the beginning of the filming technique "Gleaners", she looked up the book, she filmed the process of finding the book, and said, "In the past there were only women picking up waste, but now men are also joining in." It's like we don't. To understand a word, you need to look through the dictionary and say to yourself: "Oh, that's how it is." Then the camera turns to "Gleaners" in Osay Miller. Many people see this painting in the museum. , They took a photo with it and left. Here is the third person, she is watching. Then the camera turns to now. A woman is telling about her gleaning and the influence of her mother on her. She is standing in the field and talking proudly, just like when you meet an acquaintance or someone who is interested come forward and talk for a while on the road. That's normal. This Lianiesi the person becomes a second person, Agnes common vision of the scene with the characters directly approach closer to people's faces, there is
time to re-use (such as images directly switch) on a character
This technique is rarely used in other movies, because it is visually unnaturally excessive, but this is exactly in line with the eye pattern of communication between people. When we talk with people, our eyes are sometimes relaxed but sometimes The pupils will be dilated and concentrated, especially when it comes to vivid or incredible parts. And Agnès caught it very well, of course, the use of DV shooting also largely solved the difficulty of implementation. This allows the maximum flexibility that the image can enjoy, which I often think is very close to the magic of the eyeball. The eye is the most wonderful visual recorder, and what it sees is usually warm. Varda once said in the film, "Honesty, this is not a technique of the movie. However, honesty is far better than any artistic technique." Pursuing truth is Varda's attitude, just like she would shoot the scenery outside the car and meet her on the road. The flock of sheep on the road, the beating lens cover. However, how can the reality of a documentary be equated with the director's subjective attitude? She breaks through tradition. I think she is using touch to build her own world. She wants us to contact, through her sensory experience, and that is the world she sees in it.
2. Editing method
collage. I think this is her editing method. She once said: "In terms of its form, movies are not free. I am deeply troubled and want to use the method of writing novels to make movies." This is indeed the case. She does not have a script to select actors to start working step by step like a general director, but at the same time. She also said: “She gradually understood her intentions in the process of filming and editing.” So in a sense, she obeys her senses and allows us to touch them in a sensory way. Her editing is interspersed with a large number of paintings, books, and landscapes. It seems that the reaction of the human brain is the same. She was filming the present, and suddenly remembered the past, maybe she would go back to look up the information, or maybe think of a certain famous painting. She did not omit the sensory response, but chose to use it so coherently and completely. The narrative method, although it seems such a jump in the video editing. We can even feel the friction sound of our hands flipping through the paper, and looking closely at the oil painting very close, the tip of the nose is about to touch, so the touch is clear and real, so fresh that you can notice it at any time, so This is also a reminder, reminding us not to forget. The sense of touch is our instinct. If we ignore the instinct, we will fold our wings. At present, only the sense of touch and fantasy can let us fly the most freely.
3. About reminders
As the picture below says, "There is another woman in the movie who is picking up wheat ears, and that person is me." This is the first person pronoun. Anesvarda also travels in his own movie. The narration is like talking to himself, and the name of the movie is "Gleaner", and the behavior in the movie is also gleaning, not only It is only the subject of interview, and there are also directors and directors who made this film. In the film, the director is always scavenging waste. She is full of desire to see herself and said, "I found myself like an animal. Worse still, I What kind of animal is it?" When she was filming a potato picking man, she would yell that it’s mine when she saw a heart-shaped potato. Then she took it carefully and brought them back. In the film, she was collecting information from Japan. In the photo, a self-portrait of Rembrandt was overturned, and her wrinkled hands stroked it. She picked up a clock without hands, and then moved her old body over after taking the clock. This may be her picking up time. At the same time, she is also picking up art, those sorrows that are gradually forgotten by us.
In the world we live in now, we admire material. There is nothing wrong with material. The beauty and comfort it can provide are often unforgettable, but if there is only material in front of us, we will lose it. The courage to cry in the arms of a lover and the chicness to cry on horseback. As the man wearing rubber shoes said in the film: In this era of overconsumption, he cannot accept waste in any sense. Even if we rescue the birds that were threatened by the oil spill, we will continue to kill them. Even if we have taught our children to start making crafts with waste products, have they actually seen those dirty broomsticks made with waste products, have they shaken hands with scavengers? We no longer rely on the sense of touch to obtain information. We rely on the brain behind the screen. Just like if I don’t know the scavenger, I can directly ask Baidu Baike. This does not even need to turn the book, and he will tell you clearly. But this way, scavengers, tramps, managers, white-collar workers, dancers. They will only become textual nouns. Our eyes are gradually losing the beauty they should have, and they are gradually becoming only the function of a scanner.
But Anesvarda made me touch the gleaners clearly, from the fingers to the nerves. In a certain way, I think we are losing the original art, just like human beings are losing instinct. After entering contemporary art, we really can't judge works of art based on feelings, but need to think. Contemporary art is great, it opens a big door, let us see the brilliant light. But many times we lose the most real sense of touch, perhaps because we have never actually touched it, or perhaps because we forgot to perceive. It’s not scary to forget, but don’t forget to pick it up again, isn’t it? The first picture on the next page is the clock without hands picked up by Varda in the film. She made it into a new work. In my opinion, it is a reminder.
View more about The Gleaners & I reviews
