Hong Kong Film Magazine
The doorbell rang, said it was a courier, took it apart and looked at it, it was the editorial department sent "Hong Kong Movie" in December, and now the only film magazine on the ground in Hong Kong, why send me a copy? Because I wrote an article in May that they loved me, posted it in it, and the words of those big-name film critics in Hong Kong were crowded together, and there was also a fight, which did not insult the eye-catching taste of mainland film fans, which was the best way to say goodbye to 2009.
What was published this year, except for the two papers that had to be written for professional relations, and the rest of the articles written purely out of interest, were collected in the following magazines. This year is also the tenth anniversary of the cooperation with Beijing Sanlian Bookstore's "Philharmonic", thank them for their trust in me, and I can play by my hobbies. In recent years, I have submitted a lot of manuscripts to "Watching Movies", and the space left for general readers in "Looking" is originally very small, we are a Ningbo grass people, without any professional background, purely amateur self-entertainment and tossing, from next year onwards, there will probably be a lot of time in the code for it.
This article was written in May 2009, originally voted for "Watching Movies", but thanks to the editor's wrong love, the article was given to "Hong Kong Film", this publication has a simplified Chinese version in the mainland, called "Hong Kong Film Global Premiere", these two days, 2010 No. 2 should have been on the shelves, the two magazines are very strange, the text is similar. Originally, mr. editor of "Hong Kong Film" also asked me to write for a popular Hong Kong film, which I really can't afford to push it off, in fact, this article is not very related to Hong Kong movies. It was a coincidence. Now I'm wondering, what's going on with Taiwan's film magazines?
The clever filmmakers are happy to look from history for the materials that make up his words. Their cleverness is not necessarily a direct appropriation of historical images, but they are good at finding an object from the text of historical images to transform and use for their own use, so their works often have an effect of docking with history because of this seemingly unintentional but intentional arrangement, making it more room for in-depth interpretation. This approach, somewhat like "quoting" when writing an article, can be seen as a rhetorical strategy in the context of film vocabulary. Here are three examples: (590 words deleted here)
B． The Russian film The Return (Zhvagintsev's debut, 2003 Golden Lion) is generally considered to be a film about the growth of boys, at least it has such an appearance. It is said that the father who has been missing for twelve years in the film suddenly returns, and the two boys with personality defects due to the absence of their father's love are curious to observe this uninvited guest, but the father immediately falls asleep after returning home, and in the camera, the father sleeps so peacefully (Figure 3), corresponding to the father's remains at the end of the film, the hard face that sank to the bottom of the lake with the small wooden boat. His sleepy appearance reminds me of the Italian Renaissance painter Andrea Mantegna 's famous work "The Resting Christ" (Figure 4), and comparing the two together can be compared to produce an old title of "Finding a Difference" in the prawn rookie section of Watching Movies magazine. This is a deliberate attempt to make the composition of the film into an oil painting content, and the object of the film's overlap and stitching this time is a work of art in the context of Christian culture, another kind of historical image text.
This rude man in the film, first the long-absent father in the photo, like a legendary shadow, and then mutated into a strange intruder image, he is so disgusting to the child, so superfluous and incompatible, and then developed to the later so difficult to abandon, linked to his final accidental fall in the process of chasing the younger son, I think the film is largely telling a contemporary Russian Christ martyrdom story, a Christ-like self-sacrifice to achieve the son's growth story, The first shot of the film about the father has defined him as the image of Christ in Russian family life, the whole process of father-son communication and father-teaching of the son, so it has a strong sermon color, and the two sons' understanding and acceptance of the father has been more variable and less rational, somewhat similar to Peter and Judas.
"The Return" in addition to this shot out of the Christ story clues, another interpretation of the entry path, perhaps the so-called father-killing Oedipus complex to promote the story of the unfolding, it can be said that it is the two sons of the common outburst of anger, indirectly to the father's life, it is this fact of father-killing behavior, contributed to the brothers' rebirth, of course, for this article, this topic is slightly off topic.
C． The echoes of the above two historical images are generally rare, and the third is more common, according to today's common saying, called tribute, but the tribute is obviously high and low, the object of the tribute (or plagiarism) itself has a high or low, and then there is a method of tribute, some people like to copy the rotten bridge section nakedly, which is not to say it.
There is a passage in the "Letter of Submission", it is pang Qingyun brothers three face to face the court officials, the court's requirements for this miscellaneous army are still quite high, the brothers lead the order, but the heart is very resistant, in order to express the psychological distance between the brothers and the court officials, the film moves the dialogue scene to the two sides of the patio of a grand ancient building (Figure 5), the two groups of people are separated by the patio into two opposing spaces, and at this moment the heavy rain in the patio is like a curtain falling in the air, which weighs the diaphragm of the two groups of people, and at the same time, the rain that ding dong is ringing, It also hints to the fate of the brothers" of "success or failure", and the scene in the middle of the rain scene is very cleverly arranged, and it is also a foreshadowing for the brothers in the heavy rain at the end of the film. But this is not Chen Kexin's creative idea.
In 1959, Ozu remade "Floating Grass", in which Arashi Koma Shiro led the Kabuki team to perform in a small town on the Shima Peninsula, Arashi Komagata Shiro took the time to go to the small food shop of the year to meet Afang's family, happy to see that his son had grown up, and soon his lover in the troupe, Miko, knew the inside story, so the two of them were in the courtyard of Afon's house (let's call it so, I don't know if this space is called a patio in Japan), there is a scene with a heavy rain (Picture 6), which in my impression, It seems to be the only rain scene in Ozu's movie. But the meaning of this heavy rain that fuels the plot in the film, in addition to showing the estrangement of the two people in a state of change, should also be able to do the following excavation, one is to hint at the troupe's wind and rain and the mountains and rivers, paving the way for the later scattered gang drama, the second is bounded by this rain scene, the film is divided into two heavens and earths, one is the front scenery is bright and leisurely wandering in the world, this is a rural variation of the late Ozu calm and smooth style, one is towards the tragic ending of his early popular drama Evolution, floating characters from water, water by rain, That autumn rain made Arashi Komagata Shiro recognize the fate of the drifting, so he reconciled with his lover and wandered to the end of the world together.
For "Cast Name", Ozu's "Floating Grass" is a historical image text, and the echo of "Cast Name" should be above the standard. The two rain scenes of the two movies are viewed separately, and in the film, they can be described as their best, but the role of the heavy rain in "Floating Grass" is more important to the whole work, it is simply the soul, it should be pointed out that in the 1934 silent film version of "Floating Grass Story", in the same paragraph, the head of the drama team and the lover hugged together and quarreled when the snowflakes fell on the body, and there was no curtain scolding scene, which showed that the 59 version of the space suspension scene is the product of Ozu's concept of "life is becoming more and more lonely".