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・ Statue of Trajan and the She-wolf
・ Statue of Trajan, Tower Hill
・ Statue of Unity
・ Statue of Vasupujya
・ Statue of Wilfrid Lawson, London
・ Statue of William Shakespeare, Leicester Square
・ Statue of Winston Churchill, Palace of Westminster
・ Statue of Winston Churchill, Parliament Square
・ Statue of Yuri Gagarin, Greenwich
・ Statue of Zeus at Olympia
・ Statue Square
・ Statue, National Museum of Iran 2401
・ Statues & Liberties
・ Statues (album)
・ Statues (game)
Statues Also Die
・ Statues and monuments of patriots on the Janiculum
・ Statues and sculptures in New York City
・ Statues of Amun in the form of a ram protecting King Taharqa
・ Statues of Gudea
・ Statues of the Liberators
・ Statues Without Hearts
・ Statuesque
・ Statuesque (film)
・ Statuette of Joakim Vujić
・ Status
・ Status (law)
・ Status Anxiety
・ Status aparte
・ Status Athens Open


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Statues Also Die : ウィキペディア英語版
Statues Also Die

''Statues Also Die'' ((フランス語:Les statues meurent aussi)) is a 1953 French essay film directed by Alain Resnais, Chris Marker, and Ghislain Cloquet about historical African art and the effects colonialism has had on how it is perceived. The film won the 1954 Prix Jean Vigo. Because of its criticism of colonialism, the second half of the film was censored in France until the 1960s.
==Synopsis==
The film exhibits a series of sculptures, masks and other traditional art from Sub-Saharan Africa. The images are frequently set to music and cut to the music's pace. The narrator focuses on the emotional qualities of the objects, and discusses the perception of African sculptures from a historical and contemporary European perspective. Only occasionally does the film provide the geographical origin, time period or other contextual information about the objects. The idea of a dead statue is explained as a statue which has lost its original significance and become reduced to a museum object, similarly to a dead person who can be found in history books. Interweaved with the objects are a few scenes of Africans performing traditional music and dances, as well as the death of a disemboweled gorilla.
During the last third of the film, the modern commercialisation of African culture is problematised. The film argues that colonial presence has compelled African art to lose much of its idiosyncratic expression, in order to appeal to Western consumers. A mention is made of how African currencies previously had been replaced by European. In the final segment, the film comments on the position of black Africans themselves in contemporary Europe and North America. Footage is seen from a Harlem Globetrotters basketball show, of the boxer Sugar Ray Robinson, and a jazz drummer intercut with scenes from a confrontation between police and labour demonstrators. Lastly the narrator argues that we should regard African and European art history as one inseparable human culture.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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