Text | Hiuchi is a famous film critic in Taiwan
After much painstaking effort, he finally had the thrill of secretly installing his apprentice Sama Jun into the Teacher's Camp Film Basics Course in Taichung. On the way back, I had a conversation with Sama Jun for about 10 minutes before I fell asleep. It was he who recorded the recording, and it was also the one who sorted out the manuscript, and I probably polished the following dialogue a little.
Me: How?
[Flashback: After the break in between, the foundation staff and teachers investigated the timing of the next seven courses, and they have been undecided. One of the teachers complained that the next class did not need to be separated by two weeks, and he believed that "today's class does not need to take two weeks to digest." 】
Sama Jun: In the second half of the class, Master choked the student and said, "Since some teachers react to the content of the class that does not need to be digested, let's work harder now and talk more!" "Super funny!
Me: I am considerate of them everywhere, and when I talk about signifiers, signifiers, extensions, and connotations, I deliberately dilute the content of the story, but in exchange for such comments, it is really a mistake.
Sama Jun: Well, Master did say something more superficial in that paragraph, and it seems that there is some desire to stop talking. In addition, does Master think that there is a link that you did not talk about well today?
Me: Yes, there is. In that part of the shot, I felt that Lumiere's Pyramid (1897) and "Hen in the Wind" (1948) were not well discussed when talking about "absolute off-site".
Pyramid panorama Les pyramides (vue générale) (1897)
Sama Jun: But when Master later talked about the flashing white passage of "Last Year in Marionba" (1961), you described it as the extension of the "Pyramid" technique [the camera slowly pushed closer to the bar and the two passers-by in the foreground] [in the distance is a static human-faced lion and a pyramid, and there is a caravan passing in the middle of the foreground], talking about the static and dynamic presentation, the teachers around me looked quite impressed, and quickly copied the notes!
Last year in Marionbad L'année dernière à Marienbad (1961)
Me: Yes, mainly because I felt that the passage was not well spoken, that when I was talking about René, I had the opportunity to talk about it with Lumiere, although there was no reluctance here.
Sama Jun: What about Ozu's one example? I feel that there is actually an echo of the last half of the class on "seeing and not seeing"! By the way, when Master talked about Ozu (especially "The Taste of Saury"), he felt that the whole person was bright; and when you said that this film was "the greatest movie on the surface of the earth", the effect was very good and very stalked!
Akito no Miyuki (1962)
Me: That's it! After all, this film has been studied for so long, and it has been told so many times on various occasions... But even so, you know what? In fact, when I was working on this syllabus (or "program schedule") this week, I actually had a lot of hesitation about using Ozu and Overs films.
Sama Jun: Why? By the way, didn't Master say that he would talk about "Titanic" in the basic film class before, but today he didn't talk about it...
Titanic Titanic (1997)
Me: Yes, it's because I've talked about it too many times and I'm tired of it, and I don't want people to think that my "masterpiece" is about this film. In fact, the entanglement is also here: the reason why this film was chosen in the first place and the effect was very good, mainly because it is well known but people generally do not realize that it originally had such knowledge. But slowly, one consideration was that as I taught younger and younger students and more and more "non-fans", I found that not everyone had seen the film (a few hadn't even heard of it!). Another consideration was that I also wanted to make my class more varied, so I had long wanted to find an example to replace it.
Sama Jun: Didn't Master say that he used "A Certain Lady" (1953) as an example before, so why did he say that he was entangled in the use of Overus?
The Earrings of the Countess Madame de... (1953)
Me: Yes, it's because when I was talking before, I felt that the resonance of the teacher or classmates didn't seem to be very big. I don't know if I can't say it well? Or are they really hard to accept black and white films... In any case, I was very cautious about using old films.
Sama Jun: Why? Just because it's black and white? However, today I felt quite successful in playing "The Taste of Saury" ~ especially after Master said that Ozu's fascination with red, I really heard the teachers say "Red Ha!" when they saw other shots. Such a reaction.
Me: Hmmm... It's not exactly a matter of the old and the new, but it's an illusion that the stereotype is that the old movies are originally more elaborate, and if I use the old films as examples, they are definitely not familiar with them [Sama Jun interjected: They are not familiar with the new films! | Me: Also...] Second, it may deepen the illusion that new films are not good, so that teachers will want to lecture in class in the future, and they may not have confidence in the new film examples they want to use, which is not good.
It's like, you talk to people about Renai, Bergman, Antonioni, and then dig out and analyze the deep things in their forms, it's all taken for granted, but it's easier to take people for granted when you talk about how the shots from Titanic or Mind Strike Force (2015) envision and what aesthetic problems they pose. This is a good effect for the fundamentals of film class to open the eyes of teachers.
Inside Out (2015)
Sama Jun: Mm-hmm! So why did Master finally release Ozu, Overfers, and Seven Thieves in Blood (1956)? Full of bootlegs!
Me: Yeah... Because one day this week, I suddenly realized: Ieus is not something that cannot be said or seen! And, if this lesson is meant to be eye-opening, why not put the top examples? Whether he is old or new, this may be my own preset position
Seven Men from Now (1956)
Sama Jun: ... So Master, would you like to say that "Standing on the Edge" (2016) is also a top work?
Me: You're a dead brainer! Knowing the reason for its appearance, it is just enough to talk about the development of the Kuryshov effect...
["Standing on the Edge" chooses the wife to dry clothes upstairs, and she has the illusion that Yasaka, who harmed her daughter, is behind the sheets, so under the effect of Kulishov, even if her face has not changed at all (even if there is still a subtle "performance"; but only this, because she is dead, she should not be too extreme), the audience can still feel the pressure brought by Yasaka's imminent approaching. 】
Standing on the Edge (2016)
Sama Jun: And put it together with "Manchester by the Sea" (2016), and also talked about Cassie's winning the best actor together, and the whole hilarity was super funny... I think Master is getting better and better
[The passage in "Manchester by the Sea" is 51 minutes away (Blu-ray video), in which Cassie's character Lee flashes back to the tragedies that happened in his hometown in the past when he listens to his brother's will in the lawyer's office.] 】
Me: Unfortunately, this passage is so long that the later part about the long shot is completely devoid of time. Fortunately, when talking about "Manchester by the Sea", you can also take some shots to echo the previously said things.
Sama Jun: Ah yes, like the impression of a cross formed by the window frame when looking out the window. ...... Having said that, didn't Master reveal before that he was going to talk about "The Most Wanted Criminal" in class? But I see that you are not included in the syllabus at all!
Me: Trapped! Let me get some sleep first
Recommended | The public account of "No. 3 Wenhuiyuan Road" paid for the manuscript of the film masters. For more information, see: Ask for Talent.