① Bergman embodies the anti-image manifestation power-the silence of God. Previously, the continuous exploration of the theme of God has been temporarily stabilized and quiet in this film. In "The Silence", Bergman interprets the symbolic characters Estay and Anna, using the "body" as the object to cut into, giving the "body" extraordinary energy, and interpreting the "body" as a human civilization. The connotation. ②The older sister Estay in the film is frail and sickly; younger sister Anna is healthy and confident, and emphasizes that they are representatives of slaves and masters respectively. Their hypocritical and decayed rationality and real and powerful body express unknown meaning on the stage of confrontation: truth The source of the power of eternal life, love and thought lies in the jubilant body. True silence has no distance from ordinary life, the love of desire, and the blood-filled body. The body is another form of faith. As a result, the created, sacrificed, and written body was subverted, and the words of the vital body that were no longer absent and in divine silence were demonstrated. ③The protagonist in "The Silence" no longer prays to God-projecting desires, but is more of an eternal awakening in human nature. ④ The characteristics of the two protagonists are not enough to become a perfect individual, and more are the lack of trust and recognition from the other side, so that they hope to achieve a desire for echo. Anna is the body, and Estay is the soul. The soul and the body are never separated-transition but never-ending anxiety-conflict. ⑤Varied scene crossing and depth-of-field lenses bring the tone of the whole film to a full atmosphere. The tone of the "indoor movie" further enlarges the hasty relationship between characters during condensing, and completes coherence in a minimalistic space-perfect rhythm state makes The audience is wrapped in the emotions of the director's consciousness. ⑥ Aware of the "I" quality from the mirror image, the hatred in Estay's eyes. However, Anna did not notice the emptiness of mirroring, ignoring the otherness of mirroring, and equating the image in the mirror with the self. Therefore, Anna who gave up imitation did not become an independent individual, but was manipulated by the desire to break free. Estay never looks in the mirror, because she cannot go from the mirror to the recognition, from the subject’s self-cognition obstacle to the intersubjectivity conflict and opposition, which fully reveals the subject’s personality and the inner changes of the characters in the confrontation process. It further explains the reality that language media cannot accurately convey information because of the uncertainty of desire in the communication dilemma, and reminds people to treat communication failures correctly. And when we exclude the awe-inspiring factor of the "unspeakable" in it, silence or speech contains a paradoxical speech against untrusted language; For "unspeakable" things, our language is weak and pale, but we still have to use language to enshrine our weakness and paleness. In fact, we have to always live in the paradoxical weakness and paleness of language. This distrust of language and other mistrust seems to have been natural, but this natural distrust often comes back and invades our individual existence. ⑦The relationship between the two is positioned as the contradiction between rationality and carnal desire; some people think that Estay, as a translator, has devoted his life to "penetrating or eliminating language barriers", but there is no problem with the language communication with Anna, but There is a great psychological barrier. Anna expresses her hatred of language through her physical indulgence. The essence of the war between sisters is "the war between language and silence." ⑧ "Silence" is not a difficult mystery to "The Silence". The original name of "Silence" is Timoka, which is the place where the story happened. Bergman once stated that the naming of the film is purely coincidental, and there is a mystery hidden in this coincidence: Timoka, which means "executioner" in Estonian, symbolizes war and death. And "death", whether it is a person, a thing, or a meaning of "death", all means the demise of the state of existence. Timoka Town is not only a place of death where tanks are rampant and murderous, it is also a place where communication is impossible and language is ineffective. "Where words are broken, nothing exists." Timoka is a cemetery where language is broken, and language is buried, and a place of silence and silence where meaning dies. ⑨Towards the end, Estay revealed all the silent secrets: "Bo Qi-like organization-all because of Bo Qi and jy, this is my last confession before I die. I hate the taste of jy, and my sense of smell is very good. Sensitive, when others ejaculate on me, I smell like a bad fish...I don't want to accept my pathetic role, but now, I'm too lonely... That power is too strong (nodding bitterly) I mean that power, terrible power. "At this point, the morbid discipliner finally bowed his head and let go of his hands under the powerful impact of his body, acknowledging the body's cry as the voice of silence and the word of the great highway. ⑩In Bergman's film Here, "God" can be regarded as the true subject of irony. However, when everything is resolved and into a broader field, the perception of God turns out to be a kind of coldness of the divinity of personal existence. Such an abstract and profound philosophy Thinking appears in the film, and you can see Bergman’s ability to use the film to transfer the subject’s thinking from perception to speculation. Bergman’s images are full of rationality, and the object is influenced by the perceptual emotions. In the process of creating a sense of tragedy, he did not use any complicated and costly means to gently deconstruct the kindness of human beings. A simple one move can create a unique sense of fear. Because of this unique and unruly style, It has affected countless image creators.
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