The pure audiovisual language of Reggio & Glass.
I really don't like the idea of the entire film's structure. If I say that I would rather misinterpret it as "all social orders are dangerous buildings surrounded by chaos."
In fixed-point and sports photography, the photographer plays the object (observer)/subject (participant) respectively. However, in the eyes of the viewers of the film produced by the photographer, is it not that the photographer as the observer becomes the subject because of his observation, and the photographer as the participant becomes the object because of his participation? ? From this point of view, the viewer never enters the photographer's perspective to watch, but observes the photographer's perspective. What we see is not the eternal architecture in fixed-point photography and the abstract architecture in sports photography, not all rational and abnormal parts, not clear faces and phantom crowds. Watching is an action that can be nested.
At the end of the film, several meanings of KOYAANISQATSI are given. It can be said that life out of balance is the most inconsistent translation. Crazy life’s moral stand is too strong, life in turmoil is too rigid, a state of life that calls for another way of living is too unclean and subjective is too strong, and it feels like life disintegrating is the kind of person who slowly tightens the viewer with the rhythm of the film The ambition of the Throat section.
In addition, the "time-space" game about the film is still worth playing, but it seems that I have not been able to give a satisfactory rhetoric.
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