever, are just there in plain sight. But it was kind of like when you have such of this excess of information that isn’t organized, it just all becomes a kind of noise... And people are bored like there is too much of it.

In the monopolistic religions, there is this notion of Heaven and Hell. Different interpretations but these two categories. And it’s worth asking the question are the following: It’s in Hell where solidarity is important, not in Heaven, isn’t it?

The two things about John’s work that will always make me think of him as a political artist that really matters now, is that While there is a commitment-an unwavering commitment to a recognition of the hell that surrounds us and the need for solidarity, there is also an openness and attention to the sensual world that never goes away. It isn’t just baleful, it isn’t just suffering or despairing that even though it can lead to more suffering in a certain way, there is a commitment, a total commitment to being alive to the possibility of contingency and experience in the moment. The other thing is , even though there’s a commitment to talking about, preserving or memorializing or at least having a memory of modes of life and experience that have passed away, there is no nostalgia. And that, to me, is a big difference between the possibility of a kind of left storytelling and the Tea Party dressing up with historically inaccurate Revolutionary costumes. So that there’s a commitment to the possibilities of the world before us, in a sensory, sensual, libidinal, neurotic way, ’cause those energies have to be harnessed for the political. And there’s a commitment to memory and having a relationship to the dead that never degenerates into the seduction of nostalgia.

·乡村

Just as with the Internet and web, people live in an endlessly extensive present moment, with collections of the present absolutely unimaginable a little while ago. I mean, enormous extension, positive and negative in this way. But it is of the instant, but it’s as if were geographic and spatial. In the contry, and in a village like Quincy, that extension is vertical, and it’s to do with time. And that’s where the dead take prop. And the idea of children is not only all the natural reasons, but also a question of that continuity, that vertical continuity.

Interesting that for a peasant, the way he reads the landscape is completely different than ours, in the sense that what we would find, like a beautiful landscape, he could find beautiful equally, but for other reasons. That’s to say, the beauty would come from the value of the work that has been put into that landscape, which has shaped that landscape. Detail reveals something of the work done of it.

In the country where you are so open, and some kind of horizon is always there, you’re never shut in. Because you are open, every season has its particularities, some of which you like. In other words, a season isn’t something that befalls you, it is something that you inhabit.