Perspective is the perspective, vision and viewpoint of the creator and narrator's divine world, in the film, the perspective is the angle chosen by the director in order to unfold the narrative or for the audience to better examine the character image and the meaning of the event in the film. The narrative angle chosen by the director determines the interesting direction of the film work and is also part of the style of the work. A good perspective can provide the audience with a broader space for interpretation, and will also give the film more aesthetic value and moral thinking. A lot of times, when we talk about movies, we actually analyze the movies through our own perspectives.
In 1956, Albert. La Morris made a short film called "Red Balloon", which won the Best Original Screenplay at the 29th Academy Awards and the Palme d'Or for Short Film in the main competition section of the 9th Cannes Film Festival. In 2007, Taiwanese director Hou Hsiao-hsien made a tribute to Albert. LaMoris's film Journey to the Red Balloon, which is an expansion and secondary interpretation of The Red Balloon.
"Red Balloon" tells a fantasy story in which the lonely little boy Pasque picks up a red balloon on his way to school alone, and the red balloon seems to be another child, always following Pascoe. The red balloon filled in the missing parts of Paske's childhood and brought him great joy. But another group of boys on the street always managed to snatch the balloon away and tried to break it. So the little boy stepped forward to protect his red balloon.
Directed by Albert. In the film, With the help of the perspective of the little boy Paske, Lamoris carefully portrays the adult world, growing memories and emotional flow. Perspective is not only the narrative technique chosen by the director, but also contains the director's personal consciousness, with the director's creative ideals, artistic expression and the inherent needs of moral culture. In other words, any narrative perspective chosen by the director contains a rich philosophy of life and a smooth poetry.
<h1 class="pgc-h-decimal" data-index="01" > one of them: children are relatively low in socialization, allowing children to become observers in the film world, which helps movies to abandon the worldly utilitarianism. </h1>
The child's perspective and the adult perspective in "Red Balloon" are in opposition, representing the child's perspective is the little boy Pasque, and the adult perspective is Pascoe's mother. Paske longs for friendship and companionship, while his mother wants Pascoe to be obedient and well-behaved. Two different perspectives represent two different voices, not only in Paske's childhood, but also in most people's childhood.
Directed by Albert. Rameres did not emphasize too much on the adult perspective, but at the right time, let the adult perspective appear with a certain degree of authority, in order to maintain the corresponding order. For example, Paske can't take a bus with a red balloon, can't walk into a classroom with a red balloon, or even go home with a red balloon. These can'ts arise because of the adult world order. Although Paske, who was still a child, did not understand the meaning of these orders, he still obeyed them. Directed by Bert. LaMoris does not use the child's point of view to attack the rigidity of the world, on the contrary, he affirms these rules and institutions. Although it is a bit cruel for Paske, this is exactly the reality that Pasco needs to face as he grows up.
Children belong to a relatively low degree of socialization in the entire social order, and when they observe the world, they consider not the pros and cons, but the real needs. This can be seen as a kind of "retreat" and "avoidance" of the director in the narrative. Abandoning the mature and rational adult perspective and letting the child become his own eyes, in this process, the child presents the director's aesthetic photograph of the real world and a more hidden social observation through the simple handling and judgment of the world and events.
In addition to "Red Balloon", children's perspectives can be seen in many movies, such as "Lord of the Flies", "The Boy in striped Pajamas", "The Last Lesson", etc. These films outline a grand theme through the innocent children's perspective, which can show the profundity, uniqueness and superiority of the children's perspective, while realizing the criticism and irony of the world.
<h1 class="pgc-h-decimal" data-index="02" > two: when children understand the world, the ambiguity, uncertainty, intuition and other characteristics have a natural poetry, without any modification, can achieve poetic artistic expression. </h1>
Movies actually come in two forms, one is static and the other is dynamic. The reason why it is static is because after the film is finished, its time and space can no longer be changed, and it is said to be dynamic because it can be constantly interpreted.
When we give meaning to a film or evaluate whether it is poetic or not, it is often based on our own experience. In order to allow the audience to better feel the poetry of the film, the director will inevitably be affected by the relevant poetic theory in the process of shooting the film, and deliberately add interpretable poetic elements to the film.
However, if you choose a children's perspective, then the film will have a natural poetry. In the movie "Red Balloon", the little boy Pasque walks alone through the deserted streets is a kind of poetry, he takes a red balloon on the street to meet a girl with a blue balloon, which is also a kind of poetry, and at the end, the colorful balloons flying into the sky are even more beautiful.
If these elements appear in the adult world, the bright colors will inevitably be a bit noisy. After all, not every director can handle strong colors like Almodóvar. In the eyes of children, rich colors mean the richness of the world as a whole, and when they interpret the world, they only understand things through superficial superficiality, which is inherently poetic.
Mr. Wang Zengqi believes that children rely on intuition to feel the world, so that they can best grasp the color, shape, light and shadow, sound and silence of the surrounding environment. It can best capture the essence of life. In Paske's eyes, only the balloons were colorful, and the whole city was gray, perhaps because of loneliness, or perhaps the world was the way it was.
The "child's heart" component in the children's perspective is actually a timeless poetic representative, through the visual expression of the "child's heart", it can explore the simple aesthetic characteristics, and when portraying the child's language and behavior, it is easy to present the natural poetry. For the director, it is easier to use characters to express the poetry of the film, which is easier to get the recognition of the audience, and it is also easier for the audience to experience the "hidden" art style.
<h1 class="pgc-h-decimal" data-index="03" > third: the child's perspective is not only the perspective of seeing the world, but also the director's state of mind. Through such a simple perspective, the director's creative intention can be better realized. </h1>
In "Red Balloon", the director chooses the little boy Pasque, at this time, we can be paranoid that the director hopes that he can return to the basics and see the world through a purer eye.
One obvious difference between the child's perspective and the adult's perspective is that adult imagination and evaluation of the world is often a deliberate act, while the former is a spontaneous act. With the help of children's eyes, it is easier to capture details that are not easily noticed by adults. When an adult looks at the world with a rational eye, all that happens becomes an experience and a lesson. Where adults cannot reach, children can arrive with their characteristic innocence with ease, and the whole world and the child are equal and dialogued.
In Red Balloon, Paske constructs an equal world between him and Red Balloon, and how he treats Red Balloon and how Red Balloon treats him will also be. When he hides on a street corner, the red balloon will also take advantage of his inattention to hide and wait for him to come and look for it. We certainly know that balloons are inanimate objects, but in this film, the "red balloon" is not only Paske's friend, but also the only way for him to get out of his loneliness. Just like when we are growing up, it is a truth to entrust companionship to toys, cartoon cards, stickers, and dolls. Growing up, everyone has to walk a long way on their own, maybe we all feel lonely, but we will all find things to accompany ourselves, those things are the light of our lives, the treasures that can provide us with a lifetime of memories.
In the film, the director uses the child's perspective on the one hand, and on the other hand, he adds the adult's control and restraint of the world, and forms a certain intervention in the child's perspective, which creates a dramatic conflict while also allowing the perspective to better realize the director's creative intention. Because the children's perspective is simple and pure, there is rarely a situation of being misunderstood, for the director, choosing a simple narrative perspective can make his aesthetic concept more clear.
In the film, no matter which perspective the director chooses, its purpose is to reflect his own view of the world, but different perspectives can bring different viewing experiences. In "Red Balloon", the director makes Paske become his own "eyes", and when Pasco experiences the cold and warm of the world, it is also the director's own experience. For the audience, following Paske's "eyes" makes it easier to enter the world through the eyes of children and explore the secrets of children's growth in this simple and innocent world.
In fact, the children's perspective has appeared in any artistic field, and in literary creation, it is very common to reflect the cruelty of war through the perspective of children. In this narrative approach, the reader can more deeply experience the harm of war to humanity. In music creation, creating through the perspective of children can make music more vital and dynamic. The children's perspective is a perspective with natural poetry and beauty, through which we can follow the child back to the childhood and look for fragments of memories scattered in childhood.