Territories
| 导演： | 伊萨克·朱利恩 |
| 制片国家/地区： | 英国 |
| 类型： | |
| 年代： | 1984 |
| 片长： | 25分钟 |
| 豆瓣评分： | 0 |
| 影伴评分： | 0 |
剧情简介
Looking at the history of Carnival in Britain as a subversive phenomenon, Territories views cultures and languages as markers that attempt to define the boundaries of both metaphorical and real territories. The film juxtaposes — and often superimposes — original and archival materials: footage of festive street life and rioting during Carnival, of police surveillance, of white ... (展开全部)
Looking at the history of Carnival in Britain as a subversive phenomenon, Territories views cultures and languages as markers that attempt to define the boundaries of both metaphorical and real territories. The film juxtaposes — and often superimposes — original and archival materials: footage of festive street life and rioting during Carnival, of police surveillance, of white and black British men and women exchanging desiring and alienated glances while vying for control of social space, and of the desolate urban evidence of abandonment and neglect.
“In Territories, the growing power of organized sound and music counterpoints the visual montage and is articulated with it aesthetically. Our narrators sit at a Steenbeck editing machine, underscoring their responsibilities as mediators, but the DJs and MCs who make up People’s War are not positioned at that distance. Under the time-stretching impact of what we must call a dub aesthetic — one grasping the shock that only the unintelligible can communicate — the film demands to be encountered as a remix. Its repeated phrases, oscillations, and orchestrations depart from reggae; their relocation to the gray northern metropolis has opened them to the emergent power of hip-hop and what we used to call ‘electro’. ... Here is the demotic pulse of a truly populist modernism and we do ‘Feel Like Jumping’. Its dissident spirit is propelled by the energy of ritual repetition, of ceaseless versioning. “ (Paul Gilroy)
Looking at the history of Carnival in Britain as a subversive phenomenon, Territories views cultures and languages as markers that attempt to define the boundaries of both metaphorical and real territories. The film juxtaposes — and often superimposes — original and archival materials: footage of festive street life and rioting during Carnival, of police surveillance, of white ... (展开全部)
Looking at the history of Carnival in Britain as a subversive phenomenon, Territories views cultures and languages as markers that attempt to define the boundaries of both metaphorical and real territories. The film juxtaposes — and often superimposes — original and archival materials: footage of festive street life and rioting during Carnival, of police surveillance, of white and black British men and women exchanging desiring and alienated glances while vying for control of social space, and of the desolate urban evidence of abandonment and neglect.
“In Territories, the growing power of organized sound and music counterpoints the visual montage and is articulated with it aesthetically. Our narrators sit at a Steenbeck editing machine, underscoring their responsibilities as mediators, but the DJs and MCs who make up People’s War are not positioned at that distance. Under the time-stretching impact of what we must call a dub aesthetic — one grasping the shock that only the unintelligible can communicate — the film demands to be encountered as a remix. Its repeated phrases, oscillations, and orchestrations depart from reggae; their relocation to the gray northern metropolis has opened them to the emergent power of hip-hop and what we used to call ‘electro’. ... Here is the demotic pulse of a truly populist modernism and we do ‘Feel Like Jumping’. Its dissident spirit is propelled by the energy of ritual repetition, of ceaseless versioning. “ (Paul Gilroy)
