昆西四季

片子是关于John Berger的(《观看之道》的作者)。看完之后，忽然想起了西方式的知识分子的感觉，大家会坐在一起认真讨论“现代性”，人们在当代失去了什么。他用一字一顿的方式用语言描述着他想要描述之物，开始我会觉得这是“理性”的（而摒弃了感性的觉知），但看到后面，觉得他是在用一种传统的“英国式”的笨拙的理性方式在达致他认知的深处。那种欧洲式的相互尊重，讨论的感觉真好啊。

最后一幕是他教一个来自英国城市的女孩骑摩托车，女孩依然带着某种腔调，尽管她对学机车这一经历显得很期待，但她和John Berger试图通过这一方式传达乡村physical生活之体验的意图不在一个层面上。John Berger是从城市来，想要在乡村寻找自己的lost hometown的一代，他在乡村找到了他hometown的一部分（尽管那也许有些基于知识分子对于乡村生活的想象），但这一感悟/经验依然无法传至下一代，如同他父亲对于战争的经历无法传递给他。

想起来，欧洲从几百年前便已脱离了乡村生活开始工业化，人们大多是lost hometown的状态的吧，只是有的人会找寻有的人只是活着。那样的乡村的感觉，我在想，和中国的乡村的感觉有什么不同吗？也许本质上没有，但基于不同的语境/想象。

知道这部纪录片，是因为《观看之道》。看完《观看之道》后，对约翰·伯格深表佩服，于是顺藤摸瓜地找到了这部片子。在看之前，我就知道我自己一定会喜欢的，有思想的艺术家再加上优美的自然风光，我没有理由不喜欢。

片中有许多我很受启发的话，印象最深的是其对农村生活的理解。可能很多人会觉得农村生活闭塞，远没有城市生活精彩，但人所不知的是，乡野一年四季风光不同，广阔而值得探索，自然对我来说，是最贴近本真，最具有无穷乐趣的地方，更别说可以吃上自己亲手种的蔬菜瓜果，我很欣赏《瓦尔登湖》作者的精神，但真正想过的还是这种悠然惬意的半隐居生活，但这基本上都是功成名就之后才会去选择和能拥有的，念此，只能羡慕。

这个片子还有很多有意思的地方，不过我关注的重点总是乡居生活，中毒太深。有些东西我也不太懂，如讲政治那一块。被约翰·伯格对他父亲的回忆和对妻子的深深爱意感动。

我希望我能坚持去看他写的书😂。

在群里种草的传记片，不同的拍摄班底用散文诗般的短片桥接John Berger的生命片段。

冬天的木屋内，他与同日出生的Tilda在昏暗的吊灯下削着苹果聊起各自的父亲，战争和历史的沉默。想起之前看《四个春天》，过场间穿插着的也是枯枝和鸟，屋檐和猫，远山未融的雪和雾。乡下的农场里，年轻人向他问起政治和暴动，他说，十岁的牛已经年老，二十年寿命的马也已经高龄，可对于农民而言，死去的总被新生的不断替代，十年寿命的羊总是生生不息，所以羊群的寿命总比牧羊犬长久。九十分钟的电影定格在驾驶摩托逐渐远去的背影里。

大概生命总是轮回，“如果你将来到这个世界，那你最好出生七次。一次在着火的房子，一次在结冰的洪水，一次在疯狂的精神病院，一次在成熟的麦田，一次在荒无人烟的修道院，一次置身于猪圈的猪群间。六个婴儿都在啼哭，可你必须成为第七人。当你为生存而战时，让你的敌人看到这七个人。一个周日远离工作，一个周一开始工作，一个无偿教书，一个通过溺水学会游泳，一个做森林的种子，一个受自然先祖的庇护，但仅有这些手段还不够，你必须是那第七个人…。”

btw，认识他的时候才知道，某个冬天里他已经动身去了方舟，希望仍路上的我们在生活里也能保持炙热和真实，一起庆祝每个值得坦荡的日子。

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。

in the monopolistic religions, i mean，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?

“在道德观念强烈的宗教里，有天堂和地域的概念。会有不同的表述，但是就这两个类别。有个值得一问的问题就是，在地域里，团结才重要，而不是在天堂，对吗？”

喜欢Tilda 读的声音

The Seventh (A hetedik)

Attila József

If you set out in this world,

better be born seven times.

Once, in a 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 enemy 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

影院好读版

版权归作者所有，任何形式转载请联系作者。

作者：Lizard（来自豆瓣）

来源：//www.douban.com/note/730369270/

《約翰‧伯格的四季肖像》由四個短片構成，並以英國作家約翰伯格本人的話語以及其作品帶出每一章節的主題，這是身為好友的仙女演員蒂妲絲雲頓替他拍的作品，除了她登場之外，她的雙胞胎兒女夏維耶與安納也出演本片，四個短片風格各異， 然而說的都是對於生活與生命的反思。

第一個短片裡，我們可以看到的是蒂妲絲雲頓與約翰‧柏格這兩個同一天生日的人在冰天雪地圍繞的小屋子內，一邊談論彼此的父親，一邊作蘋果派，這是一個很好的開頭，因為無論是蒂妲絲雲頓或是約翰伯格的嗓音都非常好聽，搭配上悠揚的配樂，我第一個想法是，能夠在冬天這樣與朋友聚在一起這樣聊天，又或者甚麼都不說，真是人間享受，約翰伯格幫蒂妲絲雲頓畫了自畫像，而蒂妲絲雲頓則朗誦了約翰伯格之前所寫的詩《自畫像》，在寒冬的襯托之下，兩人一起完成的蘋果派吃起來更加美味。

第二個短片是關於動物與死亡的，在不久之後，蒂妲絲雲頓的一雙子女拜訪約翰伯格時，他深愛的妻子貝佛利去世了，於是政治的討論被擱置，而約翰伯格從死亡談到動物，因為死亡將人與人隔絕開來，而動物將人與其他動物隔絕開來。約翰伯格複誦著如咒語般的「每只獅子都曾是『獅子』、每只公牛都曾是『公牛』」年輕的約翰伯格在陳舊的影像裡，從農村生活談論某種語言所賦予家畜的永恆性，對於海德格強調的以人為本的此在，約翰伯格表示懷疑，人是刻意把自己與他人及動物中隔絕出來的，透過語言，人們迴避了動物對人的凝視，而動物最終也將遷徙回方舟，只留下人類。

第三個短片是關於當代政治以及絕望，夥同一眾知識份子，約翰伯格談到的是當代政治人物的不負責任，以及投機金融份子對世界的危害，而同時在這部短片內也交雜人民們的集體勞作以及歌聲，可以說左派風格十足，然而歌聲中並沒有悲傷，而是奮勇。約翰伯格認為這個時代歌曲的傳頌比過去更有效，眾人談論故事的形式，然而略諷刺的是影片後段，人民的聲音作為背景音，這一伙知識份子在木屋內暢飲，而為了平衡這影像，隨後的談話裡，約翰伯格重提勞動的重要性，只有勞動才能真正融入土地，只有勞動，才能讓人既見證，也在場。

第四個短片是雙胞胎先去見約翰伯格在巴黎美麗的家，然後他們又去見了約翰伯格的兒子，他也住在鄉間，並與父親一樣充滿對土地自然的敏感，他說父親一直以來都沒有「家鄉」，除了母親，而當母親死了，他更缺乏「家鄉」了，影片後段，他們如約翰伯格要求的一起去採了覆盆子吃來紀念貝佛利。

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.