Friday words: The 9-episode TV series "Wanda Vision" produced by Marvel 2021 seems to be different from other sci-fi hero films. It is quite special, novel, and even artistic, but please believe, it is all done by tricks Strange, it still can't get rid of a heroic protagonist, a thousand-year-old second FBI, and a villainous big boss. After all, it is inseparable from those high-tech special effects fighting scenes; after all, it has to return to love, family, and world peace. On top of the theme... These are all things that Hollywood commercials often talk about. There is nothing to say, but those "obfuscation methods", those methods of story processing that make the movie look deep and difficult, it is worth our taste.
1. Type "Mix and Match"
The TV series first performed nearly three episodes of an American retro situation comedy in one breath. The first two episodes even used black and white and 4:3 pictures. This seems to be an alternative bold attempt for Zhou Geng's American drama. But thinking about it carefully, this attempt does not seem to affect its audience, let's see-
The first is that the length of the first few episodes is basically within 30 minutes, and the short film capacity (the latter episodes return to the normal length of 40 to 50 minutes for American dramas);
Secondly, each episode of the sitcom has to perform the opening and closing subtitles several times, always reminding the audience that this is a "Marvel hero blockbuster";
Once again, every episode will shake out a little "burden", leading you to look down.
To sum up, these little details are either attracting and attracting audiences, or they are soft and wide. We say that it is not so much an innovation in screenwriting, but an expansion in the market (the so-called good editing is worse than planning) . And this expansion mainly relies on genre mashups (comedy + sci-fi + fantasy + monster + hero).
Usually, sci-fi hero films are more serious, hormone-rich, and more masculine. The sitcom just made up for it here, incorporating lighthearted and humorous jokes, making the plot more family-like, and naturally attracting female audiences.
However, it is not a wise move to force comedy into the theme of sci-fi hero films and even the maintenance of world peace. What should we do? They thought of the following trick.
2. Play "play within play"
You know, those three episodes of sitcoms are not for women. If we treat the 9 episodes of "WandaVision" as a big movie, then this "sitcom" can be regarded as "another space" ——That is the "troupe" space created by the heroine (heroine) who kidnapped her husband and even the residents of the entire town. Just imagine how scary and mysterious it would be if you were locked into a black and white TV or game program.
But this is the kind of mystery that people play in Marvel!
In this way, when we know that this is the concept of "another space", the comedy will no longer be able to rise, and the trick of "play within a play" also begins to work along with the concept of science fiction and fantasy. It makes the people in the play work. Became a hostage to be rescued, making all the plots in the play cast a "fascinated" color.
Since then, the second real space has also appeared. Those planes, cannons, armored vehicles, cool brothers, cool sisters, and cool agents should all appear.
What are you going to do after the show? Why don't you ask!
3. Engage in "traversal"
Where to go, of course, in that "situation comedy"! After all, the saved people of the Heavenly Sword Bureau must maintain world peace!
Can you see that, because the sitcom is from the 1940s and 1950s, and it is separated from the real world by a "screen", this time-travel has both time and space (again a mashup). This sounds a bit abstract, but it doesn't matter. The screenwriter and director have prepared a concrete version of the barrier for you. Isn't it just a wall?
This is not the end, the story also incorporates the identity plot of the heroine and the villain big boss witch (all Harry Potter jokes are used), so that they can wear it into the 19th century, into childhood, and through Secret base... This series of wear, can you not let the viewers shout!
The concept of "time travel" is a common scriptwriting technique in the movie, but it is time-tested for the audience. It focuses on how to integrate time travel into the plot unconsciously instead of letting the audience see it at a glance, which can avoid The risk of being called cliche. To tell the truth, American blockbusters are about to play fine!
When it comes to becoming an essence, there is more than one way of crossing the blindfold. Let’s look at it——
Fourth, sell "academic"
Whether mainstream Western science fiction films, fantasy or fantasy films, it is not like China's "Journey to the West". No matter how nonsense they are, they have to pay attention to a theoretical basis and the ins and outs.
Naturally, this "ins and outs" is also their trick. For example, when the police were tracking down the lost town and trying to get in touch with people in "another space", they actually came up with the theory that "the equipment detected a very high CMBR", "the leftover radiation from the big bang" The basis, the basis sounds really cool really like that.
Another example is the superpower of "Vision". The crew simply went directly to the vision and put out a pair of metal equipment and precision accessories. In this way, superpowers and "high technology" are equated, and they are naturally explained. .
There's even more: when Vision and another villain big boss are in a stalemate, let's see what the two of them have studied--
- Do you know the Ship of Theseus experiment in the field of metaphysics?
- Of course……
In this way, a close battle was resolved in the philosophical proposition of "Ship of Theseus".
It is conceivable how much these high-tech props, technical terms and academic theories help science fiction dramas, and how strong their blinding function is.
Five, sing "feelings"
Finally, I won't say much about the feelings of melodrama. After all, we didn't grow up watching this kind of American drama. But it is undeniable that those sitcom scenes of the last century and even those advertisements in the play arouse the feelings of many audiences.
In addition, the feelings are not limited to a sitcom, it should also include those heroes such as the Black Widow, Hulk, Captain America, etc. that appear in the opening, ending, and filming.
In addition to these things, the coverage of feelings is wider, and the author can only sigh: Marvel is such a big tree! The trees are full of blindspots! (Ah, like two sentences)
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