I don't like lighthouses very much. The director deliberately used 4:3 black and white image quality and almost no dialogue, and after a while, he also adjusted the speed to 1.5 times the speed, the standard of 16 frames per second when the film was born. I still couldn't stand it, and I used a lot of green-back keying to endure it, but the grammar was still modern editing, and the language of the montage school was deliberately added. For example, in a voyeur, the first shot is A repairing the roof outside, the second shot A subjectively sees B on the bed in the room, and the third shot A is a close-up of his eyes. According to Eisenstein's theory, the next shot should have a reaction action to complete this set of psychological montages. As a result, the fourth scene changed, and the next scene began. Obviously modern editing ideas, but using the lens of the montage school. Under this kind of chaotic editing, the story goes through the stream of consciousness again, trying to learn the modern elaboration that last year in Marionbad and that the two were reluctant to stir up the foundation in a closed space for a long time. It can't be said that the director is pretending, because the pretending is at least half a bucket of water. This TM even fails the still life montage of the freshman of the film school, and he dares to show it. He didn't even have a chicken, and he ran out to stir up the base.
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