#The quotation and fusion of ideas in the text are from Dai Ye’s "Film Criticism" film theory-related study during the study notes-style record#
I opened Luc Besson’s "The Fifth Element" for the second time. When I watched it for the first time, it was because I was standing at the height of modern movie-watching habits, and my acceptance of sci-fi movies during the model posing period was still relatively low. Ultraman it: D). "The Fifth Element" can also be regarded as a cultural spectacle in the era of globalization. Luc Besson, a French native director’s first attempt at Hollywood secular mythology, used a virgin script written by his own son when he was 16 years old. There are countless jokings and fun. People set mixed, it is completely French comedy with the skin of Hollywood science fiction blockbuster!
In the post-industrial civilization era, mainstream movies still play a certain social function of old myths and folk tales, but the society that produces and accepts this function has also undergone profound changes. The genre sequences in "The Fifth Element" are complementary and superimposed. The main components of the narrative in the first sequence are: evil forces attack the meta-society, heroes have to bear beliefs to save the world, and the second sequence is the self who acts as a hero who saves the world. Save the part. Every story is nothing more than the salvation of the society and the individual. On the level of social mythology, we are reintegrating our own communities in the process of overcoming external threats (the essence is actually the external projection of a certain society in a difficult situation). In the part of personal mythology, a hero (often an individual who has suffered frustration and realizes lack in modern society) encounters true love or heals wounds in the process of saving society, and finally regains the full meaning of life. The success of this type of film lies in whether it can give social/personal double comfort and double satisfaction.
The mixed movie of adventure-action-science fiction-disaster type ushered in its heyday in Hollywood after World War II. The reason is nothing more than that the war shattered the development of science and technology by mankind, which will bring mankind to all-round progress and bring mankind to the light. Faith and ideology and the unprecedented scale of killing and brutality created by modern civilization (and perhaps the psychological shadow of the atomic bomb). So people imaginatively transfer this fear in the movie, and use it to conquer an alien, external mysterious force (conquer the invincible) to obtain great comfort. At the same time, at the level of personal mythology, it strengthens the discovery and trust in the nobleness and potential of "people" themselves.
In "The Fifth Element", there is a more ingenious segment: Lilu is learning about human beings about the period of war in a quick-cut montage segment, using Lilu's weeping and tears to show the real narrative that is obscured by the design in this type of film Motivation: Humanity’s fear and imagination of self-destruction are derived from human history and reality itself. Human civilization, especially modern civilization itself, contains huge self-destructive factors. Of course, the essence of this movie is still Hollywood’s traditional white male mythology. For example, the president of the Universe Federation is black, which seems to be politically correct, but in fact it is just "mainstream culture's response strategy to the black civil rights movement after half a century of turmoil"— —The black president seems to be useless, but the stupidest Bangalore in the film is transformed into a human being, and it is nothing more than a black image. Including Lilu who saved the world in the end, it is only the object of desire to obey the man. Victory trophy. End with a short comment.
"Among the noisy and dazzling elements of postmodern light and shadow, "The Fifth Element" contains the most ancient white male fantasy: 300 years later, the Chinese are still selling roast meat in New York; American presidents and super idols have become blacks. However, it is still white heroes who save the world; as for women, they must be beautiful genders after all."
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