在这部卡农动画/短片片中,今天要谈的是影像叙事的“追随与叠加”模式。半个世纪以前，诺曼•麦克拉伦的《卡农》（Canon，1964）是最早进行这种尝试的作品之一。它其实是对影像与音乐之间关系的探索。作为音乐学的术语，“卡农”是一种多声部的谱曲方法，它的核心理念是旋律的“追随”：各个声部之间存在共性，或者说是在模仿同一个声部，但各声部依一定间隔进入，造成一种此起彼伏、遥相呼应的效果。《卡农》全片的第三段是最让人拍手叫绝的段落，依靠精心设计的动作与错落有致的叠加，先后出现的多个角色以“同样的动作”“同时”展开互动，却上演着“不同”的矛盾和冲突，展示出新奇的喜剧效果。
Perhaps the only film whose content is totally based on the musical form known as canon. The first sequence is a simple demonstration of the canon "Frere Jacques" where four cubes dance and combine with one another on a checkerboard. The second sequence show four little human-like figures dancing in space. The third and most elaborate sequence shows a human going through several strange gesticulations. Through multiple printing we realize that the man, as in the previous sequences, is part of a visual canon and is making the gestures to himself. As we hear variations on the canonic theme so too do we witness visual variations: a woman and cat enters the canon. To show the musical technique of inversion, the image of the man is printed upside down.
重复！重复？。
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