The best free cultural & educationa

The best free cultural & educational media on the web

Audio Books
Online Courses
Certificate Courses/MOOCs
Movies
Languages
Textbooks
eBooks

Kafka’s Parable “Before the Law” Narrated by Orson Welles & Illustrated with Pinscreen Art

in Animation, Film, Literature| September 8th, 2014 1 Comment
1.6k
SHARES

On Friday, we featured Nikolai Gogol’s “The Nose,” adapted in 1963 through the work-intensive but aesthetically stunning means of “pinscreen animation” by Alexander Alexeieff and Claire Parker. But they hadn’t labored over it in total obscurity; the year before, no less solid a pillar of American film than Orson Welles had commissioned their work for use in his adaptation of Franz Kafka’s The Trial, another work of literature deeply concerned with the absurd. Critical opinion varies about the film, which some consider Welles’ best work, others consider his worst, and others still consider a mixture of the two.

It certainly remains one of his least-seen works, and yet it contains the most mainstream thing Alexeieff and Parker ever did. Very few deny the effectiveness of the film’s prologue, which combines images straight from the husband-and-wife team’s pinscreen with Welles’ unmistakable voice reading “Before the Law,” a parable from Kafka’s novel. Alexeieff and Parker’s images are still, rather than animated, which must have cut way down on the production time.

“Before the law, there stands a guard,” Welles intones. “A man comes from the country, begging admittance to the law. But the guard cannot admit him. May he hope to enter at a later time? That is possible, said the guard. The man tries to peer through the entrance. He’d been taught that the law was to be accessible to every man. ‘Do not attempt to enter without my permission,’ says the guard. I am very powerful. Yet I am the least of all the guards. From hall to hall, door after door, each guard is more powerful than the last. By the guard’s permission, the man sits by the side of the door, and there he waits.” These words establish the basis for not just The Trial, but seemingly Kafka’s own legal sensibility, and indeed worldview. The man waits for years, staring at the guard and lavishing him with bribes. He grows old and enfeebled. Finally, he asks why, despite the fact that “every man strives to attain the law,” nobody else but him has ever come to attempt passage through its doors. “Nobody else but you could ever have obtained admittance,” the guard replies. “This door was intended only for you! And now, I’m going to close it.” Welles then comments that “the logic of this story is the logic of a dream… a nightmare.” One understands why the director, who endured so many futile and absurd experiences in the entertainment industry, would feel drawn to such a fable. As for how he chose such appropriate imagery for it — well, maybe just good luck.

Kết quả (Việt) 1:

The best free cultural & educational media on the web Audio Books Online Courses Certificate Courses/MOOCs Movies Languages Textbooks eBooksKafka’s Parable “Before the Law” Narrated by Orson Welles & Illustrated with Pinscreen Artin Animation, Film, Literature| September 8th, 2014 1 Comment1.6kSHARESOn Friday, we featured Nikolai Gogol’s “The Nose,” adapted in 1963 through the work-intensive but aesthetically stunning means of “pinscreen animation” by Alexander Alexeieff and Claire Parker. But they hadn’t labored over it in total obscurity; the year before, no less solid a pillar of American film than Orson Welles had commissioned their work for use in his adaptation of Franz Kafka’s The Trial, another work of literature deeply concerned with the absurd. Critical opinion varies about the film, which some consider Welles’ best work, others consider his worst, and others still consider a mixture of the two.It certainly remains one of his least-seen works, and yet it contains the most mainstream thing Alexeieff and Parker ever did. Very few deny the effectiveness of the film’s prologue, which combines images straight from the husband-and-wife team’s pinscreen with Welles’ unmistakable voice reading “Before the Law,” a parable from Kafka’s novel. Alexeieff and Parker’s images are still, rather than animated, which must have cut way down on the production time."Trước pháp luật, có là viết tắt của một bảo vệ," Welles intones. "Một người đàn ông đi kèm từ các quốc gia, xin ăn admittance của pháp luật. Nhưng bảo vệ không thể thừa nhận anh ta. Ông có thể hy vọng vào một lúc sau này? Đó là có thể, ông bảo vệ. Người đàn ông cố gắng ngang qua lối vào. Ông đã được dạy rằng luật pháp là để có thể truy cập cho mỗi con người. 'Đừng cố gắng nhập mà không được phép,' ông bảo vệ. Tôi là rất mạnh mẽ. Được, tôi là ít nhất trong tất cả những bảo vệ. Hall qua hall, cửa sau khi cửa, bảo vệ mỗi là mạnh hơn so với trước. Bởi bảo vệ quyền, người đàn ông ngồi bên cạnh cửa, và có ông chờ đợi." Từ các thiết lập cơ sở cho không chỉ các thử nghiệm, nhưng dường như của Kafka pháp lý cảm, và thực sự worldview. Người đàn ông chờ đợi trong nhiều năm qua, nhìn chằm chằm lúc bảo vệ và lavishing anh ta với hối lộ. Ông phát triển cũ và enfeebled. Cuối cùng, ông đã yêu cầu tại sao, mặc dù thực tế rằng "mọi người phấn đấu để đạt được pháp luật", không ai khác, nhưng ông đã bao giờ đến để cố gắng đi qua cửa. "Không ai khác, nhưng bạn có thể bao giờ có được admittance," các bài trả lời bảo vệ. "Cánh cửa được dự định chỉ dành cho bạn! "Và bây giờ, tôi sẽ đóng nó." Welles sau đó bình luận rằng "logic của câu chuyện này là logic của một giấc mơ... một cơn ác mộng." Ai hiểu lý do tại sao đạo diễn, người chịu đựng rất nhiều vô ích và ngớ ngẩn kinh nghiệm trong ngành công nghiệp giải trí, sẽ cảm thấy rút ra để fable như vậy. Đối với làm thế nào ông đã chọn hình ảnh thích hợp cho nó-tốt, có thể chỉ may mắn.