Every book is a "map of knowledge." Using books as coordinates, we can trace the broader world of knowledge.
Today we share 10 films that have appeared in the novel "Li Meizhen" and enter the fantasy world of writer Kong Yalei. "Li Meizhen" has two story lines, one side is a contemporary novelist who is stuck in the bottleneck of creation, and the other is a slanted eye woman in 1900, and the unrelated fate is entangled through the writer's imagination. The appearance of "hallucinogenic" movies has made this story that is difficult to distinguish between true and false even more confusing. How to find the possible truth in the chaotic clues, the shortcut is in the following list!
"Li Meizhen"
By Kong Yalei
Single reading 丨 Casting Engraving Culture 丨 Shanghai Literature and Art Publishing House Published
2020-11
(Click on the cover to purchase the exclusive debut version)
"Li Meizhen" film list
<h1 toutiao-origin="h2" > the Matrix</h1>
<h1 toutiao-origin="h2">The Matrix</h1>
<h2 toutiao-origin="h5" > Director: Lily Wachowski / Lana Wachowski </h2>
<h2 toutiao-origin="h5" > starring: Keanu Reeves / Lawrence Fishburn / Kerry-Ann Moss </h2>
<h2 toutiao-origin="h5" > genre: action/sci-fi </h2>
<h2 toutiao-origin="h5" > production country: United States/Australia </h2>
<h2 toutiao-origin="h5" > year: 1999</h2>
This theory is not new. From Plato's "cave metaphor" (everything we see is not the real world, but just its projection), to Russell's famous quote, "The world may have been created a few minutes ago, but has humans who remember the virtual past"; from the "matrix" in the movie "The Matrix" to the latest quantum mechanics suggests: the basis of the world is not matter, but consciousness. In short, from ancient times to the present, this statement – that the world we see is an illusion – is like an eternal, lingering ghost that has lingered through the history of human civilization.
- "Li Meizhen"
Do we live in the real world, or do we live in some kind of illusion? This is the question that The Matrix raises. The classic film sets the real world as a world controlled by a computer artificial intelligence system called a "matrix," in which people have no free will. The male protagonist wants to be the savior who helps humanity escape control.
<h1 toutiao-origin="h2" > 2001: A Space Odyssey</h1>
<h1 toutiao-origin="h2">2001: A Space Odyssey</h1>
<h2 toutiao-origin="h5" > Director: Stanley Kubrick </h2>
<h2 toutiao-origin="h5" > starring: Kyle Dula / Gary Lockwood / William Sylvester </h2>
<h2 toutiao-origin="h5" > genre: sci-fi / thriller / adventure </h2>
<h2 toutiao-origin="h5" > production country: United Kingdom/United States </h2>
<h2 toutiao-origin="h5" > year: 1968</h2>
The music stopped. I opened my eyes. There was silence. Except for the chirping sound of the flames on the screen. A vertical beam of light lit up in front of the screen at some point. Inside the beam was something covered with a large piece of blue velvet. About one person tall. From the shape, it looks like some kind of skinny stone tablet or something. I think of the mysterious black stone tablet in 2001: A Space Odyssey.
2001: A Space Odyssey is a classic science fiction film full of philosophical propositions. The film imagines that in 2001, when humans launched the Jupiter landing program. The ship was carrying a highly intelligent computer called "HAL 9000", and its loss of control caused the deaths of four astronauts, leaving only Captain David. In a fit of rage, David shuts down HAL and goes to Jupiter alone, only to arrive in time and space, where the ultimate secret of mankind and the universe is hidden.
< h1 toutiao-origin="h2" > pulp fiction</h1>
<h1 toutiao-origin="h2">Pulp Fiction</h1>
<h2 toutiao-origin="h5" > director: Quentin Tarantino </h2>
<h2 toutiao-origin="h5" > starring: John Travolta / Uma Thurman / Amanda Pramo </h2>
<h2 toutiao-origin="h5" > genre: drama / comedy / crime </h2>
<h2 toutiao-origin="h5" > production country: United States </h2>
<h2 toutiao-origin="h5" > Year: 1994</h2>
Sucking on something together obviously has some psychoanalytic meaning. You must have seen Quentin's Pulp Fiction. You must also remember the famous episode: the gold watch hidden in the anus. ...... So all three things are related to the anus: gold watches, shit, rape. This is clearly a postmodern parody of Quentin's theory of the period of Freud. OK, that's obvious, and a lot of people see it. But I suspect a few people can see that, correspondingly, there are three parodies of Freud's theory of the period of appetite in the film — and specifically, sucking on something together.
The "ring structure" in "Pulp Fiction" is enjoyed by fans, and the film consists of "Vincent and Martha's Wife", "Gold Watch", "Bonnie's Situation" and five parts, the prologue and the epilogue, the five parts do not develop in chronological order, are independent of each other, but the content echoes each other. Through this structure, Quentin reached a cycle of violence. The postmodern approach simulates not the reality of the facts, but some kind of cognitive reality—there are inextricable reasons behind an event, and a person has a very different state. When reading "Li Meizhen", you can also appreciate the role of structure in the work.
< h1 toutiao-origin="h2" > rear window</h1>
<h1 toutiao-origin="h2">Rear Window</h1>
<h2 toutiao-origin="h5" > Director: Alfred Hitchcock </h2>
<h2 Toutiao-origin="h5" > starring: James Stewart / Grace Kelly / Wendale Curry </h2>
<h2 toutiao-origin="h5" > genre: suspense / thriller </h2>
<h2 toutiao-origin="h5" > year: 1954</h2>
Novelist K "Red Notebook" on the movie.
Photographer Jeffries broke his leg, recuperating at home bored, leaning against the window to watch the daily life of his neighbors to pass the time. As Hitchcock's work, Rear Window unsurprisingly has a thrilling incident. By observing, Jeffries suspected that the husband in the neighborhood had killed his wife and abandoned the body. The process of speculation and conjecture is more creepy than the facts themselves. In a limited space, the drama and horror atmosphere are the superb abilities of Hitchcock. Rear Window also reveals the charm of the film, gaining pleasure in peeking into the lives of others.
<h1 toutiao-origin="h2" > idiot</h1>
<h1 toutiao origin="h2">Idiots</h1>
<h2 toutiao-origin="h5" > director: Russ von Thiel </h2>
<h2 toutiao-origin="h5" > starring: Bodi Jorgensen / Anne Louise Hassing / Tols Libby </h2>
<h2 toutiao-origin="h5" > genre: comedy/drama </h2>
<h2 toutiao-origin="h5" > production country:Denmark/Spain/Sweden/France/Netherlands/Italy </h2>
<h2 toutiao-origin="h5" > year: 1998</h2>
I can't help but think of Las von Trier's film, The Idiot. A group of young people deliberately pretended to be mentally handicapped, played pranks everywhere, cheated and drank, and everyone was helpless against them. Then a mother who was experiencing the pain of losing her child was accidentally pulled into the group. For this kind of pretending to be crazy and stupid, she went from resisting and being shocked to trying at the beginning, until she finally became addicted and could not extricate herself. Because she had discovered a wonderful way to deal with grief — to deal with everything — and that was to go crazy, true or false. So madness, Cosplay, and masquerades can be said to be different degrees of self-protection, self-deception, and self-hypnosis, in order to obtain the sense of security that abandons social roles and their responsibilities.
An anti-cinematic film, a film whose mission is to challenge the moral yardstick. "Idiot" does not pay attention to the beauty of the picture when shooting, there are a large number of sexual organ shots, do not taboo to wear gangs, the photographer is in front of the camera. "Idiots" is not really "idiots", but a group of normal people pretending to be idiots. They pretend to be crazy and stupid, just to challenge the middle-class system, or the so-called rules of human social civilization. In their world, reason means whitewashing, hypocrisy and indifference, so just embrace the pleasures of animal nature.
< h1 toutiao-origin="h2" > blue velvet</h1>
<h1 toutiao-origin="h2">Blue Velvet</h1>
<h2 toutiao-origin="h5" > director: David Lynch </h2>
<h2 toutiao-origin="h5" > starring: Isabella Rossellini / Kyle McLachlan / Dennis Hopper </h2>
<h2 toutiao-origin="h5" > genre: Crime / Suspense / Thriller </h2>
<h2 toutiao-origin="h5" > year: 1986</h2>
The story of "Li Meizhen" begins with a photograph, and the story of "Blue Velvet" begins with a human ear. A college student who accidentally picks up a human ear is involved in a erotic murder. The boy's entry into the body of a mature woman also means that he has entered the dangerous adult world. A different face of a seemingly peaceful American town in the mid-'80s is revealed, dirty and dirty, with a dark human nature. Young boys who enter the adult world begin to shake their moral values. Blue Velvet is David Lynch's famous work.
< h1 toutiao-origin="h2" > approached piano prodigy Glenn Gould</h1>
Genius Within: The Inner Life of Glenn Gould
<h2 toutiao-origin="h5" > starring: Glenn Gould </h2>
<h2 toutiao-origin="h5" > genre: Documentary </h2>
<h2 toutiao-origin="h5" >smaking country: Canada </h2>
<h2 toutiao-origin="h5" > Year: 2010</h2>
Title.
<h1 toutiao-origin="h2" > retreat into silence</h1>
<h1 toutiao-origin="h2">The Great Silence</h1>
<h2 toutiao-origin="h5" > Director: Philip Groin </h2>
<h2 toutiao-origin="h5" > production country: France/Switzerland/Germany </h2>
<h2 toutiao-origin="h5" > Year: 2005</h2>
"Escape into Silence" documents the life of an old monastery on the top of the Alpine Mountain, and like the title, the documentary has no music, no narration, only a silence that tests the patience of the audience, and this is the truest state of this old monastery. Those monks, doing the same thing every day in the same place, at the same time, have been going on for 980 years and will continue to do. The director said that when there is no language, it is possible to feel the rhythm of silence, and in the monastery, he hears the sound of dripping water, the sound of someone opening and closing the door 250 meters away, and the sound of changing the straps of the camera is too loud. He wanted the audience to feel listening again in the 164-minute silence.
< h1 toutiao-origin="h2" > mirror</h1>
<h1 toutiao-origin="h2">Zerkalo</h1>
< h2 toutiao-origin="h5" > Director: Andrei Tarkovsky </h2>
Starring: Margaret Terekhova / Innokenti Smoktunovsky / Oleg Jankovsky
<h2 toutiao-origin="h5" > genre: Biography / Drama / History / War </h2>
<h2 toutiao-origin="h5" >smaking country: Soviet Union </h2>
<h2 toutiao-origin="h5" > year: 1975</h2>
That teenager was apparently Tarkovsky himself—after years of severe stuttering difficulties in expression, he could finally tell his origins thoroughly and vividly through the film "Mirror": his mother. So you see, there is some sort of incredible, miraculous coincidence between your Li Meizhen and Tarkovsky's Mirror: they are both at the heart of the mystery of the origin of the self; they both arise from a kind of stuttering extreme anxiety and expression disorder; and what is even more miraculous is that what saves them from this stuttering state is the same thing, hypnosis; (and you didn't even read "Mirror" when you wrote the hypnosis of Li Meizhen, right?). Then, in the end, their results all present a strong Oedipal complex.
The Mirror is Tarkovsky's autobiographical film. When the young Tarkovsky went with his mother to borrow money from relatives, Wu Zi found a mirror, and under the series of this mirror, a series of Tarkovsky's fragmentary memories appeared. These fragments of remembrance do not follow a linear narrative and are not directly but subtly related to each other, i.e. the forms of existence of memories in our minds. Interspersed with reality, dreams, hypotheses, memories and news fragments, Tarkovsky shows us how a life is made up of his experiences, he does not tell any truth, does not produce a unified idea, and only performs a self-dissection. But for everyone, the most important thing, what they have been pestering all their lives, is not the self?
< h1 toutiao-origin="h2" > exhausted</h1>
<h1 toutiao-origin="h2">Smother out</h1>
< h2 toutiao-origin="h5" > director: Jean-Luc Godard </h2>
< h2 toutiao-origin="h5" > starring: Jean-Paul Belmondo / Daniel Brownie </h2>
<h2 toutiao-origin="h5" > genre: Drama / Love / Crime </h2>
<h2 toutiao-origin="h5" >smaking country: France </h2>
<h2 toutiao-origin="h5" > year: 1960</h2>
I don't write at night. I either read books (William James's The Various Religious Experiences and Don Derrillo's White Noise, and I always read a novel and a nonfiction at the same time), or I listen to vinyl records (Bach's organ collection) and sometimes movies (I re-watched Godard's Exhausted). Paired with a glass of inexpensive Chilean Chixiang wine.
Godard's debut, an iconic French New Wave work. In "Exhausted", Godard joined the revolution of film language, Hollywood pays attention to the continuity of images, Godard uses jump cut; Hollywood movie pictures, music, lines, etc., only serve one theme, usually love, Godard will use sound and picture to convey information about different themes, the film is fragmented... There is a famous line in the film: "Between sadness and nothingness, I choose nothingness." "The characters' behavior and spiritual temperament all carry a special imprint of the 60s.
"Li Meizhen" (Single Reading New Book 004)
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