#"Flash hour" theme essay issue 2 #
Film is often considered to be a man-dominated field, just as the field of architectural design was identified as a male-dominated creative world, until "paper designer" Zaha Hadid won the Pritzker Prize, the Oscar of architecture, and female designers were sharp and occupied a place in the male field. Similarly, there are many female directors in the film industry who have created a kangzhuang avenue with their keen sense of touch, unique vision, and sharp topics, such as Xu Anhua, Xu Jinglei, Zhang Aijia, etc., who are more familiar with us.
<H1 class = "pgc-h-arrow-right" > the unforgettable female director in history, Sherman Dulac</h1>
Today I want to share a pioneer film pioneer in history, the French female director of the 1920s, Sherman Dulac.
Sherman Dulac
A feminist who was a journalist before she entered the film industry, this profession gave her a different sense of exploration than other women, she had an early eye on the medium of film, thinking that film was a means of expression, not just a tool for making a living, her view was more advanced at the time, so it doomed her to experimental and surrealist film expression.
Dulac's early works can be classified as "Impressionist" films, a genre of cinema formed by louis de Luc, the founder of the Film Club, who was also an active member of the Film Club at the time and a very small number of female members.
A group of like-minded and talented image creators always get together and there are always many sparks, and Impressionist films are characterized by the use of light, with a feeling of an Impressionist painter. Dulac's more famous work during this period was The Festivals of Spain (1919).
The director who really made Dulac dazzling began with her work from the "avant-garde" period.
<h1 class = "pgc-h-arrow-right" > feminist avant-garde film, Mrs. Buddy smiling</h1>
Mrs. Buddy smiling is a 1923 work by Dulac, which is considered one of the earliest films to explore women's rights. The film tells the story of a woman who does not love or even hates her husband very much, and how she tries to break free from her husband's shackles under physical and mental destruction. Du Lac uses a large number of "close-up" shots and "slow" elongated shots to highlight the ugly image of her husband in the heroine's eyes, and uses the fact that her husband loves to play suicide games to bring out the heroine's intention to murder her husband.
The film's large number of magnifying glass bumps ugly the husband's image
There are not many fragments in this work to describe what makes Mrs. Buddy so disgusted with her husband, but from his treatment of her beloved piano, disregard for her hobbies, foul language, etc., it can be seen that Mrs. Buddy is like a canary, firmly tied to her husband's hands.
In the film, Dulac makes full use of his "avant-garde means" as an artist, using "slow motion" to "zoom in" time to show the wonderful scene of Mrs. Buddy's meeting with her dream lover; and "fast shot" to "shrink" time to show Mrs. Buddy's attempt to kill her hateful husband in hallucinations. Borrowing from this film, Dulac opened up the film's depiction of psychology and the heart.
In the field of film, many film critics have given "Smiling Lady Buddy" one of the early masterpieces of "avant-garde films", which use close-ups of many different objects to represent the inner activities of the characters, such as pianos, vases, mirrors, bells, etc. In addition to the objects, Dulac uses a variety of angles and mirror reflection effects to lock Mrs. Buddy's facial expressions at one point, a lens multi-layer angle.
The multi-angle effect of Mrs. Buddy combing her hair in the mirror reinforces the character's psychology
At the end of the film, Mrs. Buddy intends to use a gun to understand herself, according to the social environment at that time, the status of women is relatively low, although this film is based on feminism, but in the end Mrs. Buddy still did not get rid of her husband's shackles, some are just spiritual escape, and the husband finally hugged a face of unlovable Mrs. Buddy cried that he could not live without her, otherwise he could not live. Thinking back to Mr. Buddy's various behavior controls over Mrs. Buddy, I think his so-called "love" is actually the "machismo" and "thought kidnapping" that the director wants to express.
Official poster of "Smiling Lady Buddy", take a look at Mrs. Buddy's godless eyes
This kind of psychological control over men still exists today, a hundred years later, and the progress of society is still there, but some things remain unchanged for a hundred years.
At the end of the film, Mrs. Buddy and her husband stroll down the street, looking like a good year, but in fact, it is the heart-wrenching result, because Mrs. Buddy still can't change the status quo, and this married life is worthy of our reflection.
<h1 class= "pgc-h-arrow-right" > representative work of Surrealism, "Shells and Monks"</h1>
Shells and The Monks (1928) was Sherman Durac's most famous work, and it was because of this work that she established her status as a woman in the film industry, which was banned from being released because of its large scale at the time, negative images of clergy and anti-religious tendencies. Through a monk's fantasy of sex and desire, this work wanders through the process of constantly struggling in his priesthood, and finally everything disappears, "there is nothing, where there is dust."
The official poster of "Shells and Monks", shells and women have strong erotic hints
This work is more obscure than Madame Buddy smiling, using the strange fantasies of a large number of monks to express how he had fallen in love with the wife of a previous general, and he even produced many erotic fantasies by constantly spying on the general's wife in the confessional room.
In fact, I think this work can not be amplified by a certain professional identity, but makes a good performance of the hypocrisy of people in society, how many people live with masks? People who are polite on the surface and even give people no desires and no needs actually have a real side in their hearts that others do not understand, and I think this kind of hypocrisy is exactly what Dulac wants to express.
"Shell and the Monk" does not have a very clear plot, the whole work is pervaded in the monk's personal fantasy, fragmentary shots, psychedelic scenes, various running and rotating pictures, let people in the dream, full of Freudian subconscious fanatical hallucination scenes, the feeling is that the director himself wants to pull the audience into the monk's scene of fantasy, there is no beginning and no end, can only be in it can not come out, it can be said that the monk's psychology can be classified as perverted.
The greatest thing that deserves to be appreciated by the world is Dulac's wonderful mirror cut, which was very experimental and surreal in the 1920s, such as the use of overlapping lenses to express the mood that the monks themselves can only destroy what they cannot get, and the use of one entry and one non-conversion lens to express the consciousness of both forms.
The monk wanted to strangle the general's wife, and no one else who could get it himself could
<h1 class= "pgc-h-arrow-right" > the charm of silent films</h1>
The 1920s were actually a transitional period from silent to sound films, and since the birth of film in 1895, a large number of film creators have been exploring the development of film with their great talent in just a few decades or two decades, especially in terms of technology.
Although American Hollywood films occupied a place in the field of international cinema at that time, American films were biased towards commercialization, and there were not many excellent works in genres such as avant-garde, experimental, surrealism, and expressionism, but Europe played a great enlightening role in film art, especially Germany and the former Soviet Union.
Fritz Lange's Metropolis (1926), Fred William Maunau's Nosferado the Vampire (1922), Jean Renoir's The Little Girl Who Sold Matches (1928), Louis Buñuel's A Dog of Andanu (1929) are some of the best films that I am more impressed by this period.
<H1 class= "pgc-h-arrow-right" > best female director</h1>
If I were asked who my favorite female director was, I would choose the legendary Ukrainian female director Kira Muratova. There are not many introductions about Kira Muratova on the Internet, but I was fortunate enough to see most of her work.
Kira Muratova
How would I describe how her work feels to me? Maybe I can quote this passage from The Seasons:
When I first saw you you, you gave me your heart, and inside was a spring morning. When you say goodbye to you, you give me your words, and what cannot be said is the blazing fire. Three times I saw you you gave me your hand, and there was a leafy late autumn hidden in it. The last time I saw you was a short dream I had, and in the dream there was you and a group of east winds.
I never recommend my friends to watch Kira Muratova's movies because not everyone can get out of it, and even I have a selfish idea of just enjoying the sensual world that the "obscurity" in it brings me.
Not all movies are worth recommending, everyone has their own favorite movies in their minds, and the ocean of the movie world is so vast that their lifelong search can only be a boat on the sea.
-END-