《雕(diāo )像也会死亡》（Les statues meurent aussi，阿兰·雷乃、克里斯·马尔凯，1953年出品(pǐn )，27分钟）(🎩)尖锐地(dì )批(🎡)评了(le )西方殖民主义对非洲传统(🐖)艺(🕌)术的戕害以及自(😚)称热爱(ài )非(fēi )洲艺术的上等阶(🤯)层(céng )的贪婪与伪善。本片的主角(jiǎo )是来(lái )自黑(🛑)非(fēi )洲的人物雕像、面具和其他非洲艺(yì )术(shù )(📙)品，但是它们的演出场所并非黑人(⛓)的故乡，而是白(🤷)人的(de )欧洲，艺(🕙)术品(😍)市场和艺(yì )术品拍卖(mài )会(🐀)是它们频频出(chū )没和(hé )滞留的中(❕)转地(💹)。这些本来(👊)被(bèi )非洲部(bù )族(🦇)用(yòng )来抵抗死(🐛)亡的面具(👪)和(🥋)雕像(🃏)，如今(jīn )却(què )呆在博物馆(😝)的橱窗里静(🎥)静地(🈺)死(🤔)去。此(cǐ )时，画外音告(💏)诉(sù )我(wǒ )们(🔷)：(👵)“当人死去的时候，他便进(jìn )(🌂)入了历(lì )史；当这些雕(🔥)像(🚡)死(🌸)去的(de )时候(hòu )，它们进入了艺术(shù )(🎦)；这种关于死亡的(de )学(xué )(👩)问，我们(men )最后称之(💑)为(wéi )文(😉)化。”由(yóu )(⛴)于本(běn )片具有(⏺)鲜(xiān )明而(👅)强烈的(🔬)社会批判意识，自(zì )拍(🖱)竣(jun4 )之日起即遭到法国政(zhèng )府(fǔ )禁映，直到1963年才解禁。本片由(yóu )长于剪(🏖)辑(🍝)的阿兰·雷乃操刀(dāo )剪辑，由强(qiáng )于(😻)写作的克(kè )里斯(sī )·马尔凯(kǎi )撰写解(jiě )(🕤)说，充分(📸)发挥了两(liǎng )(🏒)人(🎇)各(gè )自(zì )的强项(🔰)，可谓强强合作的(🌮)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.