ABSTRACT Victor Erice’s contemplative documentary ‘Dream of Light’ (1992) begins with a straightforward and unnarrated account of a realist painter, Antonio López, embarking upon a new painting of a quince tree growing outside his home in Madrid. Before long, however, the film digresses along various paths surrounding the painter, branching out from its core subject and exhaling into the lives and activities of others, extending all the way to remote urban environments without any apparent connection to the film’s initial identity. What began as a vigilant documentary on the inner workings of painting from life becomes suddenly more exploratory, experimental, perhaps cinematic, upholding André Bazin’s conviction that films about painting ought to emancipate themselves and expand cinema in some significant way or else risk the mere anecdotal. The decisive shift in mode from documentation to something like experimentation is a philosophically imaginative reply from the filmmaker, expressing itself as a ‘reaching beyond the image’ towards a more expansive and inclusive sense of reality which the painter’s art, in turn, sacrifices for the sake of focusing on a single image and ultimately delving inside his dreams. The dare to digress exposes the film’s own process of making and precarious path towards self-discovery.

中文翻译：

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敢于逃离：维克多·埃里斯（Victor Erice）的《光之梦》中的电影自我发现

摘要维克多·埃里斯（Victor Erice）令人沉思的纪录片《光之梦》（Dream of Light）（1992年）首先是对现实主义画家安东尼奥·洛佩斯（AntonioLópez）的直白而无叙述的描写，他着手绘制了一幅新的木tree树的画作，他在马德里的家中生长。然而，不久之后，这部电影沿着画家周围的各种路径散布，从其核心主体分支出来，呼唤到其他人的生活和活动中，一直延伸到偏远的城市环境，而与电影的最初身份毫无明显联系。从警惕生活中绘画内部运作的纪录片开始，突然变得更具探索性，实验性，甚至是电影风格，秉承了安德烈·巴赞的信念，即关于绘画的电影应该以某种重要的方式解放自己并扩大电影的发展，否则就有可能成为轶事。模式的决定性转变是从文档到实验，这是电影制片人的一种富有想象力的回应，将自己表达为“超越图像”，朝着更广阔，更具包容性的现实感发展，画家的艺术反过来又为之牺牲。为了专注于单个图像并最终钻研他的梦想。敢于逃离的事实揭露了电影自身的制作过程以及通往自我发现的pre可危的道路。