《雕像也会死(sǐ )亡(📼)》（(🏽)Les statues meurent aussi，阿兰(🗼)·雷乃、克里斯·(👋)马(⏬)尔凯，1953年出(chū )品(pǐn )，27分钟）尖(jiān )锐地批评了西方(fāng )殖民(✳)主(zhǔ )义对(🛹)非洲传统艺术的戕害以及自(😚)称热爱非(fēi )洲艺(🖍)术的上等阶层的贪(tān )婪与伪善(🚢)。本片(piàn )的主(zhǔ )角是来(lái )自黑非洲的(de )人物雕(💱)像(🦗)、面(🎛)具(🌊)和其他非洲艺术品，但是(shì )它们的演(yǎn )出(🙄)场所并非黑人的(de )故乡，而是(🥫)白人的(🧤)欧洲，艺术品市(💠)场和(hé )(⛳)艺术品(🎋)拍(pāi )卖会是它(🚴)们频(🤖)频出没(🌮)和滞(zhì )(🗳)留的中转地。这些本来(lái )(👊)被非(fēi )(💍)洲(🚗)部族用来(🈸)抵抗死亡(🌹)的(de )面具和雕像，如(💅)今却呆在博物(wù )馆的橱窗里静(🎥)静地(🈺)死去。此时(🤥)，画外音告诉我们：(👵)“当人死(🐞)去的时候，他便进入(rù )了历史(🐖)；当这些(xiē )雕像死去的时(shí )候，它们进(👛)入(🕕)了艺术(shù )；这种关(guān )于死亡(wáng )的(de )学问(🧘)，我们最后称之为文化。”由于(yú )(🏸)本片具有鲜明(míng )而强烈的社会(huì )批判意(🈂)识，自拍竣之(zhī )日(rì )起即遭到(✒)法(fǎ )国(🈸)政(zhèng )府(🛃)禁映，直到1963年才解禁(🗒)。本片由(yóu )长于剪(jiǎn )辑(jí )的阿(ā )兰·雷(léi )乃操刀(🈺)剪辑，由(yóu )强于写作的克里斯·(🖥)马尔(😙)凯(kǎi )撰(zhuàn )写(xiě )(🐼)解说，充分(fèn )发(🌲)挥(huī )了两人各(🎆)自的强项(xiàng )，可谓强强合作(zuò )的(de )(🌮)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.