《桥》The Bridge / De brug (1928)
 
Credits
The Netherlands 1928 / 12'X'' / Black & White / mute / 35 mm.
English title: The Bridge, French title: Le Pont (Le pont d'acier)
Direction, camera and editing: Joris Ivens; assistant camera: Van Es; assistant editing: John Fernhout; Copyright: Marceline Loridan-Ivens / source material: Museum of Modern Art, New York, preservation Filmmuseum Amsterdam 1994 / digital restoration 2008: European Foundation Joris Ivens, Nijmegen. With permission of: Marceline Lordian-Ivens

电影基本信息：
荷兰，1928/12'X''/黑白/默片/35mm胶片
英文片名：The Bridge；法语片名：Le Pont (Le pont d'acier)
导演，摄影，剪辑：Joris Ivens
助理摄影：Van Es
助理剪辑：John Fernhout
版权所有：Marceline Loridan-Ivens
原始资料现存：纽约现代艺术博物馆。1994年由阿姆斯特丹电影博物馆保存。经伊文思夫人同意，位于奈梅亨的欧洲伊文思基金于2008使用电子技术修复了影片。

Summary content
The vertical lift-bridge in Rotterdam is the object of a study of movements in The bridge. Normally it seems to be a very static object, but Joris Ivens made a very dynamic film out of it. "For me, the bridge consisted of a laboratory of movements, tints, forms, contrasts, rythms and the relationship between all these phenomena". The film was immediately recognised as a masterpiece by international critics and colleague filmmakers; Joris Ivens was at once the most famous avant-garde filmmaker of the Netherlands.

电影简介：
《桥》记录的位于鹿特丹的一座垂直吊桥。这本是一个静止的建筑，但是尤里斯伊文思却使它展现出运动状态。“对于我来说，这座桥充满了运动的因素，色彩，形态，颜色反差，韵律，以及他们之间交织在一起的所有动态可能。”影片一经播出，就在国际上受到众批评家的好评，并被其他导演奉为经典之作。伊文思立刻作为荷兰先锋电影的代表人物扬名四海。

Reviews
电影评论：

Joris Ivens: 'At the moment of editing the film I was is such a state of creative tension, I dared not put my scissors into the film stock… I worked every night with the fire and enthusiasm of a pioneer that has just discovered virgin territory.' (‘Aan welke kant en in welk heelal’, Amsterdam, 1983, second autobiography, published by Meulenhoff, page 66)

尤里斯伊文思：我在后期剪辑这部短片的时候，时刻处在创作的亢奋状态中。我都不敢下剪刀剪我的片子。。。我每晚都工作很长时间，因为我为自己刚刚发现的艺术新领域而充满激情和斗志。”（第二部自传 Aan welke kant en in welk heelal第66页。由Meulenhoff1983年在阿姆斯特丹出版 ）

L.J. Jordaan: '[This film] knew how to answer many unclear but urgent answers on a certain point in time. The Bridge was made in the centre of a movement, who fought bitterly the killing grind of a commercialised industry. It became a cry-of-war and a religion. Further it was made on Ivens' own risk and uninfluenced by any 'commission', in other words: it has the trade marks of the biggest economic limitations and total artistic freedom. These combined motives were destined to give this film a principle power, a responsible seriousness, a wealth of imagination and a sober to-the-point character, which could hardly be equalled by later work.' (Joris Ivens, Amsterdam 1931, monography, published by De Spieghel, page 10 and 11)

L.J Jordaan：“（这部电影）在一个特定的时代对于很多亟待解却却含糊不清的问题给出了自己清晰的答案。《桥》是运动中的作品，是对大工业时代摧毁性的顽强反抗。这部电影成为了战争中的呐喊，成为了宗教式的作品。此外，这部作品是伊文思独立制作的，未受其他外来势力的影响。换言之，它最大程度上避免了利益熏染和发展了艺术的自由性。这些因素结合起来，给予了这部电影一股显著的力量支持，那就是态度认真的责任感，丰富无限的想象力，和清醒直接的特点。这些都是后来的作品很难企及的。”（尤里斯伊文思专论，第10-11页，由De Spieghel1931年阿姆斯特丹出版）

Tom Gunning: 'The Bridge and Rain are not just avant-garde masterpieces wit ha unique film language, they are also reflections about the future of a cinematographic vision. Try to categorise them in any known genre. They are not feature films, neither abstract films. Their are important films in the history if documentary cinema, partly because they change the form of it.' (‘Het gaat om de film, een nieuwe geschiedenis van de Filmliga’, Amsterdam 2000, publisher: Bas Lubberhuizen)

Tom Gunning：“《桥》和《雨》不仅仅是先锋艺术的大师级作品，他们同样反射出来电影摄影技术发展的趋势。人们似乎很难将这两部电影归入电影的具体类别内。他们不是故事片，但也不是抽象电影。他们能在纪录片电影史上占据如此重要的位置，在某种程度上因为他们改变了电影的形式。”（Het gaat om de film, een nieuwe geschiedenis van de Filmliga，由Bas Lubberhuizen2000年阿姆斯特丹出版）

Dutch press: 'With very elementary (and cheap!) ways this young film maker has proven that beside fiction film and documentary, there is a third option: film in which the 'dead' subject can become alive through the eye of the cinematographer/director... His film is, besides a feast for the eyes (in the meaning of cinematographic art), also a sober and stately hymn to the construction itself. 'The Bridge' is al-in-all a film which deserves a place next to the work of foreign film artist like Ruttmann.' (Newspaper Algemeen Handelsblad, Sunday 6 May 1928).

荷兰媒体：“这个年轻的电影人用一种很简单（也很便宜）的方式告诉我们，除了故事片和纪录片，电影还有第三种形式：这种新的形式能用摄影技术将没有生命的主题唤醒，赋予其动力。这位导演带给我们的不仅是视觉上的享受，却也能让我们听到建筑本身所发出的声音。《桥》这部做片总体来说完全可以与很多国外大师的作品比肩，比如Ruttmann。”（Newspaper Algemeen Handelsblad ，1928年5月6日周日版）。