I can't, I just fucking can't

Pearlie 2022-01-05 08:01:59

Seeing Frederick’s "A Lone Monk by the Sea" hanging in the living room of Jake's house, the sea fog in the painting turned into heavy snow in the film. Zong Baihua quoted this painting in "A Walk in Aesthetics" to explain that both Western painters and Chinese painters have a love for endless space, and what he said in Chinese painting "sees the infinity in the finite, and returns to the finite in the infinite". With universal applicability, what is the difference between Wang Wei's "Thousands of miles from the pillow, and the rooms from the window" is different from the snow in Jake's heart.

Nellie 2022-03-26 09:01:09

How to eliminate the "Kurishov effect" that appeared at the beginning of the film? For Kaufman, the answer is that as a virtual brain-image, the non-existence of the other is discovered in the encounter of the other, thereby invalidating the front/reverse fight of the subject-object dichotomy, just like the rotation seen by the heroine in the basement The washing machine, the main body moves towards the "object", but it is finally incorporated into another main body in a tree-like manner. In "I Want to End It All", only the suffocating interior view of the car is a real physical space, as brain or as a coffin. It's still, or unaware of its movement except for the snowflakes drifting backwards in the foreground, like the backdrop of a classic Hollywood car perspective. The space outside the car is a black hole of memory that is repeatedly inhaled and controlled by the virtual. With the invasion of the "subject", the potential is materialized in the way of being given direction, and finally accumulates the intensity, until the final locked door - unable to return physical brain. In this way, "I" with some American-style suspense shells can be first understood as Godard's self-talk, but finally presented as a musical version of "Wild Strawberry."