The accumulation of material for private family images in this film originated from a purposeless free creation. By coincidence, the video materials with obvious traces of the times were spliced into a very stylized part in the formal creation many years later. Perhaps this gift can also be called the result of the director's accumulation of hard work. The habit and consciousness of shooting are exactly what I should take the initiative to cultivate at this stage.
What the teacher talked about, the creation of personal image files, actually moved my heart. It's just that I have always adhered to the concept of "I am the person who holds the camera, not the object recorded by the camera". Can't expect anyone to discover my uniqueness and be willing to use the lens to dig out more stories. Just in terms of my identity as a creator, do I really have the courage to focus the camera on my environment and even my closest family? In the interview between Li Bing and his mother, the halo blurred the boundary between the creator and the recorded subject by the camera lens. The construction of a mutual trust relationship has always been an eternal proposition between the documentary creator and the subject. And our family and friends have already established a solid emotional foundation with ourselves, so starting from the side is indeed an introductory topic. But the process of shooting will definitely change the harmonious balance of interpersonal relationships to a certain extent. Can our emotions withstand such consumption? I have been avoiding sensitive and taboo topics between those family members, avoiding the violent pleasures and violent pains, and enjoying the ordinary family life that is true. This is an option. I can choose to face it or avoid it. No one will judge me for this.
The biographical documentary "Bili Elish: Blurred World" also contains a large number of family images in highlight moments. When I watched it, I was shocked, who has the initiative to record the key points of Bi Li's high-quality life. It's hard not to shake my respect for the authenticity of this film. But also aware of the power of non-fictional images. I don't like to record my life, and I rarely even take pictures of myself. There have been doubts. I don’t record myself, so do I really miss the memorial of my life? Did I really exist? Except for the personal memories in my mind, new friends have no way to get to know me in the past. The friends who have been with me in the past will also forget me. Thinking about it this way, I felt a little sad that I really didn't have any traces of existence.
In addition, the silky smoothness of the skateboarding lens in the film is also a real pleasure. Young body like wind, tone and light. That is the exotic scenery and the vitality of adolescence that I feel so strange to me. I am a little confused about how this is technically tracked? Is the cameraman also riding a skateboard? The photography and color palette are beautiful, and the appearance is as rich as the emotion.
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