经济学人下载:镜头和现实(1)

Books & arts
图书与艺术

Cinema and reality
镜头和现实

The director’s cut
导演的剪辑

A bold Ukrainian film-maker charts the line between fiction and truth
一位大胆的乌克兰电影制作人画出了虚构与真实之间的界线

In the opening scene of “Donbass”, the latest feature film by Sergei Loznitsa, a hotch-potch group of extras gather in a makeup trailer. The shaky footage follows them as they are escorted to the site of a staged mortar attack in Russian-controlled territory in eastern Ukraine. There, for the benefit of a separatist news crew, they bemoan the depredations of the Ukrainian army. In the film, the explosion is a stunt, but the damage is genuine— much like the real-life conflict.
在谢尔盖·洛兹尼察的最新故事片《顿巴斯》的开场场景中，一群大杂烩般的临时演员聚集在一辆化妆拖车里。在这段不稳定的视频中，他们被护送到乌克兰东部俄罗斯控制地区的迫击炮袭击现场。在那里，为了一个分离主义新闻团队的利益，他们哀叹乌克兰军队的掠夺。在电影中，爆炸只是一个噱头，但造成的伤害却是真实的——就像现实生活中的冲突一样。

With its vertiginous spiral of fakery, the invented but plausible scene captures the essence of Russia’s hybrid onslaught against Ukraine. After the revolution of 2013-14 Kremlin-controlled television stations spewed poisonous lies into the disaffected, Russian-speaking Donbass; next, militants and army units rolled in to “defend” the region from phantom Ukrainian fascists. Like a mirror, Mr Loznitsa’s film reflects and inverts that process, using fiction to expose the wounds inflicted by the annihilation of truth. Not surprisingly, “Donbass” has been banned in Russia.
在令人眩晕的造假漩涡中，这个虚构但看似可信的场景抓住了俄罗斯对乌克兰混合攻击的本质。2013年至2014年的革命之后，克里姆林宫控制的电视台向说俄语、心怀不满的顿巴斯播撒了恶毒的谎言；就像一面镜子，洛兹尼察先生的电影反映和逆转了这一过程，用虚构来揭露真相被毁灭所造成的创伤。毫不奇怪，《唐巴斯》在俄罗斯已经被禁。

The boundary between reality and lies, fiction and history, is one of the world’s most contested borders. It runs squarely through the propaganda-warped badlands of eastern Ukraine—and through Mr Loznitsa’s powerful oeuvre. In both his feature films and documentaries, his aim is the opposite of the propagandists’: to present the essential truth of what happened, and—an even harder task—diligently to make clear what did not happen, too.
现实与谎言、虚构与历史之间的边界，是世界上最具争议的边界之一。它直接贯穿于乌克兰东部扭曲的不毛之地的宣传之中，也贯穿于罗兹尼察的全部作品之中。在他的故事片和纪录片中，他的目标都与宣传者的相反：为了展现已经发生的事情的本质真相，以及一项更加艰巨的任务——勤奋地弄清没有发生的事情。