In this film, Ozu has his usual style, and he likes the drama within everyday life. The common plots of death, marriage, love, blood recognition, etc. in the story are typical dramatic events. The difference lies in Ozu's handling. He weakens the role of the dramatic plot in the overall structure and focuses more on the process. Antonioni is also accustomed to the character changes during the shooting process. Different from classic dramas, more progress is shown, which can reflect the subtle inner changes of the characters. Personally, I think that movies like "Thailand" and "To Youth" are just dramas presented on the screen. Can't be called a movie, nor is it cinematic, in Chapter 11 of "Film Script as Literature" discusses Antonioni's film, which says that "the film relies on truth, not logic," not relying on the emphasis of classic drama The logic depends on the rhythm of life. In "Adventures", the director is not concerned with the logical basis of ancient dramas, on the contrary, he is concerned with the relationship between people and between people and things. The director cares about his characters more than the audience's interests, which gives the characters their own lives. In fact, there is drama all the time in life, not necessarily fictional drama, cinematic more expressing those dramas that cannot be seen. "When a person goes from left to right, in the film, it is completely different from right to left."
Zhang Nuanxin and Li Tuo talked about the issue of cinematicity in "On the Modernization of Film Language", and later there were some review articles, but after 1980, there was no change. Personally, I think that cinematicity does not conflict with drama, but it is definitely not replaced by drama. Cinematicity has its own dramatic expression.
As Godard said, movies are to be made politically. The director must have style and form. It cannot be replaced by the conflicting laws of drama.
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