"I am not proud of loneliness, but I live by it"

Deangelo 2022-01-17 08:02:33

Repeated application of long shots in movies

The sound that appears at the beginning through the long shot scheduling is revealed by the drop

Then, with the help of the voice of the chat that appeared, explained related content about the whale circus

The picture shows a perfect front-to-back relationship and the camera is zoomed in to close-up.

Using multi-angle long lens motion scheduling, the long lens is more concealed due to the continuous change of angle and picture

The perspective enters the picture, and the lens moves with the movement of the character to explain the behavior of the character. The side shooting is switched to follow the shooting in the distant scene and the picture is taken to a position blocked by a tree.

After the empty camera freezes, the character enters the picture, as the background character enters the camera, the picture changes from the background blur to the foreground blur

Background blur

Foreground blur

"Whales will be the cause of everything"

There are repeated cutscenes that keep the picture frozen after the character leaves, and the symmetrical open road composition of the character's position until the character is drawn, the lens freezes, and the distant sound is picked up.

Close-up shots of the characters practicing speeches in the middle of the movie. The characters (that is, the protagonist's uncle) do not look directly into the camera, and they are shot around from a side perspective. The light and shadow of the characters' faces are changed. High-contrast images.

In the dialogue shots of the characters, the characters in the background are in the painting, and the voice of the characters in the painting is maintained to reflect the reactions of the characters in the background. The camera is pulled back, the foreground figure is drawn, the camera is panned down to keep the circle, and the opposite direction wave-like circle.

The lengthy and long shots are as usual, and the protagonist comes to the square three times.

In the first square scene, the protagonist enters the painting after a few seconds of pause. The character backs to the camera, and then surrounds the character to close-up. The character is placed in the background. The picture is from the perspective of the spectator, watching the protagonist looking for the whale from the perspective of an outsider.

The third time was dark night, crowds and fires in the square, the protagonist walked through the middle and back scenes, the camera searched for the direction of the character until the character came to the camera, and the protagonist wanted to see the whale, but what he got was It's the answer to "get out of here". The confused, searching eyes, the exhaled cold breath echoed the smoke from the fire.

Then the protagonist found where the whale was, and the whale’s huge eyes were drawn into the picture first

Then the protagonist looks into the picture from side to side. The protagonist is attracted by a burst of sound and raises his head, moves away, the camera moves up to follow, and finally to the person who makes the sound. On stripped male protagonist.

Whale's eye

Front and rear scenes

Then the hero runs with tears in his eyes

The hustle and bustle in the distance, the massacre in the distance

Looking down at the perspective of the crowd, walking silently, and then zooming out the camera, the crowd,

Silent march

Entering the door frame, fighting lightly, the camera enters one door after another, like a bystander, using his eyes to pull reality into violence, and then into a wolf, the sound of fragments, destruction, tearing, the soundtrack suddenly sounded, a riot that gathered together Quietly calmed down after a curtain was torn down

The camera turns, but a face, indifferent

The shadows are sparse, and the camera drop down is the street full of leaves walking the riotous crowd of turtles

After the noise subsides, there is only a pale ceiling

Meaningless dance, solemn eyes, melodious soundtrack, no cohesive plot

Repeated walking, walking in the wind, walking on the fallen leaves, walking in the unmanned alley,

Full of loneliness

Nothing else

The lone whale carcass in the last square, desolate and silent, an illusion in a lie

The last look, distant loneliness, whale in the mist

It takes enough patience to digest these two hours of loneliness

Only loneliness can cure loneliness

View more about Werckmeister Harmonies reviews

Extended Reading

Werckmeister Harmonies quotes

  • János Valuska: You are the sun. The sun doesn't move, this is what it does. You are the Earth. The Earth is here for a start, and then the Earth moves around the sun. And now, we'll have an explanation that simple folks like us can also understand, about immortality. All I ask is that you step with me into the boundlessness, where constancy, quietude and peace, infinite emptiness reign. And just imagine, in this infinite sonorous silence, everywhere is an impenetrable darkness. Here, we only experience general motion, and at first, we don't notice the events that we are witnessing. The brilliant light of the sun always sheds its heat and light on that side of the Earth which is just then turned towards it. And we stand here in it's brilliance. This is the moon. The moon revolves around the Earth. What is happening? We suddenly see that the disc of the moon, the disc of the moon, on the Sun's flaming sphere, makes an indentation, and this indentation, the dark shadow, grows bigger... and bigger. And as it covers more and more, slowly only a narrow crescent of the sun remains, a dazzling crescent. And at the next moment, the next moment - say that it's around one in the afternoon - a most dramatic turn of event occurs. At that moment the air suddenly turns cold. Can you feel it? The sky darkens, then goes all dark. The dogs howl, rabbits hunch down, the deer run in panic, run, stampede in fright. And in this awful, incomprehensible dusk, even the birds... the birds too are confused and go to roost. And then... Complete Silence. Everything that lives is still. Are the hills going to march off? Will heaven fall upon us? Will the Earth open under us? We don't know. We don't know, for a total eclipse has come upon us... But... but no need to fear. It's not over. For across the sun's glowing sphere, slowly, the Moon swims away. And the sun once again bursts forth, and to the Earth slowly there comes again light, and warmth again floods the Earth. Deep emotion pierces everyone. They have escaped the weight of darkness

    Mr. Hagelmayer: That's enough! Out of here, you tubs of beer!

    János Valuska: But Mr. Hagelmayer. It's still not over.

  • György Eszter: I have to make it clear that not even for a moment is there doubt that it is not a technical but a philosophical question. So that the tonal system in question, through researches, has led us inevitably to a test of faith, in which we ask: on what do we base our belief that this harmony, the core of every masterpiece, referring to its own irrevocability, actually exists or not. From this it follows that we should speak of, not research into music, but a unique realization of non-music which for centuries has been covered up and a dreadful scandal which we should disclose. Hence the shameful situation that all the intervals in the masterpieces of many centuries are false. Which means that music and its harmony and echo, its unsurpassable enchantment is entirely based on a false foundation. Yes, we have to speak of an indisputable deception, even if those who are less sure, a little moderate, babble on about compromise. But what kind of compromise, when for the majority pure musical tonality is simply illusion, and truly pure musical intervals do not exist? Here we have to acknowledge the fact that there were ages more fortunate than ours, those of Pythagoras and Aristoxenes, when our forefathers were satisfied with the fact that their purely tuned instruments were played only in some tones, because they were not troubled by doubts, for they knew that heavenly harmonies were the province of the gods. Later, all this was not enough, unhinged arrogance wished to take possession of all the harmonies of the gods. And it was done in its own way, technicians were charged with the solution, a Praetorius, a Salinas, and finally an Andreas Werckmeister, who resolved the difficulty by dividing the octave of the harmony of the gods, the twelve half-tones, into twelve equal parts. Of two semi-tones he falsified one, instead of ten black keys, five were used and that sealed the position. We have to turn our backs on this development of tuning instruments, the so-called constant-tempered, and its sad history and bring back the naturally tuned instrument. Carefully, we have to correct Werckmeister's mistakes. We have to concern ourselves with these seven notes of the scale, but not as of the octave, but seven distinct and independent qualities like seven fraternal stars in the heavens. What we have to do then, if we are aware, is that this natural tuning has its limits and it is a somewhat worrisome limit that definitely excludes the use of certain higher signatures.