Semiotician Peirce once divided human cognition of symbols into three categories, namely icons, indexes and symbols.
Of course, the composition of Pierce's symbols (medium, interpretation, object) is not consistent with the composition of the story depicted in the film "Rain Man", but Pierce uses three related objects: "symbol representation", "object" and "interpreter".
to illustrate the way human beings use symbols to think abstractly and understand the objective world, which has a certain reference role for the analysis of the movie "Rain Man".
When Raymond first met Charlie, he felt a sense of distance and strangeness, and when Charlie flipped through his belongings, Raymond felt a strong discomfort in his heart, and the specific external manifestation was dancing and splitting headaches.
Here, it's easy to see that they don't form a brotherly emotional cognition, that Raymond's actions resemble "indicator signs", and that his anxiety is an instinctive reaction to Charlie's reckless behavior.
After a series of events, when Charlie and Raymond knew that they were going to separate from each other, Raymond slowly rested his forehead on Charlie's forehead. This detail, which was frozen by the director for 40 seconds, is analyzed from the narrative level, showing that in the situation at that time, their brotherly relationship was very good.
They don't have too much verbal communication, but use their movements to form a visual image to convey the reluctance of the brothers. It is not difficult to find that the visual symbols composed of actions constitute a meaningful relationship with the scene where the two meet for the first time (Raymond's discomfort).
In contrast between the two, the narrative meaning is conveyed through the characters' facial expressions, and the active physical contact between the two cannot be touched from the accessories, and Raymond's transformation indicates the deepening of the relationship between the two brothers.
Booth called the "implied author" the author's "second self", that is, the specific stance and viewpoint that the author adopts when writing constitutes the "second self" that he manifests in the specific text.
In terms of film narrative techniques, the "implied author" is that the director and screenwriter want to express their understanding of the story through the lens. At the end of the film, Charlie watches Raymond get on the train, and he reassures him that they will meet again soon.
Raymond carried a backpack and said with a seemingly unanswered question: "One is bad, two is good." Translated into Chinese, it is: one is bad, two is good.
This phrase first appeared in the casino, when Charlie told Raymond about the gambling rules - only two chip cards are a win, and a single card cannot win. This sentence, as an element in the context of the scene, first illustrates that Raymond thought of what Charlie said earlier.
Secondly, this sentence lets the audience know that it was Charlie who told him in the first place, so he won the money. At the end of the film, Raymond brings up "Two" again. The scene was a separate one, and Raymond said that this phrase represented his identification with the fact that Charlie was his own brother.
The reverse is true for Charlie. “One is bad，two is good.” This sentence borrowed Raymond's mouth, relying on the "director's meaning", indicating that the two brothers should be together. It indicates that although they are separated now, they will definitely meet again in the future.
The main story thread of the film revolves around Charlie and Raymond's brotherly relationship from scratch, which undergoes three emotional transformations, namely Charlie's attitude towards his father, Charlie's identification with his autistic brother, and how Charlie chooses the mode of getting along with his brother in the future.
When dealing with the first question, the director did not let the image of the "father" appear in the film, but used the "metaphor" and "metaphor" in the film's rhetoric to intensify the contradiction between the two. The advantages of this approach are:
First, it can skip the lengthy and complex non-main character descriptions and focus more on Raymond and Charlie; Second, the father's "metaphor" appears at the beginning of the film, and Charlie does not understand his father until the end.
As a result, the structure of the film's story is more rigorous. In dealing with the second transition, the director uses visual symbols to turn abstract family affection into concrete actions to show the emotional changes between brothers, and the contrast between the front and back body movements makes the relationship between the characters more dramatic.
The last emotional shift is the climax of the whole film, as Raymond, who is autistic, cannot respond to Charlie's comfort in conventional language, borrowing the casino "Two for good! The words imply that the two will meet again soon, adding a warm tone to the whole film.
Domestic scholars generally regard "metaphor bottom", "metaphor body" and "metaphor body" as metaphor structures, but lack of argument for the "metaphor bottom" itself, "metaphor body" and "metaphor body" as the existence of multiple cognitive possibilities, while the "metaphor bottom" proposed in "metaphor research" refers more to the multiple possibilities of excluding objects, pointing to the similarity and commonality between two different things or concepts.
