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Cave of Forgotten Dreams
Maggiori informazioni
Genere | Special Interests |
Collaboratore | Erik Nelson, Michel Philippe, Jean Clottes, Maria Malina, Julien Monney, Nicholas Conard, Carole Fritz, Werner Herzog, Dominique Baffier, Wulf Hein, Jean-Michel Geneste, Adrienne Ciuffo, Gilles Tosello, Maurice Maurin Mostra altro |
Lingua | Inglese |
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Descrizione prodotto
Cave of Forgotten Dreams, a breathtaking new documentary from the incomparable Werner Herzog (Encounters at the End of the World, Grizzly Man), follows an exclusive expedition into the nearly inaccessible Chauvet Cave in France, home to the most ancient visual art known to have been created by man. One of the most successful documentaries of all time, Cave of Forgotten Dreams is an unforgettable cinematic experience that provides a unique glimpse of pristine artwork dating back to human hands over 30,000 years ago - almost twice as old as any previous discovery.
Dettagli prodotto
- Aspect Ratio : 1.78:1
- Fuori produzione : No
- Lingua : Inglese
- Dimensioni prodotto : 1,78 x 19,05 x 13,72 cm; 68,04 grammi
- Numero modello articolo : 22969751
- Regista : Werner Herzog
- Attori : Julien Monney, Dominique Baffier, Wulf Hein, Jean Clottes, Jean-Michel Geneste
- Studio : IFC Independent Film
- Produttori : Erik Nelson, Adrienne Ciuffo
- Garanzia e recesso: Se vuoi restituire un prodotto entro 30 giorni dal ricevimento perché hai cambiato idea, consulta la nostra pagina d'aiuto sul Diritto di Recesso. Se hai ricevuto un prodotto difettoso o danneggiato consulta la nostra pagina d'aiuto sulla Garanzia Legale. Per informazioni specifiche sugli acquisti effettuati su Marketplace consulta la nostra pagina d'aiuto su Resi e rimborsi per articoli Marketplace.
- ASIN : B005HP2JAM
- Numero di dischi : 1
- Posizione nella classifica Bestseller di Amazon: n. 138,578 in Film e TV (Visualizza i Top 100 nella categoria Film e TV)
- n. 1,643 in Passioni e interessi
- Recensioni dei clienti:
Recensioni clienti
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Migliori recensioni
Recensioni migliori da Italia
Al momento, si è verificato un problema durante il filtraggio delle recensioni. Riprova più tardi.
Questi disegni fatti con i resti bruciati delle torce sono talmente belli per essere del 30.000 a.C. (dico 30.000 a.C.!!!) che viene quasi il sospetto che siano dei falsi... eppure mi risulta che nessuno abbia mai avanzato questo sospetto.
Il documentario onestamente è senza pretese ma basta che abbia raggiunto il suo scopo di divulgare a un ignorante questa meraviglia dell'uomo.
Efficace l'uso del 3D.
Insieme al "Delitto perfetto" di Hitchcock e a un documentario su Pina Bausch che non mi ricordo come si chiama credo che siano gli unici film non spazzatura in 3D. Chi ha altri suggerimenti scriva pure un commento
E' come frugare dentro di noi, del resto la psicoanalisi è molto vicina all'archeologia, e scoprire che i nostri antenati hanno avuto capacità e sentimenti molto prima di quanto si pensasse. Stupendi i cavalli, i rinoceronti, i leoni e tutti gli altri animali raffigurati e mostrati attraverso la videocamera.
Le immagini filmate nella grotta Chauvet hanno avuto su di me un effetto "magnetico", riuscendo a farmi sentire in grande connessione con il pianeta in cui abito. Non mi succede spesso, questo film ci è riuscito con forza e potenza. L'ho visto due volte, e per due volte ha suscitato lo stesso effetto.
La bravura di Herzog è quella di far lavorare i graffiti e di non invadere con interpretazioni e spiegazioni scientifiche il potere estetico di quella immagini. Forse ha cercato di usare uno sguardo poetico per recuperare la poesia di quei simboili lasciati dentro una grotta più di 30.000 mila anni fa. La poesia per capire la poesia. Operazione coraggiosa e ammirevole.
Consigliato agli amanti della poesia che abita questa vita e questo pianeta.
Le recensioni migliori da altri paesi
Language is complex, abstract, conceptual and symbolic. Sounds, as we know, are attached to words, which in turn represent meanings. Language arose as a means of communication for survival. It created community, unity, solidarity and protection. It formed invisible bridges between individuals, reducing their sense of isolation and loneliness. Language created what we call society, another word for our need to connect with others.
For 1.5 million years of our existence, the world was devoid of art. We saw beauty in it, surely, and this must have moved us in strange ways. But we didn't understand what the shadows our bodies cast meant. We hadn't learned how to give beauty back to the world. So the world, as yet, had no symbols in it.
But we know now how evolution by natural selection works. Contingencies occur, opportunities arise. A momentous shift occurred in the human mind somewhere between 50,000 and 40,000 years ago. Consciousness poised or primed the human mind for symbolic thought and conceptualization. When the breakthrough came art came into the world. Objects were no longer objects only. They became totems. They had meaning and magical powers. Among the first totems were the animals on whose existence we depended. Even if they frightened and threatened us, we revered them, as we came to realize we would die without them. Thus death and the future were also born. We crossed a conceptual bridge. We became existential beings. We created gods and religions to console and distract us, to take our minds off our end-fate — extinction.
The great French palaeontologist Jean Clottes speaks in this film. He says Palaeolithic man saw the world in two related ways. The world was both fluid and permeable.
Fluidity meant transformation between separate objects in the world was possible. Thus the head of a lion on the body of a man carved from the ivory of a mammoth tusk was not strange; it was normal, wholly plausible and acceptable.
Permeability meant no divisions existed between living things. The great unity was the spirit world where all things mixed, where everything interacted as one. Whatever man was he was not separate from the plants and animals that surrounded him, nor from the rivers, forests, sky, sun, moon, wind, stars and rain. He shared the world with cave bears, bison, elk, ibex, horses, lions, leopards, wolves, foxes, eagles, hawks, woolly rhinos and mammoths. He lived on the edge of ice surrounded by snow and glaciers. The skins, fur and feathers of the animals he ate also created his clothing, mittens and boots. Their bones gave him needles and fish hooks, and would one day give him music in the form of bone flutes.
Chauvet Cave was discovered by three amateur speleologists in December 1994. At the ground surface they detected subtle draughts issuing from the outcrop of a cliff. They realized a cave existed behind the rock wall. They removed rocks from the spot and found a narrow opening. The original cave entrance, we would later learn, had been buried under debris from a rock slide that happened thousands of years ago. This slide sealed the cave, making it in effect a time capsule. With the aid of a rope ladder the three spelunkers climbed down into the main galleries of the cave. Then with their head lamps and torches they stumbled upon one of the greatest discoveries in the history of human culture. On the walls of the cave they saw a zoological panorama of wild horses, ibex, bison, elk, woolly rhinos and other animals. They had travelled 32,000 years back in time.
The cave is located in the Ardeche Valley of southeastern France near the village of Pont-St.-Esprit. A natural limestone bridge called Combe d'Arc arcs over the River Ardeche near the site. The cave is sealed off to the public, locked behind a thick bank-vault metal door. Only a handful of scientists (archaeologists, palaeontolgists, geologists, et al.) have limited access to it. They have now mapped every square centimeter of the cave (1,300 feet in length) using laser technology. With this data a new replica of Chauvet will be built nearby for the public, as has been done with Lascaux Cave in the Dordogne region of central France.
Eccentric, charismatic, ambitious and half-mad, Werner Herzog wheedled his way into the French Ministry of Culture to gain access to a minister of culture there (who knew him by reputation and admired his films). This civil servant gave Herzog and three other members of his camera crew limited access to photograph inside the cave. Was he the man for the job? You can decide. What he brings is astonishment, awe and artistic imagination. The surfaces of the rock walls are uneven, which the Palaeolithic artists exploited to heighten the 3D effect of the animals. The camera promotes this illusion too. The images move in shadows as the torchlight dances over them. Herzog frames the views musically as well. He fills the soundtrack with choral singers, ghostly ancestral voices that reach us from the rock. Cello and piano notes also haunt the cave. The effect is spooky, as intended. Indeed, as even Jean-Marie Chauvet, the main discoverer of the cave, writes:
“Alone in that vastness, lit by the feeble beam of our lamps, we were seized by a strange feeling...We felt like intruders...We were weighed down by the feeling that we were not alone; the artists' souls and spirits surrounded us.”
The haunting will continue. We will always wonder what the art signifies. The conceptual world of our ancestors is not ours, so it is our mystery now. But that's all right. Gauguin used to say that we don't paint what we see in the world. We paint what we feel by seeing. It was the same for them. These vivid animals were not painted for someone's amusement. They were deliberately painted in the darkest, most inaccessible parts of the cave. Why? Because to see them wasn't easy. It meant confronting the darkness and going forward into it. In other words, it meant courage and pilgrimage, which indicates faith.
In one section of the cave a stone plinth rises from the cave floor. It seems to have been purposely positioned there. The skull of a cave bear, a species now long extinct, rests on top of the plinth. The snout of the bear points toward the former cave entrance, now sealed up. The skull has rested there for over 30,000 years.
Astronomers say the carbon atoms in our bodies and brains were incubated in stars billions of years ago. Think of that, if you will, and of that cave bear skull in Chauvet, the next time you look up at the night sky in wonder, fascination and gratitude. It is all so improbable that you are here.
Alors qu'il pourrait n'être qu'un banal documentaire, la grotte des rêves perdus est un pur Werner Herzog. Une merveille qui ne se contente pas de nous offrir des vues de cette grotte superbe et inaccessible, mais qui nous invite à rejoindre nos (pas si) lointains ancêtres, à revivre leurs émotions et à tenter de partager leur vision du monde.
Les scientifiques sont filmés sans complaisance démagogique; ils sont montrés dans leur réalité quotidienne, sans mise en scène mystificatrice. La science n'y dit que ce qu'elle a à dire, rien de plus. Elle propose une interprétation « objective » du site que le réalisateur met en relation avec sa propre reconstruction, subjective. C'est le parti pris de cette double lecture qui donne toute sa dimension au film et en fait une vraie œuvre de cinéma, avec une mise en perspective des visions réaliste et émotionnelle que vient renforcer une utilisation remarquable de la 3D.
Ne vous privez donc pas du bonheur de ce voyage dans l'espace et dans le temps avec le maitre du cinéma onirique pour vous tenir la main.
The film was originally made in 3D, and even the 2D version was high definition. Sadly the corresponding Blu-Ray is only available at a high price, and may have regional issues for UK and European viewers. So we have to be content with the DVD, unless you want to go to France where there is now a replica of the cave which one can visit.
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