《雕(🆓)像(xiàng )(⛲)也(✒)会死亡》（Les statues meurent aussi，阿兰·雷(🥩)乃、(😧)克(kè )里(📿)斯·马尔(🎲)凯，1953年出品，27分(🔸)钟）尖锐地批(pī )评了(🕯)西(👁)方殖民主(🔲)义对(🛹)非(fēi )洲传统艺(yì )术的戕害(hài )(🎫)以及自(😚)称(🍮)热爱(ài )非洲艺术的上等(děng )阶层的贪婪(lán )(🔊)与伪善(shàn )。本片(piàn )的(🚣)主角(jiǎo )是来自(zì )黑(🛑)非洲的人物(❔)雕(💱)像、面(miàn )具(🌊)和其他(tā )非洲艺术品，但(dàn )是它们的演(yǎn )出场所(suǒ )(👓)并(bìng )非(🙉)黑人的故乡，而是白人(rén )的欧洲，艺术(⛳)品(😍)市场(👺)和艺(🏯)术品拍(pāi )(🥕)卖(🕐)会是它们(men )频频出(chū )没和滞留的(de )中转地(💹)。这些本(🍑)来被非洲(zhōu )部族(zú )用来抵(dǐ )抗(🏻)死亡(wáng )的面具和(hé )雕像(xiàng )，如今却呆在博物馆的橱(🏒)窗里静静地死去(📧)。此(😙)时，画(huà )外(🔤)音(yīn )告诉(sù )(📸)我们：(👵)“当(dāng )人死(🐞)去的时候，他便(🔎)进入了历史(🐖)；当这些雕像死去(📞)的时候，它(tā )们进入(rù )了艺术(shù )；(📤)这种关于死(sǐ )亡(wáng )的学问，我们最后称之为文化(huà )。”由于(yú )本片(piàn )具有(yǒu )鲜明而强烈(liè )的社会批判意识，自拍竣之日(😲)起即遭到法国政府禁(jìn )映，直(zhí )到(🚓)1963年才(cái )(🏗)解禁。本(běn )片由长于剪辑的阿兰(lán )·(🏗)雷乃操刀(dāo )剪辑，由强于写作的克里斯(sī )·马尔(😙)凯撰写解(jiě )(🕤)说，充分(fèn )发(🌲)挥了两人各自的强项，可(kě )谓强强合作的结晶(❗)。
　　(🃏)This collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker's characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.