The first Tati. It is reminiscent of mime (slightly exaggerated body posture; deliberately concealing the sound component), Fellini (exquisite installation art; the heroine takes a bus to tour Paris as if the slow-moving convoy at the beginning of "Eight and a half") , Andong (reminiscent of "Red Desert" from the model-like architecture). If we talk about the stylized mechanical movement in the first half, the second half is a crazy Bacchus carnival. The first part of the music repeats the symbols tirelessly, presenting the invasion of the symbol itself on human life; the latter part shows the symbol like a gluttonous food. Among them, the rectangle and glass are the most impressive.
"Rectangular" shapes appear in street buildings, windows, workshops in buildings, tables in workshops, floor tiles, telephones and light boxes on the walls, and even the heroine's camera. The four right angles of the "rectangle" mean that it is cold, sharp, and absolutely correct. It is hard to shake (consisting of two stable triangles). It also rejects any rational shaking of the right angle and its representation. For example, there is a scene "After a person gets up, the deformed chair cushion slowly rebounds as before." It seems to be a perfect footnote to the "product": the current production technology can accommodate multiple repeated use. To fit the right angle perfectly means that there is a perfect production chain squatting behind it, which can also give a glimpse of the maturity of a grand revolution, which is the hurricane of "tool rationality".
(In the introduction of the viewing group I heard before the mobile phone was powered off, it was found that Tati was built with Tati City, and the architectural view was influenced by Le Corbusier. I thought that Le Corbusier once wrote "Poem of Right Angle"-"We use charcoal The pen draws a right-angle symbol/its answer is a guide/is a fact/is an answer/an option/its accuracy also includes relativity/scholars will argue about this." He adheres to the "right angle" thinking and advocates "purism" (Purisme)", there is a fanatical or even paranoid pursuit of the perfect form of objects. "Right angle" is also a symbol that Tati uses repeatedly, perhaps inheriting Le Corbusier’s "right angle thinking". But I feel that Tati is just using The concept of "right angle" is playful. For example, the name "Play time" and the style that Tati shows in the film are more like a playboy plays time.)
Another symbol that is repeatedly used is "glass". In the film, there are three iconic sights of Paris appearing as reflections of glass doors: the Arc de Triomphe, the Raphael Tower and the Sacred Heart Church. Glass was probably made by a Venetian merchant in the 15th century. A large number of glass products were exhibited during the first World Exposition in 1851. However, the mirrors in the film, which are so transparent that they are suspiciously real, are obviously high-tech manufacturing. If glass is regarded as one of the symbols of the climax of modernity, then the pre-modern architecture can only leave a "mirror" in the glimpse of modernity, which at least confirms that the linear history has been turned to the next. Era.
The role of glass may be explored. It is transparent, showing one side to the other. Therefore, both parties have equal rights, and they have changed from one-way "snooping" to two-way "watching". The transformation of the nature of this behavior brings about hypocritical "justice." Everything is transparent but everything is clearly identifiable, fully open but also fully monitored, a sense of security and the uneasiness of being prying over come together. The only certainty is the absolute suppression of sound: high-end materials ensure a two-way closure of all sound traces, which even serves as the creed of the office: "Slam your door in golden silence".
The four directions are silent, and you and I are anxious, so we can only perform physically: show the imaginary self to the imaginary audience. There is an impressive scene in the film. Tati uses mirror skills to cleverly obscure the viewer's perspective, making it impossible for the viewer to recognize the "black wall" that traverses in the middle, whether it is a real physical wall or a partition between two transparent windows. Therefore, the people in the room in the two windows interact funny when they make exaggerated movements. They seem to be communicating, but in fact they are just entertaining themselves. This kind of air performance is close to mime, but there is still a "performer-audience" interaction in mime, but "Play Time" is all one-dimensional actions.
Another scene is the end of the movie. The glass door was broken during the carnival of all beings. At this time, the waiter acted as a human "glass door", and even held the original metal round handle in his hand. As the crowd came and went, he also began to spin, imitating the original "door". In addition to adding a smile, the "door" here is probably also a symbol, used to highlight the level and separate the outsiders from the indoors.
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