ABSTRACT

Of his mentor Roger Leenhardt, André Bazin once stated, ‘There is in all phenomena a primary level, that of basic understanding. There is a second level, where the subtleties lay. And the third level, that belongs to Roger Leenhardt’ (cited in Roger Leenhardt ou le dernier des humanistes, André Labarthe, 1965). Though the influence of Leenhardt’s realist film theory on the Cahiers du cinéma generation of filmmakers and theorists is widely acknowledged, the contexts that served to germinate his ideas about cinematic realism remain understudied. This article links Leenhardt’s theories pertaining to film’s indirect or understated interpretation of reality, first articulated in his pioneering ‘Petite école du spectateur’ (1935–1936) series, to his search for a subtle approach to ethics, politics and colonial documentary within the same era. If scholars have tended to account for sparse cinema in France by turning to aesthetic traditions, Leenhardt’s 1930s career reveals that the conceptualisation and reinvention of cinema as a medium of subtle suggestion also arose within a political setting, namely nonconformist, Popular Front-era thought, which encouraged Leenhardt to embrace a Personalist-humanist stance towards the ‘other’. His film L’Orient qui vient (Roger Leenhardt and René Zuber, 1937) puts these ideas into practice, endeavouring to restrain the excesses of pro-colonial ideology and media.

摘要

安德烈·巴赞 (André Bazin) 曾对他的导师罗杰·莱恩哈特 (Roger Leenhardt) 说：“在所有现象中，都有一个初级层次，即基本理解的层次。还有第二个层次，微妙之处。第三个层次，属于 Roger Leenhardt'（引自Roger Leenhardt ou le dernier des humanistes，André Labarthe，1965）。尽管莱恩哈特的现实主义电影理论对电影手册的影响一代电影制作人和理论家得到了广泛认可，但他的电影现实主义思想的萌芽背景仍未得到充分研究。这篇文章将 Leenhardt 的关于电影对现实的间接或低调解释的理论与他在其开创性的“Petite école du spectateur”（1935-1936）系列中首次阐明有关，与他在同一作品中寻找一种微妙的伦理、政治和殖民纪录片的方法联系起来。时代。如果学者们倾向于通过转向审美传统来解释法国的稀疏电影，那么 Leenhardt 1930 年代的职业生涯表明，电影作为一种微妙建议的媒介的概念化和再创造也出现在政治环境中，即不符合规范的大众阵线时代思想，这鼓励 Leenhardt 对“他者”采取个人主义的人道主义立场。他的电影L'Orient qui vient (Roger Leenhardt and René Zuber, 1937) 将这些想法付诸实践，努力抑制亲殖民意识形态和媒体的过度使用。