The film is actually not "horrible". And from the beginning, as Deleuze mentioned, the film has a kind of magic that can make everything unsightly easy to accept. Then I think, if the imaging technique is purely to evoke sensory stimulation and horror, it is like completing an impossible task, and it is doomed to fail. What the director should consider is how to take advantage of this "impossibility". For example, in this film, Fatih Akin’s approach is worth introducing experience.
Synesthetic transfer (withdraw)
First, through techniques, the director “deteriorated” the unsightly image and passed it on to “wonderful things”, such as music and alcohol. In the first amputation scene at the beginning of the film, the killer drank alcohol in order to soothe his emotions. At the same time, perhaps to soothe the audience's emotions, he turned on the record player, and soothing and beautiful music followed. The director emphasized the lyrics by skill. :
The heterogeneous juxtaposition of stimulating images and beautiful music has led to the cancellation of the moral boundaries (violence/disgusting) of images. The stimulating scene is easy to be accepted. This is the great reminder of Blanchot ("Death Sentence")-"The sense of strangeness" can remove the boundaries. Immediately, when the killer used "wine" as a bait to lure the first living person to the house, he took out the wine glass and turned on the record player at the same time, and the same song appeared again. At this time, the beautiful melody began to "degenerate", and the music brought the amputation experience awakened in the audience's memory. The song and the overall scene of the film became "horrible". The contrast between beauty and terror, thicken each other. That is to say, the horror feeling is embodied through the transfer of auditory perception, rather than pure visual stimulation.
This kind of "synthesis" grafting is used in many movies. For example, the old lady mentioned above was physically abused, but at least left alive, so the "hearing" crisis was slowed down. , But a new sensory grafting model is also generated immediately: smell (stewed-meat flavor); another example is the use of "red" (female colleague) in the killer's abstinence phase.
Texture transfer
Secondly, the director arranged for the character's sight to "draw". There are two functions for the character's line of sight drawing in the film. The first is a dramatic "appearance" such as introducing regulars in a bar, which is presented to the audience, and the audience is set as an object opposite to the image. Although this is derived from the German theater tradition, it is not a pure "Brecht-style alienation effect". The "dramatic alienation effect" is to allow actors to drift between roles and actors, and actors have to return to the actors themselves. And face the possibility of the audience. In the film, although the characters in the bar introduce themselves to the audience, the introduction is the "character itself". In other words, perhaps due to the blessing of the confused atmosphere caused by alcohol (irrational factors dominate the situation), this kind of "reflexivity" actually makes the character more credible.
Another audience is forced into the role behavior and role (metamorphosis) expected intermediary position - the role of fantasy because the audience's transfer and the establishment of guilt because of the transfer of the audience formed. The audience was therefore dragged into the ranks of accomplices of "moral crimes ." For example, in the scene shown in the picture above, in scene A, because of the old woman’s words and the effects of alcohol, the killer raised his head and smiled wickedly at the audience. At this time, the killer’s sight was "out of the picture". The eyes changed. Immediately after the montage shot, cut into the killer’s illusion: a sexy-dressed plump girl cutting meat (which fits the old woman’s words, but also fits the killer’s hobbies—cutting people, metonymic usage; later, "cutting the tongue" downstairs too (Same usage). With the camera B panning upwards, the girl in the phantom gives back to the killer with a provocative look, but also forces it to the audience. Under the dual visual coercion of the killer and the sexy girl, the audience is forced to be caught in the middle of the (front and back fight), and obligately undertake the work of visual transmission. As a result, the audience participated in the evil thoughts of the killer and became an accomplice. At this point, the audience not only fell into the illusion of the film, but also became a part of the inner quality of the film-the director's sinister intentions.
To sum up, that is to say, in the overall structure of the film, the audience is first removed from the moral sense of the violent picture by the imaging technique, and then forced into another moral question. Therefore, the audience begins to face the real thing: Examine your own situation.
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