导演：JeanRouch语言：法语地区:法国编剧：类型：纪录片/短片上映时间：2004-04-17 别名：MadMasters用户标签：纪录片,法国,短片,Jean_Rouch,JeanRouch,让·鲁什,documentary,1950s片长：36分钟imdb编号：tt0048363LesMaitresFousisabouttheceremonyofareligioussect,theHauka,whichwaswidespreadinWestAfricafromthe1920stothe1950s.HaukaparticipantswereusuallyruralmigrantsfromNigerwhocametocitiessuchasAccrainGhana(thenGoldCoast),wheretheyfoundworkaslaborersinthecity'slumberyards,asstevedoresatthedocks,orinthemines.Therewereatleast30,000practicingHaukainAccrain1954whenJeanRouchwasaskedbyasmallgrouptofilmtheirannualceremonyDuringthisritual,whichtookplaceonafarmafewhoursfromthecity,theHaukaenteredtranceandwerepossessedbyvariousspiritsassociatedwiththeWesterncolonialpowers:thegovernorgeneral,theengineer,thedoctor'swife,thewickedmajor,thecorporaloftheguard. 　　 　　TherootsoftheHaukalieintraditionalpossessioncultscommonamongtheSonghayandDjermapeoplesoftheNigerRiverbasin.Giftedmenandwomenmayentertranceandbecomepossessedbyanyofanumberofstronggods,suchasDongo,godofthunderandthesky.Supplicantsconsultthegodthroughthetrancingmediumandreceiveadviceabouttheirproblems,curesfordiseases,comfortandsupport,orreprimandsfortheirwrongdoings.Likethesetraditionalpossessioncults,theHaukasectco-existedwithIslamandincorporatedmanyIslamicsaintsandheroesintoitsrituals.MostofitsadherentswereMuslims. 　　 　　HaukafirstappearedinNiger,itisthought,inthepersonofaformersoldierwhoparticipatedinthesavagebattlesofthesecondGermanoffensiveofWorldWarIin1917and1918,inwhichWestAfricantroopsweredecimateddespitetheirspectacularperformance.ThissoldiermadethepilgrimagetoMeccaandreturnedtoNigerinthe1920s.Inhisvillage,inRouch'saccount,hefoundthepeople"doingatraditionaldanceandthesoldierwaspossessed,veryviolentlypossessed,andwhilepossessedhesaid'Iamtheavant-gardeofthenewgodswhoarecomingfromMalia[theRedSea].MynameisGovernorMaliaandIamthefirstofthenewgodswhoarecomingandtheyarethegodsofstrength'." 　　 　　TheHaukawerequicklysuppressedbytheFrenchauthoritiesinNiger,withthesupportoftraditionalchiefsandpriestswhofearedthepopularityofthenewmovementanditschallengetoestablishedauthority.ButtheHaukacultspread,evenwithinthejailwalls,andby1935theBritishadministrationinGhanaagainattemptedtosuppressitandtojailthecultists.FiresbrokeoutinresponsethroughoutAccra,andeventuallytherewasanagreementthatHaukapriestswouldlimittheirceremoniestocertainplacesandtoSaturdaysandSundays.Thiswasstillthecasein1954whenRouchfilmedLesMaitresFous,whichwasbannedbythecolonialgovernmentin1955. 　　 　　TheHaukamovementwasaphenomenonofthecolonialera.AftertheindependenceofGhanain1957,migrationwascontrolledandmanyHaukawhohadsettledinAccrareturnedtoNiger.Nigeritselfgainedindependencethreeyearslater,andtheHaukabegantosubsideandtobeabsorbedintothetraditionalreligioussystem.Dongo,forexample,theoldgodofthunder,isnowconsideredthefatheroftheHauka.AsRouchhaspointedout,"therewasnomorecolonialpowerandthereneverwasaHaukacalledKwameN'krumah."TheeventsfilmedrepresenttheendoftheHaukadevelopment.TodaythefilmisshowninthevillagesofGhanaandintheNigerCulturalCenter. 　　 　　TheimageryinLesMaitresFousispowerfulandoftendisturbing:possessedmenwithrollingeyesandfoamingatthemouth,eatingasacrificeddog(inviolationoftaboo),burningtheirbodieswithnamingtorches.Beyondtheimagery,thethemesarealsopowerful,andhavehadanimpactinourownculture:JeanGenet'sTheBlackswasmodeledupontheHaukainversioninwhichblacksassumetheroleofmasters,andPeterBrook'sMarat/SadewasinfluencedbythetheatricalityandinventedlanguageofHaukapossession.Yet,asRouchremindsusinaninterviewinCineaste,possessionfortheHaukacultistswasnottheaterbutreality.Thesignificanceofthisrealityisleftambiguousinthefilm,althoughRouch'scommentarysuggeststhattheritualprovidesapsychologicalreleasewhichenablestheHaukatobegoodworkersandtoendureadegradingsituationwithdignity.TheunexploredrelationoftheHaukamovementtotheircolonialexperience1-Sperhapsthemostintriguingissueraisedbythisceremonyinwhichtheoppressedbecome,foraday,thepossessedandthepowerful.《通灵仙师电影网友评论》在城里上班的黑人工人晚上聚集在森林里，在一种通灵状态下，滑稽地模仿他们的西方主人——老板、将军、公交车司机，为之驱魔。这不是一种政治行为，而是一种献祭式的角色扮演——为这种统治打上其本身的烙印。评论区真能扯…恶心到不行。看评论区才知道原来是反殖民的，可纪录片史说：当时法国评论界一致认为这部影片注重表现的恶心场面是殖民偏见。我觉得能把非洲人拍的如此恶心，已经是很恶心了…看关于纪录片历史的reading，必提Rouch，于是这部Lesmaitresfous又出现了。我说这名字怎么这么熟，原来是托了上学期T老师的福。。。看起来非常conventional的人类学approach纪录片，但其实确是没有任何一点conventional的地方了，鲁什，又一个“天真”的创作者。上课所得看得我不是很舒适但是在当年能深入这样的event实属巨大的一步通灵时的疯癫和回到现实的happyface形成了巨大的对比«Cejeuviolentn’estquelerefletdenotreproprecivilisation.»殖民者文化与被殖民者文化的敌视和较劲，被殖民者在周末用一场大型表演表达内心不满，过了周末又要恢复神智，该上班上班该工作工作。实在难以将作为现代社会的一份子露出的腼腆又具有意识的笑颜同仪式中狂暴无法自控的面目联系起来，想必宗教的萌芽也是这般野性。展现传统与现代两种生活形态的对照，相对于此前单纯展现“原始社会”的片子，可以说Rouch迈出了一大步。介于艺术与人文学之间，分裂般的癫狂究竟是发泄还是获得力量，它与清醒理智究竟哪种是原始状态，视听很不错让·鲁什的电影基本上就是一直有解说，英文字幕都这么高端，而且我从不知如何欣赏所谓的“真实电影”。除了一些西非风情之外可以说根本没看懂。怀疑拉斯冯同志在《此房》里的割草集体舞是从这来的...撸完无语。毫无美感，但觉真实。黑人兄弟们的舞蹈和行为真的很奇怪，他们的脑洞应该足够大吧。@影视人类学这个才算是cultfilm嘛！后殖民主义时代的断裂和种种隐喻原来是个带有反抗殖民统治意味的docufiction，说是纪录片不合适吧。1.注意拍摄年代，加纳那时是怎样的国家；2.注意他们通灵后扮演的角色。 《通灵仙师》的观看地址： http://www.guoshikj.com/pianku/124950.html由美剧天堂提供,欢迎转发分享！