Recently, I watched the opening section of "The Hidden Life" back and forth several times. There is some unsystematic random thinking about how Malik mobilizes the audience's emotions. As Merleau-Ponty said in "The World of Perception": "...Modern psychology has noticed that any property of an object is far from being strictly independent, but has an emotional meaning. (une signification affective), this emotional meaning will connect this nature with the emotional meanings of all other sense organs.... Human experience has given nature a certain emotional meaning, so once we put a nature back to humans In the experience of, then why this property can be related to other properties that it originally has no relationship with has become understandable.”-Things are complex, our understanding of things and space Perception is based on our experience and is an overall grasp. For example, when we think of lemon, what we think of is the rough touch, bright yellow color and sour taste; at the same time, we may also think of eating lemon for the first time (or one of the deepest impressions). experience. Based on the sum of experience, lemons may trigger certain emotions in us. Nabokov once mentioned that for him, each letter corresponds to a specific color-this is what we call "synthesis". For example, when we hear the word "green", we may have certain impressions: warm, or cool, etc.; furthermore, forests may appear in our minds, which may have bird calls, and The breeze blowing. The generation of these feelings is entirely based on our experience. Next, let's take a look at a shot from "The Hidden Life":
This shot appeared at 5 minutes and 37 seconds in the movie. In the last shot, we have seen Franz and Fani have finished their day's work and are on their way home, and this is their home. When entering this scene, we seem to feel that the music has been strengthened to a certain degree, because the elements that resonate with it are revealed: we can hear the wind, the wind bell and the crackling of the fire at the same time. Malik ignores the impossibility of these three sounds coexisting spatially: the sound of wind comes from the outside, while the sound of wind chimes and fire can only be heard inside or near the house; this shot is a big one. With a long-distance lens, we see these small houses from a distance. Nevertheless, this shot seems to cause an emotional tremor in us. Where did this tremor come from? Although we were not close to the house, the faintly revealed fire light had hinted at the existence of the fire. This hint is obviously not enough to evoke enough perception, so Malik intimately added the crackling sound of the fire-this background sound clearly reminds the existence of the fire, or it is our subconscious mind. The cognition of an existence is hooked to the surface, so the floating fire light and the heat of fire appear in our minds-the image of fire is formed. Fire, a totem that mankind has worshipped for thousands of years, is a primitive yearning for living in peace. And wind—we can not only hear its sound, but also feel its existence from the sound of wind chimes. The wind bell here is not only a symbol of the house, but also an outline of the entity of the wind. As a result, we feel the thickness of the wind. When we imagine the image of a place to live in, what often appears in our minds is such a picture: a small house, surrounded by nature, is just an external image without the need for internal texture filling. The original concept of the elements is revived in this lens: air (wind), fire (fire), earth (the valley is only visually displayed here-in other words, the mountain breeze is enough to present a complete valley. Image), and the image of water will be displayed later. In this shot, Malik shows a kind of tracing back to the original experience. He uses an idyllic picture to evoke our yearning for an accommodation.
The passage about hurricanes in the "Tree of Life" is also a good example of such methods as Malik (here, the instinct of fear is shown).
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