What movie is "Save the Renren"?

The first language: Strictly said that this article is not a film review, but an experiment on the theoretical discourse. Movie comments always tend to think that the movie is a real world record. All the ideas and values ​​hidden in the movie are only the reflection of the real world. The true purpose of comments is to find these ideas and value in the real world, interpret the metaphor To completely understand the movie in a particular historical discourse. In a word, the film review does not believe that the movie can invente new ideology, the "thinking" of the film must resort to the language. This letter is that this article cannot agree. By identifying a new "image-symbol" relationship [2], this article tries to explain movies, in modern, how to shape the body's perception of "time-sports", and further affect the memory, emotion of the subject outside the language ,understanding. An author's "movie thinking" has had a big impact on me, it is necessary to mention it here, he is Gray. Gilles Deleuze [3]. ↑ "Saving Private Ryan" movie poster. ↑ The moment of landing is the beginning of the night, a three-in-one nightmare: For the Allies soldiers during World War, for the actors in the movie, for the audience.

The alienation of the film [4] The initial motivation from this article comes from the view of a movie: "Save the Square Renne", director Steven. Steven Spielberg. With this work, Spoilberg finally proved that he was a movie creator who was brave in reforming the form of contemporary movie, worthy of special theoretical criticism. The fundamental question of this critique is that if the "Save the Square Renne" finally proved the film's "image-symbol" system to develop into a "true" (experience-intuitive) and "language" (concept - subject) The main body understands, so it may contain new ideology? Alternatively, the movie is neither a text-style "can refer to the fingers" game, nor is it a pure sensory reflection, is it an alienated subject? It is true that because of the film operating system that is in large capital, Spielberg's film creation has a fake and abuse commercialization. But we can't ignore the inspiration of the "Movie" of "Save the Rennean" to the subject: it inspires a new recognition dimension, an almost no previously follow-up limit experience (perhaps someone will think this experience The main source ━ Screen violence, has already been explored by multi-party, such as Dario. Auntie [5], but undoubtedly get rid of the state, method and form in the "Save the Thunder Ren". change). This inspiration, the ability to follow myself, mainly because we no longer be able to completely successfully understand this movie in the language of almost "non-porous". The movie has never entered the aesthetics of the main body after digestion, in which case the narrative of movies is literary, and the criticism of the movie has never obeyed the criticism of literature. Therefore, if you want to think and understand the "non-text" phenomenon of "Save the Rennean", we should first pay attention to how to get out of the confusing of the film narrative and literary narrative, how to strip from this confusion from movies The aesthetic morality, and how to establish another discourse technology after removing this aesthetic morality to reset the ideology such as this kind of movie and its implicit. As a strategy of this idea, the traditional thinking method of literature will be discarded: This article does not involve "what is a movie" such a note, nor does it want to provide some clear and single historical analysis or psychological analysis. The film is included in a wide range of social and cultural discussions. The comments herein are a purely discipline of the film, as well as the structure anatomy of "image-motion-time" in the movie. Its purpose is to reflect from a sharp point of view, our confidential criticism: For a movie like "Save the Threshing", why is it from the mainstream moral system? The story of the old life has not been academified. Strict crusade? In turn, it is equally unexpected: Why is the extreme anti-mainstream screen violent aesthetics have not exchanged calm, rational analysis? Thoughts on the movie phenomenon significantly have a vacuum zone, without a current system can be inclusive and clarified. On our industrial copy era, on the one hand, the idea of ​​humanistic feelings, individualistic elite, such as Fernçois TruffAut, etc., is a popularity, stable and accumulated The narrative; on the one hand is rooted in the capital market, obey the aesthetic value of "Cognitive Economics" of someone, such as Charlie Chaplin, Hitchcock, etc. Emotional status accurately calculate the concise, ups and downs, and stripped narratives [6]. The fact is that both stems from, and eventually have to take the help of historical beliefs and interpretations of certain super test, that is, the film itself is like other cultural forms (especially literature), which is a password that carries some historical structure. A password must be decipherted by the inventions (text and their analysis thereof) in the language [7]. The language of liberation in the postmodern thinking, the same understanding of our most novel visual creation of human beings in this twentieth century.

Countless novels, poetry, drama, myths, and secrets' value systems in psychological analysis, semantics, and historical transfers, the lower layer accumulate, flood. The film is born in just a hundred years, it is quickly placed on the literary creature, and everything is tamed by the traditional discourse, flooding in the old semantic stacking and historical reconstruction. When we returns thinking about movie criticism, it is not difficult to find such a thorough break: movie can be in a non-language form (not text) in ideology, so it will not be uniform in the understanding system led by language. For example, historical differences in semantics or have a true non-reschest. Movies do not need to use similar analysis, interpretation, summarization, transition, etc. The language controls "real" and copy "truth", but the movie is "real" instead of "real", it is not copying or symbol, it can be directly understood (image - exercise - time), and AC has been exchanged before language intervention, an aspiration communication. The movie provides a narrative form other than the discussion. This is also why movie is increasingly sensitive to political ideology life: conservative political power not only monitors people's language practice (academic, rally, newspapers, television ...), but also the narrative power of movies is also guarded; US free market open capitalism will inject mainstream non-mainstream thoughts into a large number of production movies to spread to the world. These phenomena are due to this new understanding of the movie as people, the structural factors such as images, symbols, sounds, sports, time, and viewing subjects are combined into "moving" sequences, and exchanged in the instant time. The entire structure occurs. If we say that the language is possible to interpret "rationality", the "narrative" of the movie can actually be completely in "sensual" interpretation [8]. The "Save the Thought Riene" in Spielberg is in a certain extent. Back to the directory, because it is hidden from the military uniform, it will look forward to the bloated, all shifts do not wear waterproof clothes, resulting in a few people. The fleet used in the film is the real World War II landing boat, from the palm stream of California. The narrative of "Save the Renrene" in New York Joint Square, I sat alone in the empty auditorium, waiting for the movie to start. Although it has been a little screamed in the "Save the Thunder Ren", it has a lot of ambition, but the number of themes, the number of theme, and the psychology have not been prepared. After the short opening, the camera flashed back to D Japanese land through the eyes of the veteran Rien. The trendy photography in the moment, the roar of the surrounded and the unprecedented realistic effect will be completely shocked. This is not just a slow, external plane visual stimulus, which is a true all-round sensory oppression. Have a while I will completely numb the life and death of the characters on the screen, and the violent slaughter in the image movement is given to me a unhappy excitement. After the end of the last thirty-minute landing scene, I gradually sorted good thoughts and recovered the reading of the movie narrative. The cause is very simple: the three brothers of the soldiers Ren, all the battlefields, in order not to collect the fourth countless notice in order not to make their mother, and also gave tragic Normandy landing with a slightly color, the highest headquarters decided Renne withdrew from the front line and sent home. It is easy to do it, it is easy to do, find Renne, who does not know where you have arrived on a mess? The possibility is all close to zero. Zhou John, who was originally a middle school teacher. John Miller led the rest of the seven warriors, all have mother, a warrior concluded that he received this inexplicable task. The dissatisfaction with the small packets has always been the focus of the whole movie. Everyone doesn't understand why this kind of life risk is to relieve the "high-profile" task of alone. Miller's helpless moral posture is probably the first tone of the value of the story, actively investing, obeying the superior order, abide by the war agreement (released German prisoners), only so, not only, but also reunited with your loved ones And the rights of reunion in morality.

From this, the presentation will naturally naturally: saving the soldiers Renne is just a specific task, as if you win the beach, trenches, bunker, the difference between the intercom is just the name. Horvath roughly believes that "this task is human" (referring to the big soldiers Renne) Obviously, the serious misunderstanding of Miller's war philosophy, because in fact for Miller, the object of every task They are all people, especially this time, but this person is not Rayne, not any external others, but is every warrior. Every warrior who is in war requires a double rescue: in the shared object environment (battlefield) and in an independent main environment (moral). Just under such ideas, through the principal relationship between the main body "I" and the object of war, the collective war in the film is reduced to the personal scale, which triggers a series of humanitarian refirations that are generally existing in the viewer thinking: the comrades, enemies me In the middle of the superior, the family and the war is between the family, and finally all about a ubiquitous self-salvation. In the crazy war, it reflects warm spiritual care and rationality with personal size, I believe that this is the creation of Schli has been cooked to the chest, but he also tries to set up contradictions to make the viewer can't produce simple Moral identity. Although there is not much ink, it is not only a background of the baked, accompanying, in fact, when we carefully read the second value tone thoroughly thinking carefully, it can clearly feel that its cut is appropriate. precise. Through the character of the character, it penetrates with the first base of the above, reaching a precise dramatic: Humanitarian ingredients of the superior military officers have led to unsemprecious sacrifices, but in persuasive reference After the state of the human prophet of Lincoln, it is completely reasonable to implement the "humanity" in the military mechanism, and there is also a validation. Upham in the small packets is actually the specific avatar of this value. He didn't know anything about the battle, never destroyed the enemy or was to be eliminated by the enemy, but he could understand the deep connotation of this mission, because he is almost the only person who has not exposed dissatisfaction. He can recite Ralph Waldo Emerson to express the poetic of the war, but when he seizes the enemy bunker, he is unable to hide behind the dead cows. It is worth noting that he is observing the battle in the vision through a sight mirror on a sniper rifle. Before the referral war picture, although his eyes were panicked, his eyesight were indifferent, isolated. For other members in the small packets, the war is fighting, which is the body organ and emotional income "existence"; and for him, the war is a form of visual experience, and the transfer and reorganization of the actual meaning [9] . We clearly see the contrast to treat the prisoners of prisoners of prisoners of prisoners: Aberham, who did not experience the Battlefield and Dead Aberha insisted on fulfilling the obligations specified in the International Convention, and released prisoners of war. He believes that the base point of the war is a selfish stand that the selfish stand and even surpass the war itself, and the base of other soldiers is self, instant emotional balance and resentment.

↑ Upham shape is stared. ↑ Patty Dejun prisoners. The problem of prisoners of war caused the trust crisis between the small team members. The final scene of the film seems to imply the essence of the latter sublimation as human nature. Abbel has experienced physical torture and psychological struggle, and the heart finally ignited hatred: After the death of Miller, the bullets rushed out, and the murderer shot in the near-distance, and it became a murderer. The German soldier of the prisoner. Aberham offsets himself in his behavior, his character returned to zero start. There is reason to believe that he will grow into a "feeling" warrior. Because many comrades sacrificed for the soldiers Rayne, Rayne's victory survived his life and returned to zero. This is why the old Rayne pleading his wife in Miller's tomb, he is a "good person" in front of Miller's tomb. The life of salvation will appear as a "positive value" on the "humanity" balance, although this increase is absent in the film. The ultimate value of the small packets clearly surfaced in such an lyrical atmosphere: the redemption of life is a spiritual version of Jesus nails in the cross, a contract for future, a kind of mortgage "good" Dache "beauty" economics. Although the ending of "zero start" seems to be a little compromise, Schpelberg wants to introduce some ambiguous abstraction in his movie art, but carefully scrutinize, and feel suspicious: forced excessive incident and has been announced. The number of digital comparisons in the mouth is so strong, is it not implied by implying a result of non-zero? Some economics for linear growth? The huge casualties landed in Normanda have buried a volt on the quantity as a trial war, followed by the initial formation of the contradiction from eight-to-one contrast. Miller and Hobsh are like a sacrifice to save two, ten, maybe twenty, "it is so simple", Miller is helpless. There is also a more absurd: airborne a generals and his armored jeep at a few casualties. We can understand these arithmesses as a "humanity economics", which is an estimate of value as a unit as a unit. On the surface, it seems that machinery, cruel, but the war is characterized by people's consumption, it is not a honesty. However, in the first thing, the macroeconomic behavior and individual microscopic instinctive behavior is the binary basics of this film to express: in the low-race rhythm and uniform structure, simple and simple dialectical humanitarianism The end of the film is attributed to the balance, and it is returned to zero. The object being narrow is not certain to this "humanity economics", of course, there is no negation, if we don't think this is a skeptic. So, what is the careful mathematics environment? It is narrative and is "narrative economics." In "Save the Rennean", in addition to some short, fuzzy, distant visual images, the enemy's specific personality characteristics have never been presented (the only exception is the German prisoners who have no lack of fear). Therefore, a virtual, continuous, paranoid reverse must be solved in the front of the frontal character in order to make narratives to be reasonably, precise, and coordinated. The frequent occurrence of numbers is to symbolize, accumulating the "in the field" intensity of this "no scene", thus completing the value exchange with "The front of the field" in the end of the logo, that is, the end of the event, the end of the narrative . The return of zero also means watching practices to complete a complete psychological activity, achieving thorough communication with details and characters. In fact, everyone has given exquisite oral personality and uneven morality, they are important parameters in this narrative formula. All positive presence is offset by Miller and other standard emotional warriors; all negative existence retains ━ Abbham, Renne, and the rule of the ridiculous clerk with clear logic expressing the scripture ( REIBEN. The results after the narrative operation: all is zero [10]. Back to Contents

↑ "Full Metal Jacket" movie poster. ↑ Great movie creator ━stanley kubrick ↑ Lee Ermey's unforgettable performance enables the instructor Hartmann this person. "All Metal Shell" [11] This "narrative economy" is almost completely opposite to the experiment of the NRICK to dissolution narrative in the "All Metal Shell". In the first part of the "All-Metal Shell", only a few scenarios of Liao Liao, a camp, a training field, etc. The character's activities are also highly consistent with specific scenarios: in the barracks, running up and runs up on the ramp, overbearing obstacles in the training ground, and there is almost no short-range close-up and only capturing the midview and prospects of trapping. The geometry of the movie picture has a highly repetitive feeling, and does not expand it to a piece of tail, like a three-minute film is edited into 30 minutes of movie. No one of the circumstances can act as a axis, so a set of lenses can freely exchange positions with another set of lenses without affecting the subjective effects of viewing. Another feature is that the "reverse role" instructor Hartman (sgt. Hartman) has been in a constant hysterical state, his personality characteristics refused to evolve due to excessive single, from what morality and feelings are also unreasonable . That is, his existence is a constant, like the circulation structure of photography, does not promote narrative. Cubbrick deletes at least two sets of lenses to avoid Hartman from the type of thin, and it is a particular evil of someone: First, Hartman will almost clumsy "Pike" recruits. In a bowl of urination; one is that he ordered a recruit for the wrist to report to the medical department, you must clean up your own blood. Another evidence is that the Hartmann type type of cartoon font does not replace the uniform, his hat will never be topped on his head, even from sleeping, it is no exception. Plum playing Hartman. Lee Ermey is originally a military technical consultant hired by Kubrick. Kubrick was infected by the Irmeth's military stick, so he used him to play Hartman's important role. This also explains why paranoid Hartman has always maintained the type characteristics of "people", and the relationship between him and the recruits is also a pure "person" and "people" type relationship, Exhibits a certain "inert" rather than "vivid", tension. Until Pyer killed Hartman before the newcomer ended, Pyer and Hartman were the only motivation for the entire movie weak narrative. After the death of Tatman, this only "inert" drama contradiction is also smoking. Tough interruptions will slow down the film slow, uniform, and the narrative process of the circulation is thrown, and the people are thrown along the tangent of the circumference, enter a non-bounded space. This is the beginning of the second part of the second part: the lens With a short-term close-up of the hips of a miniskirt, the depth of field is gradually shortened, and the character "clown" (PVT. Joker) is re-appeared. . After the base and the superior evil, the clown as a warfare reporter began to travel between the front line battlefield (although the intended purpose, "time-space" conversion is independent). After another, the film also showed a small team's guerrilla process, but this process was discrete: the small team wandered between the open space and the ruins, these locations did not have a clear "identity", the specific purpose of the guerrilla finally was absent. The enemy that can make the guerrillas are always not present or present in the form of an object (corpse) ("Save the soldiers Renne" should be based on this). There is no obvious plot or topic in the conversion of the movie scene, and it cannot be understood to explicitly point to any particular plot. Especially when they are allowed to accept interviews, each soldier is honest, the mouth has a word, random, and the "double lens" ━ movie lens and the battlefield interview with the field, and quickly switched from a warrior to another. Plus these soldiers's glow words, the process of narrative has been completely stagnant. Until them encountered a blockbatch in a ruins, the logic of the story was first expanded in the coordinated conversion of time space.

However, when this slack in the rubble was discovered by the clown, the traditional narrative principle was once again subversited: her appearance is neither evil, but only a teenage little girl. ↑ Dude Hartman often has some slow New soldiers. ↑ Hartman led everyone to sing the military songs in the scriptate, showing the game sex in others. ↑ Space geometric in each group ━ This is the bathroom to the bathroom.

↑ Joker participated in the small team wandering between open and ruins, which did not have a clear "identity". The soldiers of the small packets were slammed by sniper, and the blood splash slow lens enabled the audience anxiously looking forward to the moment to face the fierce enemy. ↑ I expect a long-awaited sniper! Oh, it turned out to be a thin little girl. The narrative structure of "all metal shell" is free, and the character is unfamiliar. Cubbrick refuses to set any clear symbol to purify the so-called "movie art". Spielberg does not have the theoretical ambition of Kubrick to "destroy the narrative structure of the movie". He started from "Third Category" (Close Encounter of the Third Kind, 1977), "Great White Shark" (Jaws, 1975), continuously repeating the warm, personal scale humanitarian The formula of irony super power: whether a personality of shark, dinosaur, alien civilization, or "The Color Purple," Schindler's List "(Schindler's List, 1993), The war machine in "Save the Renren", or Indiana. The Narody of the Indiana Jones series, the narrative form of conservative dogma is always running. Such a narrative is only a highly coordinated, simple and unified mechanical brain, a morphine, and a gentructed mechanical film brain. It thinks by a semantic system that is functioning: Simple, straightforward and clear and contemptable characters (can refer to the fact that the contradiction of the factor of the factor (syntax), constantly accumulating the intensity and emotional strength (referred to). This is also reflected in the "Narrative Economy" of "Save the Renrene": Since all variables generated in the "calculation" process are incorporated into its simple "identified humanity" structure, these variables are deleted by roughing. . This is the fate of Caparzo: When he insists on "at least the other end of the village", he is in violation of Miller's sensibility to the war (little girl is not The war is directly related, so it is not included in the "responsibility" and "emotion" to replace each other), and the humanitarian homage to Monitor Aberham (the main object of civilians is not this kind of reason, the main object is binary) Form "I" and "Enemy"). The thinking of Kapazzo belongs to a very extremely scattered liberal, even if the battle is touched, the formation of emotions and reason is still as desirable. It will make this figure a strong third party "heresy", but the entire narrative structure seems to be afraid that its growth will disturb the binary dialogue that has been balanced, so with Germans The sniper hand has killed him. This procedure has lacks complexity, adequacy and deepness, leading to the humanity and David of Spirberg. David Lean, Ingma. Bergman (Ingmar Bergman) or Black Zeming is far away from the historical critical discussion of literature. Back to Contents

↑ Realism Photography: Photographer CAPA Survived in a photo taken in 1944 in the photo of 1944, they inspired Kaminski's experiments for lens exposure, trying to capture some technically imperfect But full of emotions.

不↑ Because Ireland's beaches are as wide as Normandy, the film uses a lot of wide-angle lenses to make up for this shortcomings. In the stunt actor who is in the air, it is a true disabled. This thirty minute, what is the difference between "Save the Renren"? The unusual is that it is a pure scene of 30 minutes. After the war, the film gradually gave up the symbolic method of encoding the information coding and the single group lens composition (Essenstein [Sergei Eisenstein], Long [Fritz Lang], Gambhan [Abel Gance], Kulakkiaffler [Lev Kuleshov] ...... Instead, it is, in the overall narrative of the movie, developing the symbol relationship between these lenses, achieving more hidden, precise, micro time-space symbols in the process and transition (Wells ", Wells [Orson Welles] [William Wyler], Rosrini [Roberto Rossellini], De Westka [Vittorio de SiCA] ......). Spielberg is more complete in the film, and more delicately follows the classics of the implementation of the pioneers. For example, such a lens: still plants → sparse rainpoints on the blade → the rain is getting bigger, and it is urgently falling into the muddy water → the urgent military boots step into the water → a mess, so, the action of the small team Completed the transition between the two poles, from the idle march to put the tight battle. But in the thirty minutes landing, I saw a new movie with this, a narrative time and space symbolic structure itself is not present. Li En, Bergman and Black Summing are the perfection of translation of literary narrative; Jean-Luc Godard, Kuma, and later Wen Dec ( Wiim Wenders, Tar Jarmusch, Tarrentino, etc. is the reform of the experimental movie narrative. In contrast, Spielberg conveys such a possibility in "Save the Riene Ren": movie is no longer a "meaning product" that is in its own form with a spacious symbolic structure with narratives. The symbolic means, that is, the movie is no longer a language. Because the important feature of the language is the "product" of the narrative in the narrative "form means" (literary "meaning" is "text" and "grammar", literature Attempting to make the body "within the language" outside ", this means is to become the ghost of the main consciousness, it is always in vain to return to the language to obtain form and history, but it is only in Language "outside" instead of language "inside" this is the basis of literary ideology); movie is only image motion on the two-dimensional screen (human, object, camera, image itself), this image movement and It is not necessary to obey the symbolic narrative of the language, or use the obstacles that the viewer has already speech the emotions, imagine, reasoning to produce some external "meaning", just contrary, the image sports itself is both a "form means" of the viewer's understanding activities. It is also a "production purpose" of the activities, so in psychology, the product of the awareness of activities is no longer exfoliable as the "meaning" of the movement (there is no form in the subject's consciousness), and the performance is "history" in the movement ( It is also the form of the body's conscious itself) [12]. At the same time, the film resistance of literature is infused, refuses to become a series of transparency, and the abstract can be woken up in the narrative, and then consumes consumption in the narrative However, with the geometric entity of the screen constitutes a "moving plane" reflecting physical and psychological reality, the spatial time generated by the subject's understanding activity. In such awareness activity, the viewer's emotional, imagination, reasoning, and reasoning of a particular film situation do not need to be diffracted or refracted in the screen, and a macro meaning system (cultural, social, political, science. ...), but or by the movement (ie, the movie itself) is absorbed, become an unconscious pure sense experience (the subject consciousness disappears), or reflected back to the main body itself after being assimilated by the exercise, and the mental history of the re-cast body. Structure (motion replacing language has become the form of the main consciousness).

In short, the meaning of literary containement is not in the language it hosted, but through the symbolic mechanism of language, the meaning of reflecting the meaning of the subject in the subject's consciousness (this is why the symbolic cannot complete the language analysis, It is always necessary to explain what is meaningful to explain what is the meaning of the spiritual analysis; but the thirty-minute film in "Save the Rennean" tells us that the meaning of the movie is in image motion, the image movement is both a production significance (main body , Consciousness, knowledge ...) The form of form, and as the meaning of the product itself, the form of exercise, the exercise, the movement promotes the subject and significance, the meaning is lagging behind the exercise, the subject consciousness flows in the field of motion intersection [ 13]. In terms of war movies, the awareness of the viewer can no longer have to hore in a general context of a dominant war, that is, the knowledge of war in the language (the memory of the specific war, the understanding of war theory, The identity of war morality) to experience the meaning of war pictures in the movie, the viewer is likely to get spiritual resentment in a psychological course with the meaning of war, for death, pain, close, color, light, vibration and other phenomena Personal psychological clues are likely to quickly include cognition of image movement during viewing, so that there is a possible "war image movement" in the subject's consciousness (focusing on war language knowledge). This phenomenon can be attributed as a movie structure, "Sports-Photography" ━ in the "immediate history performance" in the visual psychological structure, or in turn, it is to watch the "instant historical practice" of the movie picture movement (only sports " History and no exercise significance). Therefore, there is a movie form that exceeds the literary narrative, a movie that contains only image sports and sports without including literary narrative; the understanding of the movie is no longer dependent on the humanistic meaning of the movie picture, Only the movement of the picture and the psychological history of this movement. Early movie's thinking of "sports - photography" is basically divided into four types: emphasizing positive and counter (inside and outside, far near, high and low) parallel, organic combination is a DW griffith, emphasizing that it is the trimming The Soviet Party (Alexander Petrovich Dovzhenko), which is intertwined (Alexander Petrovich Dovzhen), which emphasizes the "amount" of the movement of the "amount" in time space (Gamba) [Abel Gance], Epstein [Jean Epstein], the new wave in the 1960s is another development), and emphasizing the German expressionism (Wayne [Robert Wiene], Lang) of the bright and dark penetration (the movement of light). . Spielberg's genius is in that he found a "sports-photography" that belongs to the above four types; or says that "Save the Threshle Renne", the first thirty-minute landing effect hybridization The limit of four ordered "sports-photographers" prototypes, and the result is neither abstract ordered nor abstract disorder, but a fuzzy state of independent structures in a specific visual manifestation, fluid state . Therefore, in thirty minutes, it must be attached to a personal psychological history and structure as described above, which is why it produces so complex polygonity in different viewers, it is difficult to comment.

↑ The lens angle closer to the ground is to emphasize the sight range of the soldiers. ↑ In order to make the audience to maximize emotions, the shooting scenes often consist of soldiers' point of view. What is this 30 minutes? At a moment of the landing boat covered, the entire screen is called by the twisted body, the roaring bullet and the fundamental unclear container. After a short psychological shock, the viewer has begun to find the direction in the screen and the narrative structure of the predictive plot development, but the sliding of the slider refuses to provide any stable perspective and clues: the appearance of characters And disappear without any time and space law, no knowledge they come from, where is it, where is it? The picture is always kept at the height of the human eye, the speed and method of the camera movement with other sports characters and the region (seawater, beach, bunker) maintained a subtle object relationship, and the lens on the shape is completely opposite. In other words, the camera has no uniform linear movement, nor is therefore complete, and there is no panoramic panorama. Photographer Kaminsky (Janusz Kaminski) decided that the final photography should look like a few real battlefield documents, so fuzzy focus, unharitable expansion, and brunette becomes a key technical means. Visual continuity is weakened or simply canceled, and the switch between the screen and the picture is hard, jumping. The vision of the camera seems to be pressed into the body of a virtual warrior, as its movement is hidden on the beach, and it is high. More worth noting, when the shot is on the water or blood splash, the movement of the picture does not stop, similar to the lens is from the bottom of the water, and then insert into the underwater bottom, and then wear the water surface, along with the flashing Great background noise. These abnormal perspectives constitute a compulsive implied ━ is not the authenticity of the scene that is shot, because the actual function of the photography itself is to digest the illusion of the viewer to "penetrate the vision" (intoxication " The penetrating screen to observe a distant reality, and the sense of psychological superiority by this "super" observation practice); the opposite, this photography is implining that the visual acoustic vision is limited, it is The exercise is at the same time (the most intuitive definition is a movie screening field), the image is not "transparent", the ability of the viewer is blocked in the location of the white cloth, and its intuitive existence form ━ image sports ━ Direct communication And pay emotions. Further, by experiencing the scene of the camera, the scene is present, and then experiencing the scene of vision, when these three have erupted the horizontal space exchange in the linear structure of time, there is a literary narrative habit. The inherent arrows and trajectories of the movie time and space are also blown up, and the "distant" virtual time and space it symbolizes, it does not exist in the 30-minute crazy image motion. Correspondingly, the object of emotions is no longer the virtual time and space of the other end of the movie screen, and the emotions will no longer be launched by any understanding of this virtual time and space, but consisting of "photographers - screen-vision". "Instant Viewing Practice" is launched, in the same time and space with the main body, here.

↑ tilt, swinging the lens always inclusions in the middle of the soldiers, even if there is no specific person needs to perform. ↑ Photographer always avoids the German soldiers close-up, because it will destroy "subjective emotions". At this point, it is certain that a new movie form is gradually forming, a formalism, a critical disciple that is no longer used in "instant viewing practice" (political, moral, literature, philosophy, science ...) to think about the narrative film creation ━ No longer use some macro value system or meaning to organize narrative ━ and only resort to "camera-screen-vision" three in a limited display period, and by This triggered body instant emotion. The traditional movie viewing model puts the screen to assume a window: one end is a virtual movie world, which transmits time and space information encoded by the viewer of the other end. Since this, the new formism will view "multi-practice" that is recognized as a body in "this place": camera and screen (medium for film), screen and vision (medium as retinal), vision with The camera (the medium is the class-specific imagination of the lens and convex lens) in time and space, dynamic on-site communication. Imagine that when a short spotted bullet in "Save the Threshle Ren", the obeys have no need to think of a real bullet who has existed to somewhere and its countless "real" Significance; replantation, the first moment of radial spots on the retina, the structural psychological response made by the subject emotion after the movement of all similar spots in the historical history. As far as the subject's understanding of the movement object, the bullet image flying on the screen replaced the symbolized real bullet, which is both the starting point of "watching practice" and is the end of "watching practice". After rumping out of the gun, the madness of the bullet image (or burned with a flash screen, or 倏 忽, drilling into the beach and the human body), finally no longer implies any imaginary, the violence of the real bullets that are not present, but constitutes Visually violence between graphics and graphics in the field (bullets with human body, bunker, beach, water ...). So, the extensive time and space understanding (the appearance of bullets on the screen → real bullets in some somewhere → the real historical situation of the real bullets → the real historical situation of the bullets → the collective behavior of the bullets in the real history ... → End of bullets on the screen) Since collapsed back to the main body (a series of exposures on the film, the graphics movement on the screen, the position difference of the spot on the retina). Therefore, it can be said that the new movie form in the thirty-minute movement is no longer set to symbolize a heterogeneous and air space, no longer set this time in an external meaning in the sense of aesthetics. Only the instantaneous communication between this place (film on the screen, on the retina) and these movements, this communication has stimulated the instantaneous body emotions ━ may wish to call this set of mechanisms as "sports narrative" [15 ]. Back to Contents

↑ The visible home of the shell is only two types: hit the human body and not hit the human body; the half-trunk torso and the storm is its declaration. When the block is opened, the meteor is clearly visible, whistling, and then the skull split, the cerebrose is four gradual. Bullet: The form of high-speed sports is not difficult to understand. During the development of "sports narrative", the image movement of the limit, such as slow sports, high-speed sports, micro-sports, macro motion, has become an impact language understanding, establish a film understanding An important means. (Considering the distressing phenomenon in the limit experience.) Therefore, the presence of bullets and motion have become a key technique for contemporary war films. There are two bullets in "Save the Renrene": one is a bullet that is directly expressed in the field through visible flight trajectory. It is high temperature in the air or in the water. The other is only the starting point and end point. It can be seen, but the bullets that are invisible, the German soldiers who are shooting are the starting point of the bullet, and the trunk of the US soldier who is killed is a bullet. In these two cases, the real bullet has not been present: one is to simulate the load film by computer simulation; one is the mechanical appearance of the bullet, the vibration of the firearms, the blow to the bullet . For the second traditional expression of bullets, if we compare the same theme with the same theme of Malick (The Thin Red Line, 1998), you can find some subtle differences. Macrick is known as "Movie Poetry", "Fine Red Line" is poetic, symbolized narrative lyric structure, including some complex melancholy human care. Among them, the beginning and end of turning a flashing bullet is often accompanied by a slow-moving statement: the character exaggerated action, the screaming, romantic psychological scene, the inner mono-style painted drawing. The "edge" factors of these dominant images can be easier to integrate into the concepts of the viewers in the language, and they have read a spiritual trait in the narrative, and the bullets themselves are the index of narrative, and they are ignored in the background. . In contrast, the similar bullets in "Save the Threshing" have only one simple and straightforward, and each lens is extremely short. The movement of all objects has not developed a structural narrative trend. It is forced to terminate: full, independent, and directional object motion is replaced by a large number of disorderly, tiny, hunitive objects (through the sea water, rushing soldiers, splashing sand, blind bullets ... ). In such a physical environment, the relative movement of the bullet is objectively, strong, intensive, showing a constant presence of urgency.

The soldiers who fall into the water are eager to cancel the equipment, and the bullets have been quietly, and the clearly visible blisters are hit, followed by the chest, and the district flesh is as good. The inspiration of this state is that in the consciousness of the subject, in addition to the symbolism in the form of a language, the object can also communicate in the form of a movie; at the same time, this state is in skill, which should lead to the aforementioned Direct reasons for bullets (ie computer video effect bullets). For this kind of bullet, the time and space in the viewer is the real place it exists, sports: it no longer speaks symbol through the subjective "reading" of the viewer, it objectively, and the viewing practice of the viewer In the same time space. This is a new picture movement, the displacement of the bullet is no longer the default, symbolized, not self-motivated, but directly appears to be present, observational movement. It has a more extreme performance in the movie "virtual land" (THE MATRIX, 1999): On a rooftop platform, the network police have opened three guns to Keanu Reeves, and the slow lens is cut, only bullets slowly A string spatial deformation is stated, while the lens is 360 degrees around the lens. It is necessary to mention the shooting method of this scene: built a round green background in the studio, hidden 120 electronic cameras in the background (note is not a camera!). At the moment of Rifes dodge bullets, 120 cameras flicker simultaneously. In fact, almost simultaneously because they are only one hundred and twenty-no one second. After the computer connects these photos, we see that the slow motion of the five seconds (120/24 = 5) is meticulous to expand the viewpoint of the spiral advancement [16]. The result is amazing: The movement of all objects in the picture suddenly lost the stable background reference system, because the lens is neither still, nor does it do a moving line movement; more because of the high-speed rotation of the lens, the actual object on the picture The vector speed is much higher than that in the shooting speed relative to the camera itself, so the latter motion speed is smaller on the screen to be ignored. What kind of state is this? One second time was extended to 120 frames of space dramatically, of which all objects ━, whether it is fast, slow or still ━, in the screen, unable to distinguish the high-speed crazy movement, to make the viewer to see the viewers. This is a molecular level of motion: all visible visual units do the same nature in a certain period of time, the same number of movements, such as Brownian Movement. No more props, bullets, windbreaks, knees, Lifes, shoes, floor, can be highlighted on the screen, because graphics movement on the film is no longer from the motion of props Decided, but only by the movement of the lens; all the motion effects of all props on the film are only one of the "sports groups" generated by the lens, and there is no special place. The objective vision center is on the screen, in fact, completely disappear [17]. ↑ Keanu Reeves dodge a set of lenses, slow motion is meticulously expanded in front of the spiral forward. → Before shooting, the computer three-dimensional conformality has simulated the spatial position of the camera and the substantially effect on the film.

↑ All cameras are discharged along the spiral curve, and their shutter is unified by the computer, ensuring that one second is evenly cut into 120 copies. The use of the camera and the computer is not accidental. There is a significant difficult difficulties in using the camera to complete this set of pictures: If the camera moves quickly on the slide, it will excessive "motion blur) will occur in each frame; otherwise, if in one The camera moves too sharp during the exposure of the generner, but also can't generate a sense because of "blurring", but it will look blurred and cannot focus. In view of this, we can clearly describe the characteristics of this new shooting in "Virtual Land": Each thing on the screen and any displacement thereof is keenly visible; one item (such as bullets) The panoramic information in the space is out of the moment, becoming a set of lenses; more importantly, this "instant" is no longer belonging to the time of the shooting site and the camera, but directly resorted to the "projector The "viewing practice" of the screen - the viewer "is configured. Further, in the photographing technique, the object being photographed can no longer encode the film by leading its own and the camera in the time and space; in contrast, the film itself determines the movement of the camera in the shooting of the scene. The movement of the subject on the screen is also determined. All in all, in this scene of "Virtual Land", photography is no longer a neutral or passive film that is neutralized to neutral or passive film, but on the film on the film. A time and space structure, projected it into the shooting site and watch the scene ("watching practice"), this time and space can be extended, reduced, supplepled, extractive, jumping, transfer, it has manipulated the way of viewing (ideology) The main body) and manipulates the viewed content (reality - meaning) [18]. It should be said that from the recent movie creation, we can also observe the third "bullet". A strange film of the bullet is shown in the "Three Kings" (Three Kings, 1999) directed by David O. Russell. In contrast to "Virtual Land" and "Save the Thought", a set of lenses in the "Three Soldiers" not only does not deliberately incorporate the visual appearance of the bullet's flight trajectory or force, but as soon as possible. "Dynamic Blocking": A group of Iraqi soldiers with the same group of American soldiers to shoot each other, we can't see the shooters, shooters' movements, and the phenomenon of bullets such as the rifle, and they can also see unclear, bullets. Phenomenon of exercise of bullets such as bursting, tetra-splashing blood;, in the process of lens mechanical, neuroplasher swing from one end, the region of the bullet traversed, and its background is bleed. There is only one one-one correspondence here: the sum of the number of the bullets is equal to the sum of the bullets in the human body. The algebra of "sound" replaces the motion geometry of the bullets that can be said to be "light". This method can be seen as a variation of the other bullet in the film, but exaggerated sound returns to exaggerated pictures: In the dispute, George Clooney is a hand, forward, point to numbers Mark Wahlberg, Mark Wahlberg, and the imaginary bullet hits the abdomen of Womberg. We also could not observe any "normal" movement of the bullet, because this bullet was designated as unspeakable, neither in real shooting, and not on the film and screen, or even in the consequences of the viewer. The next increasing thing happens: a bullet is clearly slowly sliding in a pile of creepy objects and a green liquid. Immediately, suddenly, it turned out that the bullet was shot into the abdomen to break the gallbladder, bile overflow. At this time, the bullet has been completely isolated from the war environment, which is placed in a strange place.

This bullet has thus through a uniform, distorted time and space, achieving a topology conversion that is only present in the movie to date, mixing physical observation and psychological sensation: from fingers, abdomen, and their distance The spatial space configured is suddenly converted to the time and space of the internal organs and bullets. Due to the huge differences in the scale, the relationship between the two time and space does not contain any linear transition necessary for any typical lens switching (from large to small, from far and far). Near, from left to right, etc.). There seems to have a twisting "odd point", and the time-space conversion can be completed in an instant, not subject to any physical properties, and it is reversible (in fact the movie is indeed a trace of differently It is two times in an anti-reverse display). During the end of the lens, the area of ​​the bullet traversed by the bullets and its background apronial. ↑ The bullet is clearly sliding in a bunch of creepy objects. It turned out that the bullet was shot into the abdomen to break the gallbladder, then bile overflow.

So far, we can clarify these three "bullets". "Save the soldiers Renne" contain a cool lens use: one side is never visually omitted every detail of the bullet short life (accurately visible space trajectory), on the other hand, keep enough distance with the bullet, never Extension or exaggerate the "drama" at the end of the bullet, the bullet ", the bullet has become the basic components of the time evolution of the observation. This spirit immediately filled the organization of the entire picture. All exercises of all objects were cut in such a small time structure. When presenting on the screen, they provided "watching" is a visual discrete, narrative Time and space structure of the direction. "Virtual Land" demonstrates a highly unified, uniform, stereo, and continuous picture movement. It is different from the multi-divergent structure in "Save the Rennean", including the visual history of each object, which includes bullets, no longer random, but has coordinated, constant angular velocity and vector speed, sufficient displacement, Sports from beginning to end. This time and space structure is ordered, linear, flat. The bullets in the "Three Bigns" wanded out of intermittent, undulating, uneven spatial sections. Due to a time and space in the "singular", the other is expanded quickly, so their content and structure can be uncontrolled. The bullets do not exist at all, and it is close to the other side, which is not interrupted in the other side (this time and the narrative are uninterrupted (this is very different from Montage, the time and space and narrative of montage are interrupted). From the visual imagination of the bullet to absolute visual realism, the "vision" of the film film seems no longer satisfied with the external observation, but the avatar is another bullet, trying to personally experience it, for the "vision of the bullet" What kind of form will be made in a movie. The dilemma of returning to the directory and "After the language", Kant has analyzed the causes of all forms of failure in his later critical philosophy. These metaphysics can be divided into two categories: one is the dogmatic, I believe that the object itself can be faithfully reflected in the main body, I believe that such a symbolic process is self-satisfied, it is the case of the Creator to be aware of people and set the object itself and the main body. Thinking harmony; one is skepticism, do not believe that any subject can reach "know" to the object itself. Kant believes that these two attitudes are wrong, should completely give up, because the object itself is neither absolutely known for subject matter, nor is it completely unknown, but can only be symbolic in the subject matter in the way. . Under such concepts, the object is no longer the object of "I think", and it has become the form of "I think"; at the same time, the subject, that is, the person thinks, must clarify this difference by rationality, thus Plate intuitive experience and subjective thinking into knowledge. However, in the view of Kant, this aggregation and past forms, the fundamental difference between school is rational and does not dream of any absolute knowledge of the same; in contrast, in human rational, the opposite contradiction is inevitable, the main body can Using the "Critical" method to transform into knowledge, Kant's shape is called, and you can clearly see the relationship between Hegel and Marx in thinking with Kant's blood. That is, on the one hand, the endless object contained in the intuitive experience can only be in the form of subjective ideas, and it is impossible to be subjective thinking itself; on the other hand, the subjective thinking is always trying to be absolutely complete in experience in experience. But it will never be able to achieve this material. At this point, Kant has completely reversed the thinking form of the past, and his purpose is no longer looking for ahead of objective knowledge to the integral knowledge system that will be "real" unified as a whole, but looking for the main body to obtain knowledge. Roots; no longer seek the roots of all things, but in the form of a critical form, the roots of the primary passenger bonus of the people.

Kant's conclusion that people as the main body of human forms of knowledge is because of their rationality, rationality always makes our thinking and intuitive in the state of surpassing the other party, this kind of surpass never stop, Kant said His philosophy is "super test philosophy." This is what we have become us, and this is the reason why we are so recognized [19]. ↑ ↓ "Andre. Robliff "The complex scene in Rob is more than just a" sports "carnival, or the narrative" confusion "after the meaning is absent, it is also a kind of carnival (" confusion ").

Great Kant has never seen a movie, so there is never thinking about movies, why is this criticism of him to go to school? Because such criteria inspired his fantasy against non-human intelligence, perhaps this is just a tight game in philosophical thinking, but in today's review, this game is revealing the historical evolutionary direction of the subject. I seem to have evolved in the experience of watching movies! Kant's imagination of two unreasonable intelligence: First, it is better than our "form of knowledge", all objects are separated from each other in consciousness, and they constitute a "perceived truncation" ", Unified subjectiveness unable to form (considering Takovsky [Andrei Tarkovsky]" Andrei Robariv "[Andrei Rublev, 1969]); First, the" visual knowledge than our knowledge " "For this" ideal intelligent ", thinking and intuitive is the same, the subject's understanding of the activity is to create objects, self-consciousness is a priori, and it is in full void, and it needs to pass the sense Intellectus Ectypus, the existence of the existence of external objects, is "I think", "Dark City,", "Dark City,", "Dark City,", "Alex Pro", "Dark City" in the "virtual land", or Alex proyas [Dark City, 1998 year]). In the embarrassment of these two "prototypes", Kant's mental activity has leaked the "pure rationality" fate inadvertently: "In fact," pure rationality "is only a short solution of the predicament of school, because Kant is obviously ignored. Or I can't accept this "purely rationality" historical form, and only love is absolutely eternal. In Hegel and Marx, the innocent ideas such as such a history is obviously not enough. Even from Kant's own critical idea, rationality may not be a priori, but historical, form. "Pure rationality" is not the final solution of the dilemma of the form, the reason is that the main body can only maintain a "current rationality" in the form, and it is impossible to occupy a form of no form. Beared "pure rationality"; the subject can only grasp "current rationality" in the form of "current rationality", and cannot grasp "current rationality" itself. This is also reflected in the fundamental position of Structured Structured: Our knowledge is to pining the language is in the form of the body, and thus gets accumulated and communicating, the subject and significance are only the language. The product of the structure. Even today after the movie has already existed today, some structuralist symbolists have repeatedly put the language analysis for the efforts of the film theory (from Bart, the most representative first is Bart's Distakes , Then Par Soli and Eco), our "current rationality" form can still be a "language" or "super language". From this point of view, Kant, in his critical contemplation, of course, regrets this problem: in knowledge, from objective experience to pure concept, it is to start starting with "pure rationality" self-prone "super test" function Is it just the "current rationality" exhibited at the stage of the language ━ ━ function? This is not a fresh problem, answering it is actually the premise of the Chinese philosophy of the twentieth century. However, the tendency of structuralism has caused the tendency to go to school until today, it seems to be struggling in the difficulties described in Kant's more than two hundred years ago: blind optimists, such as Nice, Nice, can declare the language is the only other symbolic system. The symbol symbolic system is thus constructing a subject's ultimate place [20], so that it is still trapped back to Kant's mud, trying to make a current "form" eternal, absolute.

We must give up the difficulties of the school to find a "unique solution" idea of ​​Master Kong, the idea of ​​Kant; probably gave up the "negative" program of Derrida, that is, it is not annoying to emphasize that there is no "solution". (Of course, Derrida will not Acknowledged that his program is "negative" sex, but maybe it, if he is proficient in Chinese, it is "solution" sex ━ is both "dissolution" "solution" is "solution"), because On the macro look, it seems that he can't escape the dialectical thinking of Hegel Marx System in Language Knowledge Expansion [21]. We must propose a multi-dive world, in which the body is self-manufacturing (symbolizing) knowledge (form) is more than one. This open attitude prompts us to re-consider the history of human beings in 1895: "Thinking people" must have discovered another understanding mechanism outside the language, which is a movie. Some linguists and literary critics insist on understanding the film as text and serve their general language, this grass rate and stubborn are surprising. They don't think about movies are not a language or any super-language symbol system, so it is unable to understand why some movies do not form "discourse" or "text" at all (see the above provision. " The opening of "Save the Renren". This is the argument that this article has repeatedly reaffirmed: movie is not a language, movie does not have to go back, if we are destined to think that the movie is not a living reality because of the habits of the language, it is inevitably a symbolic system, then at least a movie "image - Symbol "System (Time - Movement) is completely different from language pure symbolic system (can refer to - referred to) [22]. This argument is further rooted in the following simple ideas: language is a one-dimensional symbol system, movie is a two-dimensional motion system. The "one-dimensional" "two-dimensional" here is in the same way, and they contain more time content than pure spatial consciousness. Specifically, for a "one-dimensional" system similar to the language, the body's cognition takes a "minimum unit", this "minimum unit" is large enough, the upper limit is small; in the pause in this time " When the minimum unit, "one-dimensional" system is only present as a single symbol, which can be an image collection, or a set of sound, which can reflect in the subject matter in the instantaneous time, such as one. Word, a phrase (but the sentence obviously has exceeded this category, and writing is the process of reversing the memory of "minimum unit"); "One-dimensional" system is "higher than the" minimum unit " The linear sequence ("one-dimensional" origin of the symbol is shown), that is, the syntax of the language focuses on the syntactics and the level of significance. We can also directly imagine the language understanding: If the "minimum unit" is not enough, then constant, a single, complete word will not be generated in the subject, the language will float in an infinite image or The sound fragmentation is unable to condense the formation, and the language awareness is inevitable; if the "minimum unit" is not enough, then more words in the subject's consciousness, the paragraph, paragraph will tend to stick to one Symbols, language will not accumulate a syntactic structure with level order, and language awareness is inevitably in chaos; the light of the symbol must be hit on the retina in "linear", and the sound wave of the symbol must be hit by "linear". On the ears drum, if we try to see all the words (a ten line), he heard all the sound (in a noisy place), the language disappeared [23]. ↑ "Sisters" is divided into two screens, and multiple movements of each other, equivalent intensity can be seen in the picture.

The "two-dimensional" motion system does not need a "minimum unit" of heterogeneous operations, as the main body in this system is impossible to thoroughly recognize a "minimum unit". That is, when the body attempts to make awareness of awareness of "2D" motion system to make "minimum unit", the main body ignores the rest of the system distributed in the space, thereby losing in any one. Always understand the possibility of "minimum unit" as a whole system. In this case, we can say that "two-dimensional" sports system is consisting of unlimited number of "minimal units" in any sufficient period, is a collection of "minimum unit", which mutually Accessories, conflicts, excitation, annihilation, but as a whole "two-dimensional" motion system cannot be understood as a single "minimum unit", because even in the instant awareness reflection, the body's perception of "two-dimensional" motion system It is not complete. In this regard, it can also be considered that the "two-dimensional" motion system is actually composed of unlimited number of "one-dimensional" symbol systems in the second time dimension above itself, the entire system is divergent, flat Not linear [24]. For example, in the "Sisters, 1973) directed by Brian de Palma, in the scenario shown in the figure, a positive one anti-two cameras simultaneously shoots a group of characters. On the screen, we not only saw a picture into two, and you can see multiple sports (the painting is located) in each picture, which is of course because each camera captures a movement in a concentrated It is not possible to cover the illumination of the movement of another camera in their film. For the viewer, "minimal unit", symbol, text is possible when the lens is focused on a moving image (this is also a reason why most movies can be understood as the text, but if you try to grasp all the motion on the screen, Then all these "language" elements have failed, and only the perception of sports is present. The farther walking on this road is the "Time Code, 1999) of Mike Figgis, and he uses four electronic cameras to track different characters with multiple sports trajectories. And put the four movies from the income on the screen. Because the target of the camera is no longer one, the viewer can't even coordinate the observed details during the viewing process, and his attention is circulated between the image movement that is scattered and combined together, no longer habitat a little. Compared with the language of the subject matter in "minimum unit", the viewer's gaze now has achieved power and subjective power. Unfortunately, Fiis did not really understand the essence of his work, so he always highlights a second screen while editing the sound. So, of course, in order to make the viewer can use the multi-movement of the powerful power tame screen on the field, so that the movement is converted into a language, so that the whole film is still present as a coordinated text, and in the vast context of "understanding" . It is conceivable that if all the sound spreads the same intensity, as mentioned above, the language will be eliminated in the excess form, and the movie will return to movement. ↑ "Time Password" uses four electronic cameras to track different characters with multiple sports trajectories, and put the four films from them on the screen.

Movies are a "two-dimensional" image system in sports, this simple idea has some direct inference. These inference is a judgment made against the traditional topics of internal technology and external relationships. They show that the movie returns to the process. If you must start from the "Almighty" Hegel Marx's historic view, it behaves as a language ( And the identification and confrontation of its asylum ideology) is in the form. The first is the two contrast "negative" inference: movie is not equivalent to TV, watching TV is a linguistic practice; movie is not equivalent to painting, watching painting is a linguistic practice. Then three anti-textual "positive" inference: wide silver has expanded the space span of "two-dimensional" movement; the big scene has deepened the density of "two-dimensional" movement; mobile photography (including some long lenses) make the screen All objects on the upper object began to exercise, and the frequency of "two-dimensional" movement is improved. ■ Movie is not equivalent to TV, watching TV is a linguistic practice. First, the objects in the TV always tend to be stationary, such as news programs and people in the clear show; when the object is in motion, they always use the only visual center on the screen. According to the theory above, under such conditions, "minimal unit", symbol, text will be generated successively. Second, the voice emitted by TV always tends to clear and standard. Language is always trying to deprive the narrative right of the screen in the process of watching the TV, which acts as the unique agent of the truth, that is, its consistent role played in the process of the subject. Third, even if a multi-image movement occurs on the TV screen, such as live broadcast of the social scene, due to the limitations of the TV screen on the scale, the entire screen is still tended to be a visual instant to be simplified as a visual instant. For symbol ("minimum unit"), the emergence of text is not interfered [25]. Fourth, the birth of TV broadcasts is closely related to capitalization of mass production, one of the key premise of TV broadcasting is enough to have a TV set. This is of course not to say that movie creation is not contained in industrial production, but the initial generation of movies is more in the establishment of awareness of consciousness in the subject, rather than social economic appeals. If we regard the language as the most depth of social production practice, it is not difficult to understand that the TV is best to carry, reproduction, and spreading social products. In the contemporary, what is the power extension of the mainstream ideology discourse? At this point, we can understand why political ideology is always sensitive to television, and if it is left. ■ Movie is not equivalent to painting, watching painting, at least in contemporary, is a linguistic practice. Painting is solidified, this has been aware of various words according to their own forms, providing conditions for the understanding of painting, the artistic words in the 20th century criticism first appear as a collection of integrated images, This is because the body observes the painting of the painting to satisfy the "one-dimensional" and "linear" premise of the language. When a person is erected in front of a painting, he always shifts a point from the screen to another, always saving the focus of the crystal through the screen, from top to bottom, from left to right, round-trip cycle. When he tried to observe the overall picture, he always refunded steps, narrow his eyes, and actively gave the specific details so as to simplify the complex relationship between the color and graphics into light and shadow symbol, "minimum unit" [26]. From this perspective, most of the so-called abstract paintings in the twentieth century, in the extraordinary extraordinary effort, it is only in the language of the labyrinth, the deeper.

Of course, in the history of painting, we should at least pay attention to three examples: one is the painting of Monet Monet, such as the huge triple painting "Water Lilies, 1920), the observer's eyes can't focus On any clear graph, everything is blurred, and the line of sight is forced to move on the excessive picture. It is found that the identification of the symbolic individualization is subversion (movie wide silver technology) This kind of experience is related; one is a splash painting of Plockson Pollock, such as "Lavender Mist, 1950), the observer's eyes can be focused on a specific graphic (brush, However, the graphics here and the graphics at the top of the screen do not have any difference in geometry. The visual nerve of the main body is repeatedly conducted and the same signal is repeated. The possibility of symbol sequence is subversion; again is the bacon (FRANCIS BACON) Portrait of the characters, such as the "Second Edition 1944 Sanlianch 1944", 1988), twisted, abnormal, and wrong limbs can be understood, but this symbol cannot be in the psychological machine Get normal processing, which therefore obtained independent psychological motivation, always preparing to rush into the unknown boundless darkness, what is the meaning of this, abnormally, wrong, the symbol itself is not subvert, but the symbol The meaning of stability and the corresponding relationship of sweetness were subverted. ↑ "" Water Lily "↑" Lavender Fog "↑" Second Edition 1944 Sanlian Painting "

■ Wide Silver expands the spatial spatial spatial spatial spatial movement. In the sense of watching, the physical difference between film and TV is the scale of the screen, but after the TV has emerged in the 1950s, the TV quickly integrates various language practices related to capital discourse to the daily life of the civil society. After the medium, the film gradually recognized the difference in the essence of his own and the language, gradually gave up the fantasy of the language power, and began to find a means of alienated itself and ideology. The history of broad silver-curtain has been illustrated. This kind of thought: the form of movies must first be the history of struggle with language power. After the proportion of the 35 mm film was 4: 3, the discharmology of the screen geometry had never stopped. They can be roughly divided into the following four directions: using a wider film than 35 mm film, such as a 70 mm film; use a mirror on the deformation lens compressing film, and then decompressed with the opposite optical lens when the show; use multiple cameras , Multiple projectors, multi-fold screen [27]; and false width screens, that is, the upper and lower parts of the screen to create a wide silver screen. In addition to this last wide silver, we can find such a commonality in the remaining three: The world is outside the visual angle of the viewer, and the sense of consciousness can no longer grasp a "overall" "overall" And only grasp a "part". Due to the presence of this incident, although this "local" can be separately understood as a "minimum unit" dominated symbol system, but the film that cannot be overcome makes it unable to refer to the overall image of image motion in the movie; The overall image movement must be to react with the main body consciousness in a manner that exceeds this "local" symbol system, this method is the "two-dimensional" motion system. Therefore, the broad silver technology since the fifty-year includes such a successful movie attempt: Directional lines in the language, deliver new forms, structures, history, and more to the subject awareness. Continue with this idea, some more radical techniques, such as "Walk" and later "Belt" developed by Disney Company, is not the "edge" of film culture, is not as the theoretical model of phenomenology. As explaed, these techniques themselves are the "pure rationality" of the subject in the consciousness of the film and the idea of ​​metamorphosis, and the opposite, this may be explained that there is no loss, we must return We will always depend on "pure rationality", and only one form is evolving, and the "current rationality" of the main body of the breeding is constantly divided. Although the "current rationality" in the current stage has not been able to make all the radicals Film technology is incorporated in a wide range of viewing practices, but at least "current rational" is no longer self-sufficient "pure" launcher, but only recognizes the dialectical history of both parties. ↑ Every size on the screen, each subtle movement is clearly visible, and the scene is full of conflict and tension.

■ The big scene has deepened the density of the "two-dimensional" movement. At the end of the 1930s and the furthroughs were the period of extensive photography, and the period of promotion. In "Citizen Kane, 1941), Torlan Wells used the incredible depth of field to capture all sports, thoroughly stations and thoroughly. At the reverse of the Soviet "Montage" school. The standard technique of "Montage" is to crush the simultaneous and integrity of various object motions with multiple angles. In the process of re-retaining the film, the form of these sports is disappeared, and they are unlimited. The movement of the film in the projector, "linear" movement. We can clearly see "Montage" is a betrayal of the movie. It sells the movie to the language: it cuts the movement of the object, so that they tend to be stationary on the film; it is mandatoryly unified in the film In a single linear structure; it has only one purpose (according to the theory above), it is to make the exercise into a "minimum unit", transformed into a symbol, making the movie into text, which is the main thing "Montage" in the 1930s Reason [28]. The large depth photography experiments of Torlan and Wales no longer divided the overall space of the captured space into different lenses, which no longer emphasize linearization, serialization, and coordinated objects caused by free splicing of these lenses. Sports; In contrast, all movements in the focus of the film in the depth of field, the mighting conflicts are generated directly in one lens to make the motion as a conflict (or the words in the above sections: violence) rather than symbols. If the wide silver is just an increase in the movement "capacity" that the body can observed in the movie, there is no change in the change in the structure relationship between these movements [29], and the broader depth truly makes this revolution. Due to each of the sized objects on the screen, each subtle movement is clearly visible, and the viewer is completely flooded in the invalid observation (interpretation symbol), and the film as a symbolic sequence is further collapsed in the awareness of the viewer. , Exercise begins directly to resort to the subject's awareness (form, structure, history ...). ↑ Toyland and Wales study the photographic angle. "Singular / Ambiguity" in "Citizen Cain".

■ Mobile photography increases the frequency of "two-dimensional" motion. The decisive effect of moving the camera on the film on the film is obvious: Before the camera starts moving, the movement on the film is completely dependent on individual object movements in the scene; after the camera starts moving, all objects, including the original stay In the background, in fact, the movement is also started on the film. Of course, moving photography must have a strong support for profitability to fully play, so that all sports can be burst into the subject. That's why mobile photography technology and large deep technologies are pairs: in "Citizen Cairns" Zhongtan and Wales not only let the viewer pay more than all subtle changes on the screen, but also through the tie of the characters Make the viewer unable to focus on any of the particular motion changes, i.e., it is not easy to easily simply simply symbolize sequences. Naturally, moving photography directly leads to the emergence of long lenses, because the conflict of motion gives a single lens very large presence. In the opening of the "Touch of Evil, 1958) in Wales, the lens suddenly followed the movement of the characters, the background changed from the streets of the house to the open national zone; The last shot of Les Quatre Cents Coups (Less Quatre Cents Coups, 1959) is similar, and the protagonist escaped from less tube, jogging all the way, the background transition from the fields of the country to the conflict of countless waves The sea, which is then solidified to a blurred, which is also solidified in a moving unfinished. The more extreme example is Godda's "Weekend" (WEEK-END, 1967), one of which lasted for ten minutes, and the camera moved in a traffic jammed country road move forward, car and characters on the road from right from the right The party is entered, slipping from the left. However, the commentary unanimously consistently, this movie is not a prelude to Gota transfer to more radical movie practices; the opposite, it is full of got that has begun to soften (not in the 1970s). As we all know, after 1968, Gota was involved in the argument of political ideology. He persuaded that "movie is writing" is a "political, social means", so he gave up the "new wave" to the movie " Time - Sports "innovation [30], turn over his movie using a large number of metaphors, symbols, ratios, etc., hoping to deeply subvert the ideology territory controlled by language. This famous long lens in "Weekend" is the result of "Movie Language", which is different from "Montage", "Movie", is placed in a team, and the car appeared in order. The car is unit, organizational coordination, vast people, void background, all of which is the "minimum unit", symbol, text successive in the above, and Yanda is no longer interested in "sports Conflict "The tension in the viewer's consciousness, but hopes that people can interpret the" social picture "of his setting. In fact, the fate of the whole "new wave" has been destined in its "spiritual father", the unpleasant movie theory. Although Pakan criticized "Montage", he didn't realize that the essence of "Montage" is the language of the movie (becoming a text), so it is wrong to think that "big depth" and other "sports - photography" skills are to make the movie more Close to objective reality, incorrectly adhere to "objective reality is the basic nature of the film". After all, the agent "Objective Reality" is the privilege of language symbolic function. Barzan is completely unmetrue that the real enemy of the movie is not the traditional ideology that avoids the language, but is the language itself; Then I can live forever.

Unfortunately, even the genius of Gorda has not experienced this. In the process of simplifying the movie into the language, the "new wave" and movies are "new wave" In the form of new ideology, the gathered arm ━ Under the guidance of Pakan, pursue "real" with full enthusiasm, but gradually be swallowed in the endless darkness of the language. In this sense, "criticism" only happens within the language form system in 1968, and in the form of the film, they have unconsciously fall within the film form system. " Right ", so from a more macro ideology struggle (movie and language), they are undoubtedly" right ". ↑ May 29, 1968, Gota and Zuo Wing Writers, Aragon (Louis Aragon) on the streets of Paris. ↑ ↑ Various people: Long lens in "Weekend" tries to state a "social picture".

We can summarize the central argument of this section and return to Kant's problem, and install the difficulties. First of all, the movie is a new category of new subjects, so it indicates the possibility of a new ideology; the film is not a language, the form of movie is the same as the synonymous and rebellion between the forms of language, which in turn The Ideological Struggle of Language Form Controls To form a new ideology process. The difficulty of understanding the shape of Kant's understanding is the lack of the "subject" "object" exchange media, but he did not realize that this is "the form of knowledge", so I hope that the same lack of form is therefore lack of "pure rationality". . At this point, Hegel and Marx made revolutionary amendments to Kant's theory, but from the above analysis of movies, this article and Hegel Marx system in beliefs are believed to be dialectical. History itself is included in the form, not in turn; that is, history itself is also an ideology, and Marx's "ideology is no history" is just the opposite [31]. Therefore, the dilemma of the solution to the school is not to continue to find an abstract integration of all knowledge, but to recognize the actual difference between the ideology is the difference. We need to find the ideological technology and its history, not Ideology itself. Movies is such a technology, which makes our knowledge into new forms that have infinite vitality, and look forward to the history of history to rebirth under the new ideology of new ideology, and let us review the old form just alienated. Language ━ clearly recognize that the form of ideology is often dictatorship, often hiding its limits, suppressing and fragmented, like language to treat movies in language. Fortunately, we have found new knowledge form, which makes us more doubt: Whether there is other forms in the mask of the language, but is put by the language stream to history? [32] Discover jobs, I think, will be carried out in the form of a movie. Maybe only this, we can truly understand the unconditional trust of Kant's main force, but not because it "pure", but because it evolves. In this sense, we don't need to find "ideal intelligence" in Kant, you need to look at Kant, but just pay attention to the surface of the earth, because this "ideal intelligence" is our own. If the film, the main thinking and experience is the image sports ━, it is not possible to achieve the highness of "ideal intelligence". Conceptual thinking and empirical intuitive is the same, or thinking about experience, experience, thinking, I think I think Say, this is obvious: we are already on the road. Returns these thoughts above, in any sense, it does not constitute a coordinated new movie theory, because at least the theory of writing in writing, according to the above view, it will never be the new "movie" "Theory itself can only be an image in the language, so their role can only be inside the language. In any case, these thinking does not mean that the language is already a kind of knowledge of the following, but it is just that the language is not the only form, the body's life is in this "not unique". The "internal" function of these thoughts is mainly subversive and rebuilt, that is, they say that it is necessary to use the established movie criticism to "save the soldiers Renne", a humanistic value of the old man, it is better to say "save the soldier The sensory shocked by Renne will experiment with a new critical discussion [33]. This discourse experiment introduces and invented a large number of unfamiliar concepts and vocabulary, and the understanding of the understanding of people is not in the way. Its specific purpose, on the one hand, the excavation of some of the revolutionary potential of large capital-based movie creation; on the other hand, the so-called so-called "thoroughly explodes those who are self-pity, seemingly radical, and actually conservative" Pioneer "movie's discourse position.

The "capital" film that is addicted to the stable aesthetic form is of course bored, but the "art" movie that is self-satisfied is often due to the lack of criticism of the technology, so it is the same as the "capital" movie. Because of the old. The analysis strategy of this paper is the unevenness of the above two movie awareness, but also focuses on establishing a new discussion on "movie vision". This discourse is likely to be a transition product because it is initially oxygen, but it can at least open a new space in the language so that the new movie awareness can be in it. What kind of movie is "Save the Renren"? It is a revolutionary film. Although it is not able to get rid of the monitoring of capital ideology in narrative, morality, etc., it is enough to make the "capital" movie and "art" movie these hypocritical souls. I can't breathe, and I believe that this frightening is far from arriving. Back to Contents

Note [1] "Save the Thunder Riene", "Saving Private Ryan", 1998. [2] "Image" is not referred to in this paper, and the color collection in the sense of material, but is the meaning of "image" in the "Sound Image" concept of the FerDinand DE Saussure, ie the subject consciousness. The psychological map of the middle material reality is also a consistent meaning of the word "image" in symbolics. [3] Two volumes of Durzs "Movie" (Cinema 1. L'Image-Mouvement, Cinema 2. L'Image-Temp) is built in the US Logic Pierce (CS PEIRCE). Image - symbol Above the Classification of Henri Bergson's discovery is the starting point of the book. In the first volume, Sino-Dessan said: "... ... The movie is said to be a language. Movie is a combination of images and symbols for us, that is, a kind of first in language, self-definition (Pure Symbol System), and the symbolic language of the language is abolished, more tried to refuse the symbol. "" Movie is not a language "This basic idea of ​​this article is inspired by Detriz, but as a whole to read this article is not Need to learn about the "Movie" in advance. Of course, because this paper involves a sign of symbols to some extent, I assume that the Similarities and Different Unknown Unknown between Semiologie "Semiologie" Semiotics "in the general Chinese academic environment (please refer to this article) Notes 21). After 1968, the film symbolic theory started from Bart, plus Metz (Pier Paolo Pasolini), and Umberto Eco, which is the main ideological background discussed in this article. . [4] Use "Alienation" here that may cause confusion: On the one hand, in Marxism, it has clear rules; on the other hand, in a broader philosophical discourse contains a constantly variant. problem. The "Alienation" of Karl Marx specifically refers to the labor (main body) in the labor (thinking) process into the goods (object). Marx 's "Alienation" is directly changed from Fairbach, Hegel (G. W. F. Hegel) and British classical political economics. The "alienation" problem has gradually become important since Enlightenment, such as Denis Diderot, said: Once the person successfully criticizes the majesty of heaven, he will not hesitate to attack another oppressor of humans. There is no power. The "alienation" of this article is an alienated "alienation" problem: no longer is "alienation" in the sense of the object, but in Foucault, "people are dead" Thereafter, in the "person" moved to "form" "" alienation "(language sublimation as a film or film restore). That is, the power of ideology is no longer the "dialectical essence" of the main guest bodies packaged in the form of language, but in turn, it is inversely chasing this "dialectical essence" as possible language form itself (specific performance In the philosophy and linguistics related to Language and linguistics, evolve the "form dialectic" between language and movies. Therefore, the movie is challenging in this article: "There is no language, thinking is just a fascinating, no logo, there is no thoughts existing in advance, there is no thing before the language is clear." All judgment criteria ("no logo", "clear") and method (emptive format, time adverbial) are only established when the principal consciousness of the linguism is only established in the subject consciousness of the language. " In the language, you will build yourself as a 'main body' because the language is created in reality. It is also the concept of "in the reality of [language]. We are discussed here. 'The subject' is the ability to speaker to assume yourself as 'subject'.

"(See the issue of" General Linguistics ", 224 pages, Mick Translation, Miami University Press [Emile Benveniste, University of Miami Press, Trans. Miami Press, Trans. Mear E. Meek, CORAL GABLES FA, 1971]) From this point of view, if the movie is constructs a completely different subject consciousness, it will of course produce a completely different knowledge (ideology), beyond the language of knowledge. [5] Ageru (Dario Argento's violent movies, such as "Profondo Rosso, 1975), the essence of the violent movies in Pier Paol Pasolini, which is the Director Puelo Pasolini. In Par Soli's movie For example, "Salo, or 120 days of Les Cents-Vingts Journees de Sodome By The Marquis de Sade" (Salo O Le 120 Giornate Di Sodoma, 1975), "Violence" and " "Sex" is the same as the concept of a language form, which is why the characters in the movie always rely on an oral statement before "action" to provoke desires. In Ager's movie, movie screen "Violence" means a geometric relationship between images, rather than as a "violence" of the real world. Par Solini said: "Movie is a language with real expression. Then the problem is: What is the difference between movies and reality? In fact, there is no. ...... When I make a movie ... There is no emblem or habit of filtering between me and reality, and there is [such filtration] in literature. ((See Ttek's "Par Soligni Par Soli", 29 pages, Thames and Hudson Press, 1969 [Oswald Stack, Pasolini On Pasolini, Thames and Hudson in Association with the British Film Institute, London] This also explains why "Marxists", "gay" Par Soli's anti-capital class realist film is more likely to make a variety of political forces that are sensitive to "words", because of his "movie" Language "In fact, the" reality "directly attacks these political forces in language ideology positions. [6] The categorization here is only based on one aspects in these director movie creations, and certainly does not exist only some kind of single The nature of the film creation. Truf and French "New Wave" include a variety of movie tendencies, not just the mainstream history of Zajin's "Jean Renoir" humanitarian. This argument, In fact, it is nothing more than a strong taught function of "movie art". Dreams that movies will put "artists" personal aesthetics into meaning production, dreaming of "talk movie" ━ such as language is reality, Truth, absolute subject, etc. The privilege of the concept of movie reversed language control is a strongly opposed by this article. The following will be discussed. [7] "Super inspection" Kant's philosophy is "purely rationality", but in some modern philosophy, "pure rationality" clearly has been in the form of knowledge, "language". The first thing involving this problem is Nietzsche. He believes that language is forced to think in accordance with a specific way, and believe that the myth is of course the "pure rationality" for Nietzsche. The critical position of the later generations inherit the attitude of Nietzsche. "In order to illustrate that some philosophical claims are built on the wrong grammatical class, some expression of the surface structure is incorrectly believed in semantically explained by means only for other expressions, and philosophical discussion often involves [ Critique of the surface similar to the surface.

"Several aspects of Jumsky," Syntactic Theory ", Massachusetts, Aspect, Cambridge, 1965, 196, pp. Jumski Reference to the G. Ryle's view: "... the purpose of philosophy, in fact, it should strictly limit the" I am used] source 'in the conventional cavity adjustment of repeated theory. "200 pages. I can't fully agree with the negative view of Lel, of course, such methods can clarify the morphology and history of philosophy in the language. The basic purpose of philosophy is just a belief, it should be creative. This point of Kant has excellent understanding and this article tries to follow. [8] "Touch", "sensual" here, does not refer to the sense of sensory experience in the general sense, introducing them is actually just to be "rationality" "Difference." Rationality "is the product (ideology) of language, and the film is completely different. Therefore, there is a completely different product (ideology). According to Metz, the film is a non-speech. La Langue's symbolic system (in the symbol is intended to exchange the symbolic system), there are three reasons: First, the movie is a one-way communication (the viewer can't transfer information in the screen); Second, the movie is not a Symbol system, but multiple (editing, sound, lighting, conversation, photography, etc. The various visual factors in the movie are understood as the main symbol, then their unique properties are unable to find in the language: the number is unlimited, the scale is uncertain, the synthesis structure is open) (see Metz "Language and Movie", 204 Page to 207 and Conclusion Section, Umike - 伯克 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英 英. For Mez, what is necessary to continue to stick to the movie is "Langage"? "" "" "This is: This criticism of the old concept system is hooks to the new ideology Is the potential is beneficial? After all, it is precisely because other visual forms imitate the language in ideology, and leading to fatal defects (painting, TV, etc.), the language may also turn all them; and the form of movies Very expensive, through it, the main body saw the opportunity to get rid of the language for the first time. This will focus on the discussion below. [9] People's response to the referral screen ━, "peep" ━ is a movie An eternal theme of creation, probably because the film in a certain sense is a "peep" that has developed "aesthetics", and the movie creators instinctively prefer this "Beauty", "Powell (Michael Powell) "Peeping Tom, 1960) describes a young man who has aesthetically aesthetically variant in front of the camera lens referral. Different, this aesthetic variant stimulates the depression emotions in the youth, rather than in turn As Aberham, the reality and aesthetic variation of referrals suppressed emotions. The "peep" in the movie may not only "aesthetics". It sometimes touches an understanding: Kirk's "Rear window" (REAR WINDO, 1954) hints: viewing views in a set of rectangular windows can not only provide direct visual evidence, but also provide a reading of these evidence. " A full syntax structure, with it, people's rationality can complete the interpretation of the "truth". The film viewer experiences a "rational beauty" in the process of deciphering the password. [10] Another film that clearly uses this symbolized narrative skill is the "seven Samurai" of Black Summing.

The digital contrast between the warrior and the robber and the "casualties" mathematics after the start of the battle constitute a "humanity economy", but also constitute a "narrative economics". [11] "Full Metal Jacket", 1987. This section draws on Bill. Bill Krohn analysis of "all metal shell", see Jonathan. Clairry and mountains. Kunter editor's episode "Integration", 425 to 435 pages, New York Original Press, 1992 (Incorporation, Ed. Jonathan Crary and Sanford Kwinter, Urzone, New York). Kran believes that the new thing in "All Metal Shell" is that the first time in the movie in Kubrick (although "happiness orange" [A Clockwork Orange, 1971] self-glutinous, repeated structural trials Things), the narrative itself starts dysfunction ... "(Kron is of course in" 2001: One Space Expedition "[2001: A Space Odyssey, 1968]" Haal 9000 "[HAL 9000" [HAL 9000 "[HAL 9000" [HAL 9000 " ]comparing). This "narrative failure" finally led to a unfamiliar effect of "all metal shell" Vietnam, with the "Oliver Stone" (Platoon, 1986) "a clad" style naturalism, It is a real realism: "Wild War" war scene mimics the wars of those in TV, widely spread, and Southam Want to make the audience in accordance with the "war → TV → movie" reflection order "revision" "Their face-to-real shock;" All Metal Shell "is looking for a complete strange, bizarre moment (considering most of the vietnamese shots in the movie is taken in the Scenes reconstructed in the UK), the audience experience Shocking is no longer a reappearance of memory, but a novel "perception" that is stimulated by movie. [12] It should be said that such awareness is derived from the creation practice of some movie narrative reform. For example, from Ho to Tarrenino, their creation is not from the symbolic significance of the actual life or reading literature, but a large number of movies they watch, so their creation is large based on The history of film image movement, and their narrative reform is sometimes achieved by a radical image movement. [13] This situation Some of the theoretical model of Jacques Lacan: refers to the "dark flow" that can change the incompetence, and the meaning is not the ability of the Susager assumption - the stability relationship between the fingers Instead, it is temporarily frozen when the body is involved in this "dark stream" - the flow refers to the flow, the meaning is anchored in the space. Therefore, Lacan proposed the dialectics of the subject and significance: the meaning is the product manufactured in the main body in the discourse between the refrigeration-referred to - the flow of flow, and the self-consciousness of the subject is also generated in the discourse activity of the meaning. Lacon emphasized the priority in this dialectical relationship: "... that is the first beginning, is 'word', then we live in its creation [meaning], but it is our spiritual activity continuous Updated this creation, so that it continued. "(See Lagang" Writing: Choose ", 61 pages, Chardan English, Tavisto Press, 1977 [ēcrits: a Selection, Trans. Alan Sheridan Tavistock, 1977]) This article is the difference between LaCCCO: it does have this dialectic, but not, but not, but with sports.

The meaning of language evoke is not in the language and therefore does not have form and history. It is impossible to dialectics between the main body (dialectical two sides must be opposite and have form and historical); sports are external to the main body Reality, its dialectics of the subject mean that the main body is not abstract, the "dark stream" refers to the "dark flow", but the reality of the movement (in "dark flow" does not mean, but sports itself), it is The reality of "sports slice" creates the subject awareness, while the subject consciously produces the "sports slices" of the reality, and then it means. Therefore, it can be said that the subject's awareness is first manifested as intrinsic motion in dialectical relationship (the main body is a "process", and will not reach any "end"), not the meaning of the meaning of the meaning can only occur After exercise. [14] View Dessice's "Movie" first volume chapter, take a break. Tom Linsen and Barbara. Habbeamham Translation, Minnesota University Press, 1986. (Cinema 1: The Movement-Image, Trans. Hugh Tomlinson and Barbara Habberjam, University of Minnesota Press, 1986.) [15] I don't want to leave such an impression in this section: It seems that these thirty minutes only have sports. There is no narrative. This will obviously cause confusion, because the movie, at least in the current stage, must contain such a narrative. How can the movie escape "narrative"? Narratives have become the form of awareness in the long-term language practice. They can sometimes be understood as the same: awareness is to find the "narrative" in the language, understanding the reality in the language "narrative "It happened. The narrative language is so uncertain, so that everything opposes its existence is futile; but in turn, persistence is not meaningful, because in this case, the definition and specificity of the narrative itself Discussions are impossible (definitions and discussion inevitably include opposition). It must be acknowledged that the termination language is the first step in the liberation of narratives; or said, clarifying the morphology of the narrative in the language is the primary work (such as image movement) (, " "B is not a premise is what is first known to. Bart's narrative is completely placed in the leadership of the language in "Narrative Structure Analysis]:" Faced with the infiniteness of narratives ... Analysts found that there are fewer situations in Sushi: Diversity facing language Attempting to extract the principles and descriptions of the classification from the obvious confusion of individual information. "" ... combined (manufacturing) narratives cannot refer to a system of implicit 'unit' and 'rules'. "" ... A purely induction method is applied to the narrative ... is unrealistic. ... Linguistics yourself ... I have turned into the deduction method, ... marked it as a scientific true quality ... "" "at this stage In the study, the basic model of language assumptions for narrative analysis seems to be reasonable. "" "" "The" in the narrative ... only language, language, endlessly celebrate its arrival. "(See Bart Collection "Image, Music, Text", Stephen Hays Selection and English Translation, Hill and Wang Publishing House, 1977 [Roland Barthes, Introduction to the Structural Analysis, Image Music Text, Selected and Translated by Stephen Heath, Hill And Wang, New York, 1977]) So Metz aware of this problem is wrong: How is the movie? (The scope of language is too broad, and thus is not legal.

He proposed another question: What conditions should the movie be treated as a language? Dessice believes that at least narrative is not a prerequisite for the film as a language: "The narrative is not a clear premise of the image, or an effect of a latent structure; the narrative is the visible image itself, that is, the image itself One result, this is the image to its own initial definition. "If the image is equivalent to the words, then" it is most visible to the characteristics, exercise, is deprived. "" So this motion image promotes this' sense engine "(Sensory -motor has laid a narrative in the image. "Sports are first space, but the narrative must also resort to time:" ... The moving image itself seems to be a depth of abnormal and abnormal movement. "(such as scale imbalance, center Dissipate, image is wrong, etc.) In accordance with the view of Jean-Louis Schefer, "Movie Camera Unique Sports Distribution", "movie is the only experience that can make me directly sense. "Detriz's point of view can be summarized as:" moving image "is the first dimension of this pure non-lunutrical narrative symbol system," time image "is the second dimension (see Dessue" Movie "second Volume Chapter 2, Hugh Tom Lin, Robert. Grand Translation, Minnesota University Press, 1989 [Cinema 2: The Time-Image, Trans. Hugh Tomlinson and Robert Galeta, University of Minnesota Press, 1989] ). Therefore, the basic purpose (in full text) of this section is to recognize the "Sports Narration" in extreme examples of movie practices: "Sports Narration" space - how is the time possible? How is it related to the relationship between the subject? [16] Visual Effect Directive Directors, see "Virtual Land" movie Capades, Orek Oreck Director, Warner Brothers, 1999 (Making The Matrix, Warner Bros. ). [17] In this process, the self-awareness of watching the subject is to maintain a more active lens movement than props movement; that is, the main body has established self-consciousness by using the lens of the movement. Awareness of the event. Therefore, the film practice is not a neutral medium that conveys the preset ideology (so-called personal "art expression"), but a "machine" that actively produces significance under the participation of the main body, the production subject and its awareness Morphological activities "machine": "Movie production ... as the movement of the main body in the movie; ... the viewer is incorporated into the process of moving into the movement of [Movie] ' "See Stephen. Hayser's "Movies", 62 pages, Indiana University Press, 1981 (Questions of Cinema, Indiana University Press). [18] This time and space structure is different from the realism of the Andre Bazin, which is more different from the "Montage" of the Soviet School. On the one hand, "Montage" has little contains any time and space structure, but is only satisfied with the language of language, the relationship (symbol and meaning), the reality of the movie is unavoidable to disappear in the huge break between time and space debris. The ghost of the recovery symbolism.

On the other hand, the realistic film of the Bashan, standing on the criticism of "Montage", is a loyal record of life, or, rather, it is believed that the camera has the ability to record life reality, and this article The time and time of "watching practice" analysis is believed that in addition to this "constitute" movie reality on the film, the shooting activity does not "record" any life reality ━ movie reality may be in a more vastness. Society - the reality of power ━, of course, it will not talk more about the "faithful" of life reality. In fact, it is similar to that of quantum physics, the camera as a realistic absolute observers in the understanding of the understanding of logical defects: the shooting activities itself must be involved in life reality, it must adjust and change records accordingly Life reality materials on the film, these materials are therefore impossible to construct the life reality before shooting involved. Jean-Louis Comolli is therefore asserted that from the moment of intervention in life, a form of manipulating reality and ideology is born. Obviously, this manipulation can only be systematically expanded in the "viewing practice" time and space model: projector - screen - the three-view "machine" is rolled with a trajectory, and the spatiotemporal structure of its movement continues to produce The meaning of the movie reality and constructs the subject of ideology. [19] The "Kant", "Kant, Trans. Ralph Manheim, Harcourt, Brace & World, Inc., New York" hereinafter, also refers to Karl Jaspers. 1962). [20] Its specific perspective, such as Aristotle's concept of ideological classification is determined by the specific nature of the ancient Greek, and has been severely critical in Jacques Derrida. Derrida pointed out that the core category of Nice's reducingism in his article "Supreme THE COPULA" is intended to be "Category". Derrida actually defends the philosophical autonomy of Kantism: the prior art is a prerequisite for all objectives; or, Derrida has realized that prior probaculate is an objective knowledge of all languages. Prerequisites. Please refer to Ben Nice's "General Linguistics", Chapter 6, and Derrida's "Philosophical Border", Chicago University Press, pages 176 to 205 (Margins of Philosophy, University of Chicago Press, Chicago, ILL. 1982, PP. 176-205. [21] Dri Decida denied the presentation. His starting point is this: It is not aware of being determined outside of the text, but there is no saturation of the context allowed. Therefore, no one or the custom can finally control the context of the text, it can determine the meaning of self-disciplined text. Derrid's term "Duality" expresses this double meaning: in the constant updated textual relationship, the meaning is always different and delayed, namely the difference in space and time is a prerequisite for the meaning. Of course It is the absence of any certain or final meaning. Derrida said this "absence" as the meaning in the language "unable to master the broadcast", he will change the trust of the objective can refer to the trust of the objective, because of the "author" sound The "reader" present directly to the scene is revealed in the field): Although the Saussure realizes that the meaning is not a stable energy, it is the effect of the system, but the effect of a differential system, but he has not been able Seeing that according to his own ideas, it can refer to the objective existence (sound) is not essential, essential, only the difference in non-stop.

Moreover, "there will be no science about the operation of 'extension' itself, because there is a science that is about the origin of 'in its own, that is, about the' unimpedel '[science]." Derrida must regain Kant's weapons ━ Criticize the attitude of Saussure to talk to the attitude of writing, to launch a "non-scientific" grammar (he certainly deny this is a form of metaphysics): "[Saussian] Arbitrarism of symbols ... Prohibit [herself] The fundamental distinguishing between language symbols and graphics symbols. "" So, is the name of the symbol, we must question the language of Sushi Writing " The image '━ is the definition of the natural symbol of the language. "Implementing this question, although Derrida does not know" speaking "and" writing "dialectical relationship, it is extremely reflected in such a wild sentence: "Writing has an original violence, because the language is first, in some kind of I will gradually reveal, writing." And Saussone said: "Despite [writing] produces a pure fictional coordination, writing [ Language] Summer-of-skin engagement, the only true joining, the sound of the sound, is much easier to grasp, "see Derrida", "on page 2-65, Johns / Hope Jinshen University Press, 1976 (of Grammatology, Trans. Gayatri C. Spivak, The Johns Hopkins University Press). Derrida tried to use this Hegel-Marx dialectical system in the language inside the language, and also made a gesture to subvert the root source of this power, namely language. The contradiction is part of the Derrida theory itself, but is it enough to solve the problem? ("Dissaging" In fact, it is an attempt to "solve".) He said that "We must start from that overall system", maybe a "speech" and "writing" overall system is no longer enough, The position of this article is to persist in the "language" and "movie" at the level of ideology. [22] Maybe it is necessary to note that the Saussus and Pierce are different in the "symbol". In fact, "SIGNIANT" and Pierce said in Chinese Syno, "SIGN" and "Symbol" were translated separately. Sausson emphasizes: "I suggest that the word 'symbol' [signe] is indicated to specify the whole, and the 'concept' and 'sound image' replace it as the finger [signifie] and can refer to [Signifiant]." (Search) The term "sound image" is distinguished from the physical "sound" of the person, because the so-called energy referral is a psychological image of the phenomenon of the voice, not the voice itself, such as a person in the heart. Self-speaking self-speaking.) Pierce's symbol classification only for the symbol itself, he divided all the symbols into three: image [icon], sample [index], symbol [Symbol]. Regarding the specific discussion of these three symbols, I don't have this, please refer to Pierce's work, but must be explained that Sausso's "can refer to" and Pierce's last symbol "symbol" is basically one thing. The problem is that Sausso said that its language is a "Semiologie", and Pierce named his symbol classification as "Semiotics", regardless of how they are translated in Chinese, "symbol" is essential. Therefore, this article uses the word "symbol" from the beginning to finally, it is basically Sauxy when talking. It is talked to the movie, it tends to be Pierce (but not complete Pierce, because Pierce The symbol is still in an absolute steady state that does not contain any time - exercise. If this is the inevitable nature of the symbol, then the movie may become a symbolic moving image system).

[23] The concept of "minimum unit" and the basic logic of linguistics are consistent, and the language has studied those "set qualified minimum syntax function unit string rules, and allocate various structures to these unit strings" [formatives]) and in certain aspects of the unit string "(Jumsi) (Jumski); and in accordance with the view of Andre Martinet, the natural language must contain this minimum unit. Junction, one joining is a morpheme level, and the other deeper joining is a Phonemeth level. These engagements are linear, Saussone said: "The hearing can only present in time, it has obtained the following features: (a) it represents a time span, and (b) this span A single dimension is a tonable; it is a line. "Of course, structuralism reduces the status of visual in the process of language, emphasizing the minimum insequent unit constituting the syntax, Derridad said it "Voice Centerism" (the absolute approximation of sound and existence, the absolute approximation of sound and existence, the absolute approximation of sound and significance), he is nothing more than saying that Since Saussian Language Language I believe that ideas have a natural order, which can be faithfully reflected in the order of words (phoneme or minimal units), such as Nice, "See" General Linguistics ", 227): Language It is the only possibility of subjectivity, as the language always contains the form of adaptation with the principalness expression, the occurrence of discomfort, since the language includes each separated discourse example (different systems composed of minimum units). Perhaps Roman Jakobson is more critical to the "scientific description" as a minimum unit, he believes that voice phonographic analysis is essentially observed by the subject's words, that is, the visual observation of text: "The verbal speech stream is continuous in material. If it is compared with the limited set of separation components displayed by the speech, it is initially, with a case where 'obvious more investment', the math for communication Theory (Xiaonong and Waff, "Mathematics Theory of Communication" [CE SHANNON AND W. Weaver, The Mathematical Theory of Communication, PP. 74 f., 112 f., Urbana, 1949]). However, language analysis will The oral speech is limited in a single series of basic information units. These ultimate, separated units, so-called 'have different feature', it is immediately arranged in different bugs named 'phoneme', which is then chained as different sequences. The language is therefore in the form of a significant granular structure, and it is subject to quantized description. "(" Linguistique et unc "[LINGUISTIQUE ET THORIE DE LA Communication] Learning, 69) But Metz believes that this "minimum unit" idea does not apply to film symbolic theory, because "the basic units discovered by the linguist ... all presented generally suitable for words (la Langue) instead of language (langage) maturation features, in which it is just a single code system "(" Language and Movies ", 185), and" We should define the movie language system as all unique and universal Mixing of movie code systems (page 69), which is a completely different types, such as clips, view, light, sound, and motion docking, clothing, whites, etc., together with different levels of movie discourse.

Therefore, Metz has repeatedly emphasized the movie is "languageless language" (Reference Note 7), which is an analysis of the different code system for movie, and the film symbol is ignored. The analysis of the movie is inverted, movie symbol Learn should first study the textual type of the film language system (PARADIGM) Movie symbols and Syntagm ━ Movie symbols in the main body practice (Chapter 8). But in fact, strictly said that there is no symbolic performance system to resort to a single code system, such as painting, music, and even language (of course to exclude voiceists), so the film is called a multi-code system. It is basically invalid. Metz is limited in his own language writing, can't see such or such essential characteristics makes painting, music, and movies in the process of communicating with the subject, for movies, even Performance is a hyperscript. The "two-dimensional" sports system is the essential characteristics of the movie, which makes the philosophy of film philosophy of philosophy of movie are completely regarded as language or super language, that is, sports, as a movie direct form, complete Not in this standard language, there is a "two-dimensional" movement within the dialectical category defined by the 'minimum unit' is speaking) and Metz style (without the 'minimum unit' but there is language) The system is no longer manufactured in the form of a speech, and self-identity is an isolation of the subject of language. We now can even reverse Metz that implies basic questions that speak the language power to start movies: "What conditions are the movie is a language?" → "Under what condition is not a language?" [24] 德律It is believed that the relationship between time and exercise in contemporary movies has been reversed, because time has been directly presented as an image (psychological image) in the subject's consciousness, without having to rely on motion to obtain indirect symbol; exercise now is from In time will, violate its logic "wrong movement". "The time is no longer from the motion, the typical example of exercise, the correction of the motion; the movement of 'erroneous movement', 'dispelling sports" is now dependent on time. "(" Movie "Volume 2, 271) The operating mechanism of the "two-dimensional" motor system, from this perspective, is also the deep structure of all "wrong sports". [25] Metz disagree with the essence difference between film and TV, because he has assumed a movie in a language system, "In the movie and TV, the graphic or graphics system is transformed, adapted, and use it quite However, this is actually attributed to a fact that two 'media' constitutes at least one of the same language system at least in material characteristics. "The size of the two screens only caused the production technology and social psychological differences," ... these Difference (and the code corresponding to it), related to [Assume Separation Movie, TV] Two language systems share a considerable number, important encoding mode, is relatively insignificant ... "It can be said," ... Movie and TV It is two versions of the same language system with technology and social distinctions. This language system is defined by a certain mix between speech, music, sound efficiency, subtitles, and sports pictures. "(" Language and Movie ", Page 235 to 239) Obviously, Metz's film symbolics believe that the subject of the superior test is the source of all historical sources, and the observation of the movie will inevitably sublimately sublimated: the movie is the steady-state language structure such as such or that. It has never destined to be such a supercoding system that has no history, while TV is just an integral part of this code system. Metz completely ignored "moving picture" (ie, image movement) in these elements he listed, can be individually undertaken, in which case the historical structure formed by image movement is almost violated by all language ideology, It enables the movie to intervene in social, political, economic practices in a different way, effectively and effectively break the power monitoring of the language, and the TV has not developed a similar image motion system because the TV itself is the form of the language produced by the language.

[26] Walter Benjamin called the process (Lenovo) of this reading symbol as thinking, he said: "Painting makes the viewer think; in front of the painting, the viewer can indulge himself in Lenovo. Before the movie picture No. Once his eyes captured a scene, the scene has changed. It can't catch it. ...... The Lenovo process when seeing these images is actually continued by the image, sudden change (See "Enlightenment" Works in Mechanical Copy Age [The Work of Art in The Age of Mechanical Reproduction, Illuminations, London: Fontana, 1973]) [27] Wide-rubber technology has "macro "Grandeur," MagnifiM). The deformation lens is invented by Henri Chretien in the early 19201, but it was approved in 1953. It is "Cinemascope", which evolves into "Panavision", "Guangjing View VistaVision. Ge Houmoin-Sanson used a multi-fold screen technology in 1897, and Gunz uses the triple screen "multi-view" in 1927 to show his business card "Napoleon" (Napoleon) Fred Waller in Paramount Factory has developed more complex technology "Cinerama" in 1939, including 11 projectors, simplified three after 1952. [28] The critical part of "Montage" is taken from the analysis of the "Montage". "Several articles, such as" Evolution of Movie Language "," Montage of Advances and Limits "(What is cinema?, Trans. Hugh gray, University of California Press, 1967). However, Bashan's judgment of the film "This is the aim" is conservative, and it is finally attributed to "on the other hand, of course, the movie is also a language". This reverse process directly leads to the decline of "new wave", which will be specifically discussed in detail below. [29] Because even in today, most movies photography still tends to stand a part of the screen, focus on an object, while more exercise in the background, or simply let the object in the background . This kind of photography actually ignores "capacity" that promotes the occurrence of multi-movement in the wide silver. [30] For example, in the "à bout de souffle" work "à bout de souffle" in the works of Harda's own 1960, the vibration lens caused by the whole movie aesthetic system. In this, since the vibribus, the moving object in the foreground obtained the second motion dimension in the displacement direction; the still object in the context was vibrated. In addition, in the lens ended, Belmondo is hoped after gun, falling in the streets of Paris, the camera is moving forward, the street view quickly flashed, this is the article The prototype of the photographic tricks in the "virtual land". [31] Hayes said along Marx's ideas: "When Marxism and Ideology" There is no history ', he said that their history is just in dynamic analysis (historical materialism) rather than some pure autism. It is understood.