Considered one of the earliest anti-war films, it is known for confronting the brutality of war head-on. For the 1930s, the use of the camera was very smooth, although many of the transition cuts were less than satisfactory.
Truffaut: There is no real anti-war movie in the world. I've seen a lot of anti-war movies, but they all end in pro-war.
Spielberg: All war movies, good and bad, are anti-war movies, but the ethics of war is a delicate matter, and so are movies.
This is a question of information reception, whether the audience is inclined to be implied by the image or to engage in moral reflection.
The difficulty of making a film that is completely pro-war or anti-war is that it is difficult to use the lens to restore the real experience of the battlefield. As a filmmaker, you can implant any political message you want to convey in the film, but how to accept and understand it is always determined by The audience decides.
Movies are inherently subjective, and even Vertov, who insists on "movie eyes", cannot be truly objective. While the camera can capture life unnoticed without interfering with it, the subject is a subjective choice and can be edited to create new meanings.
Favorite lens:
1. A broken hand flashed across the barbed wire. A shot is very short for a movie, and the pain of this amputation is very long for the parties involved. A war is not worth mentioning to the development history of a country or even to the civilization of the whole world, but to the young people involved, it is the most precious years or even decades in their lives.
2. A religious soldier suffered constant mental torture after killing a man, took care of the enemy all night, and finally curled up at his feet and recited "forgive me" over and over again until he fell asleep.
3. Paul went home from vacation and asked his mother to rest early the day before he left. The mother said, "It's okay, I have time to rest after you leave." After his mother left the room, he said to himself, "I want to hug you and cry. field"
4. The classroom speech "Death for the country is full of pain and filth." The so-called sacrifice of so-called honor is the embodiment of the hidden veil of the state machine.
5. The ending is shot to death to save a butterfly. The superimposition of the cemetery and the comrades looking back, there is a sense of helplessness and emotion of "being baptized".
The following translation is excerpted from Dennis Rothermel's "Anti –War War filims", which discusses in detail the war genre films represented by "All Quiet on the Western Front", "The Thin Red Line", "Road to Glory" and "Full Metal Jacket".
Anti-war films should focus more on experientiality, focusing on the soldiers' reflection on the war, focusing on the depiction of human nature, rather than any war events.
In a military culture, there is always a certain percentage of the population that thinks war is romantic and fascinating, and regardless of the director's stance, a director's simple decision to make a war movie can have an impact on audience thinking in the future.
Anti-war films are significant for the philosophical stance of war, encompassing a wider range than pacifism alone, however definable. A long tradition in cultural and cinematic history honors those who suffered and died in battle for national purposes. The glorified legacy does come with the need to emphasize the apparently horrific aspects of combat.
Sam Fuller asserts that there is no greater adversary in war than the ordinary soldier who fights. Fuller, a war veteran, also asserts that we have no real way to translate the experience of soldiers to moviegoers without firing weapons at them from behind the screen - not just for the show, the actual experience is different from how the movie portrays it , because of the contingency of the experience, the experience that is significant to the person who has it will be significant. However, even without direct relevant experience, this difference does not necessarily completely eliminate the possibility of empathy. Propaganda means something other than influencing an audience to accept a certain point of view, and the reception of a film provides a touchstone for the cultural and political health of a country. Here's another question about what a movie, book, or painting might mean, and another about how the public might view it differently. Both questions have their independent relevance, but we should expect to rule out inherently dubious answers to the first question based on evidence relevant only to the second question for the simple reason that popular acceptance may be far from Understand carefully.
Anti-war films include soldiers' struggles with these passions. They connect those terrifying experiences of war to avoiding encirclement dramatic structures designed to evoke emotional identification with the heroic protagonist in the audience, to provoke catharsis to resolve battles, to moralize loss and sacrifice, or to build confrontations against evil foes . Amnesty in vicarious violence.
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