In the first half of the nineteenth century, naturalism as a kind of these words was active in the cultural world, it is a genre and trend of thought in literary and artistic creation. Unlike realism, naturalism focuses on the relationship between real life and natural life, pays attention to details and fragments, and pursues the appearance of things. Naturalism is not good at summarizing the essence of reality, and many writers even believe that naturalism is a distortion of real life.
But let us not forget that naturalism is a word from philosophy, from a philosophical point of view, naturalism in the category of materialist thought system, it emphasizes the relationship between natural science and human society, such as how natural science affects human society, human society is the reaction of natural science and thus promote their development.
In 1980, Carlos. Diego introduced brazilian naturalism into his films, filming the story of "Goodbye Brazil", which uses the narrative mode of a road movie to cross Brazil through a group of gypsies along the Amazon Highway to a show. Carlos. In the form of a semi-documentary, through the eyes of gypsy singers, Diego records the customs and social changes of Brazil, and the whole film carries a very simple and pure charm.
Of course, when we enjoy this movie, we can't blindly immerse ourselves in the scenery. We need to interpret and analyze the story. Naturalism creates a sense of ethereal dreaming, but the core of the film is a reflection and reflection on reality. "Goodbye Brazil" is not a simple scenery film from any point of view. It is a tragic story that originated on Brazilian soil.
For film fans, Brazil is a magical land, where it can produce both a brilliant visual language and a thick film narrative. In the film "Goodbye Brazil", Carlos. Diego uses a naturalistic style to document the various landscapes and historical changes in the Brazilian land, and also focuses on the inner struggles of the characters. And this also gives a new interpretation of the meaning of "naturalism". Below, we will look at Carlos from the perspective of color, reality and history. How rich is the naturalism in Diego's lens.
<h1 class="pgc-h-arrow-right" > intense colors obscure people's sadness, and the sharp shots try to tear through this disguise. </h1>
The impression is that Brazilian films are always full of intense colors that can create a sense of vertigo, as if suddenly entering a humid Amazon basin. Following the director's lens, you can turn away those thick colors one by one, and then enter another calm and profound image world.
The focus on Brazilian cinema began with City of God, which is by no means brutal and dark. Despite being a gangster movie, the story in this film is as romantic as the dust rising from the land of Brazil.
Based on his curiosity about Brazilian cinema, he began to pay attention to this mysterious land and began to enter a new world of light and shadow. Most recently, in 1980's Goodbye Brazil, I regained my former astonishment, a film about a tragedy in a lighthearted and humorous way. The reason why it is light and humorous is because the Brazilian style in the movie is difficult for people to directly feel the tragedy of the movie.
The film prepares the gypsy singers, whose enthusiasm presents a steaming state of life, which is also the spiritual symbol given to people by this difficult land. The director's camera follows in their footsteps, into the depths of the Amazon, recording the thick green that cannot be opened.
A large green jungle covers people's sins and desires, but their footsteps will eventually step on the dry land, which is the real way life is. If their journey is a dream, then every performance is the end of the dream, it is the reality that they need to face.
The director has cleverly handled it here, turning each performance into a joyful journey, and in the very dynamic music, people can't help but dance is the most romantic moment. If this is a cruel contrast, it is only another interpretation of naturalism by the director, because naturalism is not only a record of nature, but also of the people who are in it and their lives.
<h1 class="pgc-h-arrow-right" > focus on the current reality, abandon the details of the narrative, and objectively present changes and contradictions with the lens. </h1>
The Marxist Lukács has criticized naturalism, arguing that although naturalism seems to describe reality, the reality in it is a departure from the real existence, showing the reality in the imagination of the creator, rather than the true essence of life. The fragments of reality in naturalism are just a few flashes of light, coupled with the creator's cut-and-paste patchwork, which combine the fleeting, atypical and representative surfaces of life as a reproduction of real life.
If we focus only on the definition and concept of naturalism, Lukács's critique may be justified. But in Goodbye Brazil, such a judgment is clearly untenable. Carlos. Diego's naturalism is based on the reality of Brazil and has not been modified or glorified in any way. His people don't refer to everyone, but only describe a very characteristic group like the Gypsies.
The film places the story in the Brazilian style, not to simply show the director's understanding of naturalism, but to put these stories in a more representative environment, and the gypsies face the dilemma of survival, such a vast land, but can not provide a habitat for this group of wandering singers, from this level of understanding, we can see the director's complex and heavy feelings for Brazil.
Among the wandering bands of gypsies, there are pregnant wives, there are lustful entanglements, there is also the impact of television representing modern civilization on this original performance, and of course, the existential crisis they face. The director does not describe these stories seriously and profoundly, but understates them, weakens the cruelty of survival, and uses naturalism to reduce the pain of realism.
The film's narrative model has influenced many later Brazilian films, such as "Central Station", which was nominated for the Oscar for Best Foreign Language Film and Best Actress in 1998, which tells the story of a young boy's family search from a small perspective. There are no obvious national symbols in the film, but when the audience watches the film, it is obvious that the Brazilian style in the film can be felt. Although the director of "Central Station" did not obviously use national characteristics and era color elements, the customs and customs of a country cannot be hidden.
Directed by Carlos. Diego did not paranoidly use naturalism to construct his world of light and shadow, he just set up an external environment, just to give the film more national characteristics. The core is still realism, the gypsy way of life, the dilemma of life and the expression of lust, this is not a patchwork of details, but the reality that exists.
<h1 class = "pgc-h-arrow-right" > thick history is the foundation of cinema From the past to the present, nature and reality have always been the dreams of Brazilian filmmakers. </h1>
The development of Brazilian cinema did not go well, and the commercial films of the 1940s, although popular in Brazil, were looked down upon by intellectuals and filmmakers in the New Film Movement. In order to revitalize the country's film industry, at the end of the 1970s, Brazil stipulated that cinemas must show a certain proportion of domestic films. During this period, many cheap comedy movies and Wind Moon movies were born. Brazil's censorship of films focuses only on political content, not on the wind and moon, so many films show a strong Brazilian color.
In the 1970s and 1980s, the government began to regulate films, which was both a help for the film and a constraint on the filmmakers. In this environment, Brazilian filmmakers have taken a different path and made a series of national films with unique Brazilian characteristics, "Goodbye Brazil" is one of them. Looking at this film in a real-life environment, this shooting method is actually director Carlos. The way Diego deliberately did it in order to bypass the current film regulatory system.
Brazil's thick history is the foundation of their films, and many filmmakers try to reveal the past through movies. Unfortunately, many of these films did not get a chance to appear on the screen. After the New Film Movement, Brazilian filmmakers found more means and techniques of expression, and Brazilian scenery and gypsies became iconic symbols in Brazilian national culture.
Looking at the history of Brazil, we can find that in this land, nature and reality have always been inseparable from the past two kinds of existence, which is also the long dream of Brazilian filmmakers. Cinema will eventually return to reality, to survival and desire, to industrial civilization and the loss of tradition. The core of "Goodbye Brazil" is still the director's regret about the loss of traditional culture and his reflections on the changes of the times.
The wheels of the times roll forward, constantly meeting people's material needs, but under this rich material, the wheels will also crush traditional culture. The gypsies who could sing and dance were once symbols of joy, but now they have to entangle the desires of reality. Since then, their singing and dancing can only appear in movies and television, without natural vitality, which may be a pity, but it is also an inevitability.
There can be no pure style and form in any film, and although the naturalistic narrative approach has fatal flaws in the traditional narrative, it still has a lot of merit. Naturalism enriches the film's way of expression, weakens the heroism, and makes the narrative in the film more lifelike. From this point of view, Carlos. Naturalism under Diego's lens is a heavy and long journey, starting with enthusiasm and ending in calm, like a journey of life, and finally returning to dust.