Scheduled for the Oscar, "Spider-Man: Across the Universe" stopped the talk that Marvel is not a movie
Marvel movies are popular all over the world, but there are many controversies that accompany them.
Martin Scorsese, Coppola, Cameron and other film masters have criticized Marvel for not being movies, saying that they are theme parks and only harm movies.
But as soon as "Spider-Man: Across the Universe" came out, the remarks that Marvel is not a movie can be stopped.
"Spider-Man: Across the Universe" commercialized Alan Rennais's "Last Year in Marionbad", and this time-space narrative can keep the movie alive for more than a decade.
It has been 82 years since 1941 Orson Welles' "Citizen Kane", allowing the film to transition from classical to modern, and non-linear narrative has made the film come back.
But this narrative has now also come to an end, that is, the non-linear narrative methods have been used up, no tricks can be played, and the audience is also aesthetically fatigued, resulting in the current movie is either a sequel or a remake.
The 1961 Left Bank master Aaron Rennais's thesis film Last Year in Marionbad was a new attempt at cinematic narrative.
However, because it is too obscure and extremely demanding on techniques, it has always been in an embarrassing situation where it is studied but difficult to popularize.
The filmmakers saw a new narrative direction, but they couldn't even imitate it, and the audience's appreciation level at that time was not necessarily able to accept such a tired-looking movie.
Today, with the continuous development of technologies such as virtual reality, both audiences and directors have become accustomed to or able to accept the constant change of space.
Although the 24-hour clock is still followed on the timeline, the transfer of space has been subtly instilled into people's subconscious, and people have begun to recognize new things that are separated from space and time.
So film and television works that break the narrative of space and time appear.
For example, the American drama "Westworld", the movie "Ready Player One" and "Runaway Player", but the setting of such works for spatial transformation is still based on games, and the combination and transformation with reality is not silky enough.
The emergence of "Instantaneous Universe" makes up for this problem, although it is a new attempt, but the setting is more deliberate, Michelle Yeoh's shuttle in different spaces is a bit stiff, and it is not relaxed.
In addition, the story of carrying multiple spaces is not attractive, "Instantaneous Universe" is not good enough in this regard, the plot is too subjective, not universal, and not conducive to communication, so it is difficult to achieve publicity.
The Oscars awarded it best picture not only for political correctness, but also for the experimentation of "Instantaneous Universe" in breaking the narrative of time and space, and the commercialization of "Last Year in Marionbad".
Until the advent of "Spider-Man: Across the Universe", this transformation was silky, and the problem of combining nature was solved.
The real world where the little black spider Miles and Spider-Woman Gwen are located relies on the watch device to link with other multiverse spaces, thereby promoting the development of the story, and the watchability has been greatly improved compared to the previous movies.
Whether it's the choice of a tram puzzle, or a feast of 100 spiders, or a magnificent and changeable visual spectacle, a wide variety of music genres, comic book elements are perfectly integrated into the movie, making people applaud.
In fact, "Spider-Man: Across the Universe" is still a classical narrative, following the logic of beginning, development, climax, ending, and ending.
In the story, focusing on the troubles of Miles and Gwen's youth, being a hero and a family are all entangled in their choice, and then they experience some things, grow each other, and embark on the next stage of challenges.
But the changeable space makes the classical become non-linear, relying on a parallel universe and breaking the limitations of space, which makes the film have infinite possibilities and new narrative methods, which has innovative significance for film language.
The only regret is that "Spider-Man: Across the Universe" is still a 24-hour system in terms of breaking time and does not deconstruct it.
If the little black spider and Gwen keep traveling in the multiverse, time is constantly changing, echoing the changes in space, it will be another initiative.
However, time and space change at the same time, and the requirements for directors and screenwriters have undoubtedly increased a lot, and it is necessary to redesign a set of operating laws and world views, which is comparable to Shu Dao.
However, this commercialization of breaking the spatial narrative, the popularization of new narrative methods, and the universality of the story are enough to make people breathtaking.
Perhaps in a few years, "Spider-Man: Across the Universe" will leave a strong mark in the history of cinema, and after that, there will be more and more movies with similar narratives, and the day of no longer watching remakes and sequels is not far away.
In Spider-Man: Into the Spider-Verse, Little Black Spider has just learned to be a Spider-Man.
In the second part, Miles grew up, and the story was no longer that Spider-Man from other parallel universes came to his universe to help him punish sin together and let him grow gradually.
Instead, under the leadership of Spider Gwen, the adventure of the multiverse parallel universe begins, which means that the danger index rises, and the little black spider has to face the fate curse that three generations of Spider-Man have had.
Being Spider-Man means sacrifice, and every generation of Spider-Man has gone through this pain to become a real superhero.
For example, the first generation of Spider-Man lost his friendship Little Green Goblin, the second generation of Spider-Man lost his love Gwen, and the third generation of Spider-Man lost his family affection Aunt May.
This is the process of heroes from loss to release, and only after seeing helplessness can they become stronger and achieve the most complete rebirth of nirvana, which is the fate that Spider-Man cannot escape.
But the little black spider Miles does not believe in fate and vows to break this fatalism, and the upper part of "Spider-Man: Across the Universe" is based on this, and the lower part is also to promote this choice.
Of course, "Spider-Man: Across the Universe" as a super-British animation, Easter eggs naturally cannot be less.
The parallel universe passage where Spider Gwen is located is composed of hexagons, and after WandaVision, the six sides form a meme, and fans are happy to analyze these Easter eggs frame by frame.
The hexagon is a hide-and-seek egg played by the main creator and fans, and the jokes between each other also indicate that there will be many Easter eggs in "Spider-Man: Across the Universe".
The most interesting Easter egg is naturally the appearance of many Spider-Man.
The content of "Spider-Man: Across the Universe" involves 6 parallel universes and about 240 characters, far exceeding the scale of the first part.
In addition to the little black spider Miles, Spider Gwen and Peter Parker of the main universe, there are Spider-Woman Jessica Drew, Indian Spider-Man Pavita Palabahaka, Spiderpunk Hobby Brown.
Spider-Man 2099 Miguel O'Hara, Tarantula Maria Vasquez, Crimson Spider, Zombie Spider-Man, Evil Spider, Spider Assassin, Steel Spider-Man, Geek Spider-Man and other more than 100 Spider-Man.
In addition, there are as many as six parallel universe settings in the film.
In order to match this concept, different styles of art are integrated, comic style, punk style, hip-hop style, and trend style intersect with each other, which is enough to make people dizzy.
This kind of brain-opening, whimsical visual imagination is simply not enough to describe the word "cool", no wonder "Spider-Man: Across the Universe" can be well received and can book an Oscar.