"Man Bites Dog" feels the frenzy on the verge of collapse just from the name. Because it was filmed in the form of a documentary and it was a black and white film, there would be a serious illusion that the whole film seemed to be a live news broadcast, and it was still ages as if it happened in a human being who is not yet fully civilized. Historical period. So people who watched this film will think deeply and analyze the violent methods in a philosophical sense. The film is also a black comedy classic that shows violence nakedly, with a fascinating characteristic, that is, it shows violence unscrupulously and plausibly. While laughing at violence, while forcing the audience to laugh at themselves, that is to say, while the film is crazy, it also has the power to make people reflect. Because of this, the black-and-white images have also become Ben’s "accomplices". If the film is not a black-and-white film, its shock may be compromised
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The most attractive thing about "Man Bites Dog" is not the details but the entire structure. The employment relationship between the killer and the photographer in the film is interesting. In the display and appreciation of "violent violence", the photographerrealized a process of change from the outside to the inside: primitive violenceinduces modern people Latent psychological violence, and then manifested in the video. Of course, the entry point of the director determines that the focus of the film is the incisive and vivid display of violence. He has no time and is too lazy to discuss any crimes, and there is no analysis and criticism of the violence psychology. There is a detail in the film that has a particularly dark humor effect. In an old building, the camera crew for tracking filming met another team of TV reporters who were also filming and killing people. The encounter between the two major video media, the private and the government, was both bitter and contemplative. In the monologue that the killer is chattering in front of the camera, some words might as well be understood as implying the nature of a certain kind of national advocacy of violence. In fact, this is an extremely "ulterior motive" movie. The killer is a perverted murderer. The shooter is shooting a documentary. In fact, when the killer does the killing, although the shooter does not directly participate in the killing, he is actually an accomplice. In fact, since taking over to make this film, it has become part of the killer inevitably. The more sinister intention is that after watching the film, the audience suddenly finds that they eventually become the accomplice and complicity of the killer. At first, the audience just watched it in general. After the killing became commonplace, the audience also went through a process of habitual variation to the heinous killings in the film: from the initial incomprehension and shock to indifference and numbness, and then gradually getting used to it. In the end, killing seems to be an indispensable part of life. Inadvertently, in a subtle way, the audience becomes a participant in the crime from a peeper of the crime. The film cleverly achieves this transformation through a calm and objective approach. The audience, from the supreme cinema consumer, was unpreparedly raped and forced into gangs, becoming a group of criminals. When the audience is sober, the change of identity seems to be a foregone conclusion, whether it is angry or shocked, the appearance of the accomplices is developed in their own hearts
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