① The distant similarity of the philosophy of language
② The archetypal narrative reconstruction
of the metafiction ③ The fourth ending arising from the overlapping
① The distant similarity of the philosophy of language
We expand the concept of number as if spinning It's the same as wrapping some fibers around other fibers when making a rope. The strength of a rope is not that there is one fiber running the entire length of the rope, but that many fibers overlap each other. But if anyone wanted to say: "For all these constituents there is something in common - that is, the disjunction of all these common properties" - I would reply: Now you are just playing with words. One could quite well say: "There is something running through the thread - that is, those fibers that are continuously interwoven". ——Wittgenstein, Philosophical Investigations, 67 points
What are the things you find most beautiful in science?
Science is beautiful when it makes simple explanations of phenomena or connections between different observations. Examples include the double helix in biology, and the fundamental equations of physics. - Hawking's answer to the "Guardian" reporter
Wittgenstein in his "Philosophical Research", using "knot" to describe his very important anti-essentialist philosophical theory "family similarity theory", Hawking also In answer to the Guardian reporter, he said that the most beautiful thing in science is the distant similarity. This is the mutual echo of philosophy and science to a certain extent, and this echo itself is a echo of "similarity". And Makoto Shinkai, in the animation "Your Name. ", once again, unfolds the "similarity theory" with a beautiful picture in a way of deducting the story.
In the movie, Sanye's grandmother tells the lines while weaving knots: The knots we make are also the works of God, and they are the embodiment of the flow of time. Restore, break, this is the production of spirit (knot), this is time.
The concept of "flow", with strong "similarity" throughout, has become the core prop of the whole work.
"your name. "The "core prop" in " is not an entity, but a concept called flow.
This concept of flow, in different mirror images, splits into three distinct entities.
Let's start with the most obvious representation, the knot.
In the work, there is a clear prop, the key prop that connects Mitsuha and Taki to exchange is the knot called the amulet. When the knot exists and Sanye is still alive, the exchange between the two relies on the knot, and when the knot is lost (or returned), the exchange (or meeting) between the two must rely on other similar knots. things, such as liquids, time, light, subways. And all these things will obtain their appearance as "flow" through the "similarity" of the knot.
In the story, the knot has four states, one is a flowing ribbon, one is a ring-shaped amulet, one is the double button of a butterfly, and the other is a knotted knot. These four states are embodied in various corners of the entire animation narrative with their respective nesting, condensation and retention.
The flowing ribbon is the most obvious manifestation:
after Taki drank the wine, the knot wrapped around his hand stretched out, substituting him into Mitsuha's life memory, when the comet split and slipped. The images (murals) and Taki's falling figures overlap.
He is "the comet", and the comet is him.
The ring-shaped amulet is reflected in the scene where the two meet at dusk. (And the process of pursuing each other)
The high symbol here is that because of Taki's intervention, just like the comet, it changed the life trajectory of the entire Itomoru town. The split of the comet represents more timelines and this change is not. Because "causal lines", but "similar interference".
And according to Makoto Shinkai in "Your Name. "In the explanation, the description of Taki's amulet, the pattern presented by the knot is a condensation of the scene of Itomoru town, the lake and the sunset. They met by the lake of Itomoru and met in a circular path. The appearance of the amulet on Taki's wrist is reproduced.
In a sense, the scene where Taki and Mitsuha meet has already been inevitably placed in the narrative of the entire work in some form. (And this pre-effect is also true in the beginning of the work. We can even think that this is another form of "Memento".)
The double button of the butterfly is presented in the final encounter.
Even the last time Mitsuha and Taki missed the first time they met for the third time, it was actually a representation of the hair band on Mitsuha's head at that time.
The first mistake was the first interaction (there was a crisp silver bell); the second mistake was looking back on the subway (echoing the previous subway meeting but not knowing each other), the result Button up; the third time they met, they completed the appearance of the bow on Sanye's head.
As for the knots that are tied, they are interlaced, of course, those pictures of the two people swapping bodies.
And if you look closely at the change in the appearance of the knot, which is a key item, once the intersection of the two people changes, the appearance of the knot will also change.
The shape of the knot and the trajectory of life are a kind of similarity.
The interference of knots and other props is similar to another.
Beyond the knot, slightly blurred but still clearly visible, is the traffic.
If the knot represents the concept of "flow" and also the metaphor of "continuous description" in the philosophy of language in order to approach the "truth" (rather than the essence), then as the opposite of Itomoru's symbolic meaning (knot), The subway, which is full of highly modern means of transportation, has become a representative of both Tokyo as the capital of Japan (this is in Benjamin and Adorno's writings) and a highly symbolic representation of modern society.
Most of the time in the narrative, the knot is used as a representative of [highly symbolic], carrying a certain result that has already become (because the delivery of the knot makes the time misaligned and pierced) or condenses a certain process. A function of shrinking into a node (a ring amulet on Taki's hand). It is inaccurate to think that the [knot] is the carrier of the [soul wear] (although this seems to be reliable in the progress of the story), but to think of the [knot] as the [introduction] or [sphere] of the whole story seems to be more precise.
Traffic, in fact, has become the most important prop for hindering/facilitating the meeting between the two.
In Tokyo, the two actually met twice, once in the subway and once on a different track. The encounter in the subway, because of the dislocation of time, it is impossible to know each other, but is connected by the knot (here is the mutual interference between the knot and the traffic); while the meeting on different tracks seems to be the difference between the two parties. Be sure to be completely absent at some point. Needless to say, the subway became the key to the fate of the two, but what needs to be considered more is what kind of world structure is reflected in the subway as the intersection point?
What we should understand is that the subway will never carry any "place" or "nation" memory. What the subway represents is a complete exclusion of the highly developed Internet of Things, highly developed industrial technology, and highly developed technology and science. Personalized real objects, and it is precisely because of such real objects, that the setting of "no matter where the protagonist goes, he can only meet when he returns to the city".
In Wittgenstein's Philosophical Investigations: How many houses and streets should it take to make a city a city? Think of our language as an ancient city: a labyrinth of small alleys and squares, old and new houses, and houses added in different periods; surrounding the old city are those new urban areas with wallpapered streets and neat houses.
If we maintain the mode of looking at the production of knots from the perspective of Ichiyo, and use this mode to look down on the encounters and misses of Mitsuha and Taki in the modern city, we will find that the transportation represented by the subway is It is the thread before the knots are intertwined. The flow of people is the knot that is woven. The knot (and its pattern) has no meaning and needs to be artificially given meaning, which must be given in dialogue, that is, two people. (Really after the timeline changes).
And the third flowing entity is the movement of the comet.
The movement of the comet seems to be an inevitable event, because the comet will visit the earth every 1200 years, which is determined by fate, and in the moment of the long visit to the history-very short news commentary, I can't feel this at all. The influence of this fate has led to the news voiceover of "What a wonderful scene this is" (all background sounds are silent when this sentence is uttered).
And this inevitable event was originally meant to take away what it created—Itosori Town.
Judging from the historical development timeline, Itomoru Town was originally a town that should not have existed, unless it was hit by a meteorite lake 1200 years ago. In this sense, the historical line created by Mitsuha and Taki Soul wear should not have existed in the first place. In fact, the memories of Taki and Mitsuha are gradually forgotten, because they are affected by the fate of the comet, and the historical objects that can prove that the two have exchanged with certainty, as long as they have not been clearly displayed in front of (the audience's) sight. , it can be regarded as actual existence, but if it is observed by a third party (the audience, or anyone other than Mitsuha and Taki), it will collapse to 0 directly, which seems to be a variation of Schrödinger's cat experiment. body.
In a sense, the future is presented in the form of the past.
Philosopher Laplace also summed it up with the concept of "Laplace's Devil": we can regard the present state of the universe as its past effect and future cause. If a wise man can know the forces of all natural motions and the positions of all natural objects at a given moment, and if he can also analyze these data, then the motions of the largest objects in the universe to the smallest particles will be contained in a simple formula . To this wise man nothing will be ambiguous, and the future will only appear to him as the past.
In "Your Name. ”, all futures are also presented in the form of the past. For example, Mitsuha and Taki, who had been working at the beginning, kept looking at their palms when they woke up. For example, the scene of two people meeting in high school presented as a poster.
The coming of the comet itself represents the law of the [universe], but because of [disrepair] or because of [the blind man touching the elephant], it is no longer testable in itself, and has gradually become a form. What we can stick to is only form remaining.
This is the famous fire of Guan Goro.
As for the fire of Guan Goro, the reason for its ignition, as a proof that the future should take care of the past, it can be tested that the young man like an emissary made a behavior of blasting the warehouse.
Similarly, as the heirs of Sekigoro's fire, Mitsuha and Taki, they subconsciously look at the palm of their hands in their daily behavior. Why? The audience, as the perspective of God, knows the reason, but the parties only know the form.
If we say that what the knot represents is connection; what communication represents is intertwining; what the comet represents is destruction. How to make connection and interlace take effect, or what can't be connected and interlaced in the first place, that is, only destruction.
At a certain time, Taki was a comet, and a comet was Taki, and in essence, for the residents of Itomoru Town, Taki was a comet, changing their possible future life in an irreversible and obvious way.
This disturbance (or analogy) is also reflected in Tagore's "Flying Birds":
the life and death of green leaves are the rapid rotation of the whirlwind, and its wider circle of rotation is the slow movement among the stars in the sky rotation.
True, this is not to say how similar Makoto Shinkai is to Tagore, Wittgenstein, and Hawking, but to raise some kind of question whether there is an inaccessible "center" in the world/art, or a "idea" like Plato's. It is said in the "Said" that there must be some kind of "source" that can interpret the world, and experts in different fields such as Makoto Shinkai have approached this source in their own form?
But here comes a philosophical paradox, if there is an "essentialist" center, it cannot be obtained in an anti-essentialist "family resemblance" way, but if there is no essentialist "family resemblance" In the center, beneath the distant similarity, what is this highly similar?
② The original narrative reconstruction of metafiction
Metafiction, or meta-fiction. Here's "Your Name." ” part of the meta-fiction, and how it represents the development of Japanese culture, on the one hand because I did not search for information, and on the other hand because of Zhihu user Macro kuo (animation research columnist / Japan Animation Association database working group observer) Much better answer than I could have imagined, he wrote three articles on Your Name. " articles, respectively, "Animation Investigation 47 "Your Name. "What's Erased Behind the Touch - The Edited "Place View"" "Animation Investigation 46 Inheriting the Ancients - From "Your Name." "Speaking of the source of creation" "Animation Investigates the "Landscape" of Comet 45 - "Your Name." "Trial" link: Know the column.
This Zhihu user's skill in the field of animation research is not insignificant. I will not go into details about many parts of the meta-fiction. I will talk about the reconstruction of the prototype narrative.
"your name. "There is a very anti-human scene, that is, Mitsuha keeps running, staggers and falls to the ground in a 720° circle, but she doesn't faint, and she can still open her palm and see the three "I like you" written by Taki. word (Japanese), and can get up and go to where his father is to convince him.
After watching the movie, in retrospect, it seems difficult to explain, and although this "difficult to explain" may seem small, it is actually one of the so-called "multi-world interference and collapse" problems caused by "time dislocation" miniature.
But in fact, this is not a bug (if it can be explained by the family similarity theory, it will cause confusion due to interference), but some kind of reconstruction of the archetypal narrative.
Before talking about refactoring, I want to talk about two archetypal narratives that everyone is familiar with.
One is the story in the Bible: God tested Abraham and asked him to offer his son Isaac as a burnt offering. Abraham followed the will of God and took Isaac to the place appointed by God. When Abraham was about to kill Isaac, God's messenger stopped Abraham. And God prepared a ram for Abraham as a burnt offering instead of Isaac.
One is the story of "Oedipus the King": King Oedipus (and his parents) disobeyed the oracle that he would "kill his father and marry his mother", but the result of all disobedience, that is, all his actions It is in accordance with the oracle.
These two stories illustrate several archetypal narratives with "established future" stories:
1. Your heartfelt compliance and heartfelt resistance are useless in the face of the "established future"
2. Complying from the heart has already rehearsed the future in advance, so the established future has been realized in advance.
3. There is no way to rehearse the future in advance because of the resistance from the heart, so the established future will continue to develop according to the trajectory.
4. The established future is realized because of compliance, so there is a gap in the future, and other things are needed to fill the gap. In mythology, it is a sacrifice and a sacrifice.
In fact, "Your Name. ” is also staggered according to this archetypal narrative.
Of course, this interleaving is based on the "similar theory of language philosophy" mentioned in the first part.
What everyone needs to pay attention to is this "sacrifice", which can be seen everywhere in the story.
The audience may remember that Taki once said at the job meeting that "Tokyo may die one day" (this is also the real reason why, as a person with such a strong drawing ability, he still can't find a job for a long time), and His "warning" is essentially the same as Mitsuha's warning in Itoshou Town. Since Taki's memory will disappear, why can he still say such a thing? Because he saw the main body and the sacrifice at the same time-Tokyo and Itomoru town.
Zhihu user Macro kuo (an animation research columnist/observer of the database working group of the Japan Animation Association) mentioned in the article:
This will be a kind of "New Brother" in which the extremely fine Tokyo that appears repeatedly in Makoto Shinkai's works will disappear in a flash The thrill of Gila-style spectacle. In the film, there are many repeated appearances in the sky overlooking the camera, which also brings us an air of anxiety. However, no comet falls in Tokyo in the story. In a sense, it can be said that "Itomoru" was destroyed in place of Tokyo. Not only that. Although after the twists and turns of the storyline, the residents of "Itomoru" will be rescued in the end, but the more this is the case, this kind of composition is not a city, but a place that is destroyed, and Tokyo is "saved" unscathed. People look sideways.
If you only see the body, you will not have any trust in the "warning" words, especially in today's modern (informatization) development; but if you only see the sacrifices, there is no way to convey the "warning" words , because either he died before being passed on (Sanye's mother Erye), or the information passed on became "Save me" (if you interpret "Your Name." from the perspective of calling for help, you will find this In fact, it is Mitsuha that represents the story of Itomoru seeking help from the outside world (or the central government).
To understand the story from this perspective, you will find that in "Your Name. , the sacrifice and the body are intertwined, so that there is a powerful disturbance that affects the timeline.
Since the present is the era of "art works in the era of mechanical reproduction" as described by Benjamin, the boundaries between sacrifice and ontology are constantly blurred. Looking at the "Sacrifice-ontology" model of Itomoru town from today's perspective, light "Observation" is already a devastating blow to that model, because today's perspective (like the highly modern society mentioned in the work) is not a denial of "sacrifice" and "ontology" alone, but also with "absence". A copy of the mother's model appeared, completely destroying the "sacrifice/replacement" logic of that model.
This perspective further magnifies the powerful interference ability under the "similarity theory". In the section "The Distant Similarity in the Philosophy of Language", I mentioned the issue of the philosophy of language, so I won't repeat it.
What needs to be detailed is the real representatives behind the three flows mentioned above and their roles in the reconstruction of the prototype narrative in this section.
[The Knot-Itoshou Town] It is more like an ideal country that should not exist in real life (actually does not exist), whether it is called a land of nowhere, or called Foucault's utopia (Utopia) both work. For Chinese audiences, apart from the observations of bystanders (such as the three classmates who bullied Mitsuba), the concept and construction of Itoshou Town are closer to the world created by Zhuangzi (especially the intertextuality between Zhuang Zhou Mengdie and this work). , or Tao Yuanming's world of Peach Blossom Spring; this is a Chinese-style land of nowhere, or a land of nowhere constructed by oriental culture. People still observe the sacrificial rituals of the shrine (even if the future ending is as bleak as "Hundred Birds Chaofeng"), the conditions or settings that this utopia will definitely follow are the following two points:
① The flow of time is very slow, slow to the core unaware
② Necessity can only exist in the past
. In fact, these two points affect each other, because necessity can only exist in the past. Therefore, for the past, the events that have occurred, a year ago, ten years ago, or a day ago, as a static past, Is there any time difference? Some are just the descriptive perception of the person (or the memory bearer). The same is true for Itoshu-jin. It can only exist in the time node of [the past three years], and its [loss of time sense] also makes Mitsuha and Taki lose their sensitivity to time after the soul wear.
A modern city like [Subway-Tokyo] has lost the possibility of [personal history] in a practical sense, and it is also a world of existence that Benjamin has repeatedly worried about. Benjamin believes that under the modern industrial reproduction production, a large number of replicas appear repeatedly in our world observation timeline, which is the lack of the "spirit" of art. Of course, only in such a world can works of art such as [Pop Art] [Montrian style] be sheltered from criticism. This is also the state of being that Foucault describes as Heterotopias.
Heterotopia refers to in our real society, under the planning of various mechanisms of the real society, or the members of the real society, under the touch of their thinking and imagination, either by the rulers, or by the public. A space planned by a unit, or a space projected by members of society from the form of thinking and imagination.
One in "Your Name. "The obvious manifestation is, of course, the extremely modernized metropolis Tokyo. People living in Heterotopia cannot directly find the [Ideal Hometown], even if they are extremely poor in all modern means of transportation—and leaving Heterotopia means breaking away from the nourishment of this modern city, and those who leave will gradually lose their originality. If he is unfortunate or fortunate enough to leave the heterotopia completely and enter another world, when he returns to the heterotopia again, his physiology will give a ban on the dangers of the outside world, ignoring any warning/calling for help from the outside world. .
That's why when Taki was looking for Mitsuha, he couldn't mention where the person was. When he remembered the place, the person's name began to be forgotten, and when he remembered the place completely (in Taki's follow-up In memory, Itomoru is a place that cannot be forgotten), the event (the reason) will be forgotten - after returning to Tokyo, Taki has no more thoughts of leaving Tokyo - if he is looking for someone, he can continue to wander- —Finally meet Mitsuha at a subway station in Tokyo.
And [Comet-Cosmic Ray] is more like a Dystopia existence.
Professor Wang Dewei discussed dystopia in the lecture "Utopia, Dystopia, Heterotopia - From Lu Xun to Liu Cixin": To
give a few obvious examples: Huxley's "Brave New World", everyone is very The familiar George Orwell's "1984", and the Russian writer Zamyatin's "We". In these worlds, we see that human efforts to pursue ideals such as discipline, harmony, happiness, efficiency, etc., have led to unexpected results. The so-called rationality in command of modernity, rational management, or the unprecedented confidence in human rational subjects brought by enlightenment seems to have found a counterattack or a level of reflection here.
In a dystopia, human civilization seems to be disciplined, harmonious and happy, but in fact, under the constraints of the invisible hand, whether the hand is capitalist or socialist Hands often make members of this society lose their balance between advancing and retreating.
Therefore, under such circumstances, dystopia, like utopia, is also a means for writers or literary creators to intervene in reality and history.
In fact, we will see that human civilization is in such a state of cosmic rays. This invisible hand can be called "destiny", "XXism", or "populism". The citizens of Tokyo, living under a dystopia, reported on the comet as follows: a rare sight, a beautiful landscape, a wonderful scenery, but it is impossible to detect that the comet will inevitably split and hit the area inhabited by humans. People seem to be living happily, but they are actually limited by the fear of [Death Instinct] or the suppression by the [Invisible Hand] of [Dytopian].
When the comet comes, humans cannot avoid it, but can only observe it. Humans cannot protect the companion creature (Itoshou Town) brought by the comet, and humans can only let it recover. After the comet leaves, the continuous impact of the comet cannot be eliminated by humans.
Unless something is sacrificed to the [God] as a sacrifice, can it be safe. ——Although in fact, it is not to keep it safe, but to hand over its consequences to others/the world.
Mitsuha wrestled on the run, covered in scars, that's what we've seen, the smallest, sacrificed.
As the successor of the shrine, she must replace Itomoru who was injured (notice the similarity of Mitsuha's movement when he was injured and the impact of a comet hitting it) in order to save the residents of Itomoru.
The same narrative reconstruction, which appeared in Your Name. 》, and the sacrifice/evasion mode in these corners exists in the form of [Sacrificial Damage], or in the form of [Main Body Retention], or in the form of [Cut Replica, Leave Others A replica of the original exists in the form of a sacrifice to a non-existent mother.
The most obvious is the forgetting of memories: Mitsuha and Taki must sacrifice their own and each other's memories in exchange for the safety of Itosori Town (or Tokyo). -In the largest unit, it is a random rearrangement of the entire timeline to ensure that the people in the town are enough to escape disaster -In the smallest unit, when Taki remembers Mitsuha's name, he I can't really remember the place name Itomori Town. (And make a shield in the form of a dream and in the form of multiple worlds - of course, this shield itself is a sacrifice.)
The second is the transfer of damage: in the largest unit, the heterotopia even drags out the entire utopia. Sacrifice to the dystopia, preserving its own existence. ——In the smallest unit, the happy future that belongs to the two alone must be sacrificed—the possibility of Okuji-senpai and Taki, and the possibility of the emissary and Mitsuha—this is even shown very clearly in the work. audience.
Third, cutting a replica is to create something that did not exist before and make it disappear: for example, the source of the mentioned "Itoshu Town", such as the so-called "multiple worlds" that are not falsified at all, such as the shrine maiden The sacrifice ceremony—but more importantly, it is to show the destruction of the [Utopia] to the [Invisible Hand]. ——And this kind of ceremony is actually a re-view of movies/animations and the real world. For Japanese audiences, the re-view itself is easily reminiscent of the Great East Japan Earthquake of 2011 — and the lasting damage that the Fukushima nuclear leak that followed has left generations behind.
Only in "Your Name. ", is to deprive existence (memory) that's all.
"your name. "In fact, it is also a kind of review of the story of the source of the split between good and evil in the Bible. Satanelle fell from heaven to hell, falling like a comet layer by layer, and finally changed his name to Lucifer. The myths of history and time are really advanced in a literary rather than a philosophical sense - in order to fit in with the real history of mankind.
The same is true for Adam and Eve, because after eating the forbidden fruit, they were driven out of the Garden of Eden by God, falling down like a comet layer by layer, and finally changed their names to human beings, causing the world to be separated from heaven.
If the comet hadn't fallen, how would the Meteorite Lake be formed, and how could Itoshou Town exist? The condensation in this is also a review of human history. If the comet hadn't fallen again, how would the humans living in the world know that they Is it the body, or is it a sacrifice?
① The fourth ending produced by overlapping is
in the overall view of "Your Name. "After the movie, posters, and Makoto Shinkai's explanation, what we can clearly know is that it appeared in "Your Name." "The poster of the high school uniform meeting in the propaganda does not exist in the animation itself.
We all know that Makoto Shinkai is very good at tragic endings (people who meet fate will never meet), but in the whole story, it is presented as Happy End-although the ED sounded when the two missed it, so that The ED played for almost 10 minutes.
In "Your Name. ", which is criticized by the majority of Chinese audiences, is why the three-year time difference between the two souls is unexpected - although the information that may leak the time has been very delicately covered in the work - from the parties involved. From the perspective of (Mitsuba and Taki), it is true that under the drive of the camera - regardless of whether it is a live perspective or a drifting bottle perspective - you cannot feel the difference in time between each other.
We do not explain the collapse of many worlds from the causal timeline, nor do we forget after waking up from a dream to fool the past. In fact, [I can't feel] the difference in time. This kind of feeling does happen frequently to the audience in real life.
For the world in the past timeline of [Utopia], time is eternal, and the events of the past month and the past year, in your memory, need to mobilize the energy or time of memory is the same—— This is the way of life in Itomoru town, which can be seen in the conversation between the emissary and Hayaka Natori at the beginning, and in the reality of the extreme lack of transportation that depicts life in the town.
Because the past time has stopped, the difference in time cannot be felt.
In the world of the modern city in [Heterotopia], time is not stagnant and is always changing rapidly. 1 day without transportation/internet and 1 week without transportation/internet requires the same energy or learning to reconnect with the world - this is the way of life in Greater Tokyo.
Because the time in the future is changing rapidly, the difference in time cannot be felt.
But there is no time to speak of in the universe world suppressed by the fate of [Dytopian]. In fact, the time scale itself is artificially created, and its purpose seems to be to facilitate our embedding into the life of [heterotopia] - this sounds more like what Marx called "human alienation" ——But in reality, the time that cannot be sensed at all under extreme pressure is reproduced in a false form.
Because there is no time in space, the difference in time cannot be felt.
This kind of deliberately dislocated time (three-year time dislocation, non-synchronized soul penetration dislocation, space dislocation) can be said to have been involved in various works in the past, but until the modernization is so highly developed today ( Maybe not all over the world, but at least we can observe it in real life), as a viewer who can go to the theater to watch (not just in front of a computer or home theater network disk and DVD) It is possible to gain deep awareness in watching movies resonance.
Is this very similar? From the Miyazui Shrine that existed 1,200 years ago, every generation will wear souls and warn the outside world, but until today in 2016, it will be successfully predicted instead of being used as a trick.
Wittgenstein mentioned in "On Logic and Philosophy":
If we do not understand eternity as the infinite continuation of time, but as timelessness, then those who live at this moment will also live forever.
It seems that human beings can only choose one of these three endings?
We can also have other options, and this is what Heidegger has been referring to as the "handy thing" (the hammer in use is the real hammer), that is, the visual extension of the body.
ACGN itself is a visual extension of the body - as an internal completion of the audience/character, and as an external extension of the real world. In fact, this kind of extension has already penetrated into daily life - visual extension through makeup, retouching and ACGN-like forms of Cos characters; through self-cutting life, uploading clips on social media platforms, and slicing other people's lives A life extension that mixes together and forms a huge timeline; a visual extension that emerges through games (in various senses) that temporarily suspend life - what we aesthetic students call entering the realm of aesthetics .
Of course, these practices themselves always remind the user that "this will not exist and will be withdrawn by himself".
Of course, you yourself will never realize when you [started] in and when you [started] out.
This is what we have been talking about recently, the question of whether the emissary who likes Taki in Mitsuha and Okuji-senpai who likes Mitsuha in Taki are gay.
We will find that the likes and likings of others under the premise of the person's self-conscious soul penetration seem to be obviously out of touch with the sexual orientation in reality. For "Your Name. "For example, the goodwill of others (or personal world interference) caused by the two soul-penetrating souls should not exist at all. And this should not exist in goodwill, in a sense, it really blocked the original timeline of Mitsuha and Taki.
If the two have never been ghosted, then the most likely ending is that Mitsuha and the imperial emissary are together, and Taki and Okuji are together. ——However, after the soul wear, it was the two after the soul wear that really inspired the goodwill of the imperial envoy and Okuji. After the soul wear ended, the imperial envoy and Okuji gave up Mitsuha and Taki in the true sense.
Before the soul wear, the emissary had some vague feelings for Mitsuha, and after the soul wear, the emissary's feelings became clear; in the same way, what really aroused the feelings of Chess and Okuji to Taki was after the soul wear. When Shi and Okuji really established their feelings for each other (helping Taki find netizens), they actually helped Taki find Mitsuha.
It is precisely because of this kind of abandonment that the time line where Mitsuha and Taki were together was truly achieved, and the causal law of saving Itomoru (the residents) was truly achieved.
In the poster, the two people in high school uniforms meet on the stairs. It is more likely that the two people meet in the appearance of soul wear in the soul wear narrative that should not exist at all.
For Chinese audiences, the setting of "Your name is..." at the end of the film will awaken their déjà vu from Jia Baoyu to Jia Mu's "I have seen this sister" in "A Dream of Red Mansions". This "awakening" itself (regardless of its content) is the actual feeling of the passage of time.
Of course, the overlapping of mutual texts creates extended bodily sensations, as well as between texts and (real) texts.
For example, the "Transformation Plan" variety show once produced by Mango TV will be in "Your Name." ” After watching the movie—if you’ve ever watched a show like “Life Exchange”—was awakened again, and the discourse system in the deconstructed or postmodern context seems to take effect at this time.
For example, the "marketing campaign" on Weibo to write face characters in dialect will awaken the uniqueness of your dialect location as a dialect user (or observer), and then reshape a kind of beauty that mixes the ideal country style. A sense of parody of a utopian homeland and an area of mutual dissolution.
For example, in the Zhihu question ["Your name. "What are the terrifying little details in it], someone PO posted a picture of [Please follow the Basic Law and prohibit entry].
These are probably things that Japanese audiences or audiences in other regions have never felt before/during/after watching the movie.
Suddenly found that I forgot to write "your name. Some other views of "":
Mitsuha refused to inherit her father's [political values] on the one hand, and on the other hand, she refused to inherit her grandmother's [shrine values]. Her character is seriously endogenous, although it is only a joke [to do in the next life. The handsome guy in Tokyo] did it in a practical sense.
Taki, on the other hand, has no hometown at all, but has a very [outgoing] personality. In the information I currently have, there is still no sign of Taki's mother. This lack of maternal love does not seem to have any effect on Taki's character.
In fact, after watching "Your Name. "The hope that "love" is actually a very wrong signal, because Mr. Makoto Shinkai actually skipped the "love" link and went directly to the state of "life" or "marriage" to describe, and fed back the completion of love . ——Taki and Mitsuha know each other's bodies very well, and know each other's lives very well, but they don't know each other's emotions.
This lack of understanding of each other's feelings was made up after the [Rescue] event was completed, but after the completion, there was a process of waiting for each other for up to 8 years (Taki was 5 years). If the two could not meet each other, they would still will keep waiting. My "Your Name. "All the evaluations have been written at this point...
View more about Your Name. reviews
