Christopher Nolan, the English name transliterated in Chinese, points to many people with the same name. Among them, the most famous in the world today is the director and co-writer of Interstellar.
The English name puts the personal name first and the family name last, which is different from the Chinese naming convention. However, the two languages and cultures of both Chinese and English are roughly the same in that: personal names refer to personal existence, and surnames refer to the continuation of clan. Therefore, it is not difficult for global audiences to understand: the family members in the film often call directly by names, or refer to the pronouns of kinship that reflects the perspective of blood relationship; when outsiders mention or call Murph Cooper directly, then It is often referred to as "Murphy", which not only refers to individuals from the perspective of non-family, but also avoids the confusion of the same name when communicating; and refers to the "Pioneer of the Coopers" pilot Cooper, or the "Coopers" Murphy's fame , People call it "Cooper", which even leads to the confusion and embarrassment of the same name at the end of the film, without losing natural humor. However, the characters rarely appear in the film and are the full names. Because it is only in a very solemn context that a person’s full name is directly called, such as the photos and name tags of aerospace pioneers hanging on the wall of a secret meeting room.
Emphasizing this point is about the audience's understanding of the facts and details related to "name". For example, Mr. Cooper’s address to Ms. Brand has changed from "Dr. Brand" and "Brand" at the beginning to "Emilia" at some point in the middle and later stages of the film. First name-It shows that the "distance" of this man and woman is a kind of "from far to near" that has nothing to do with "achievement and fame"; but Cooper instinctively called "Brand" when he signaled for help when his life was dying. , Pointing to the clan, showing the affiliation between the individual and the clan. In the same way, no matter how unnatural and close to Dr. Mann calling "Emilia" at first (the actor is superb), in the end the cold dialogue involving life and death will still point to the clan and call it "Brand". In another example, at the end of the film, the Cooper Space Station, where humans live temporarily and happily, is named after the clan surname. This method of naming points to the glory of the entire clan and weakens individual merits. On this basis, the monument of Cooper Space Station extends its glory to "all brave men and women." Although the subtitles on the screen are not available, it is logically engraved with Murphy Cooper’s full name like a tombstone. Name the source to show.
From the front to the back, although the list of film cast members also extends the glory of a movie to all the men and women involved, there is only one name written all the time.
Christopher, Christopher, can also be nicknamed Chris in English, and the etymology of both points to Christ. The original meaning of "Christopher" is "Christ sender" or "Christian messenger". Nolan, Nolan, is an English-language Irish Gaelic, with the original meaning of "driving warrior" or "driving chariot fighter".
"Interstellar" is also a Chinese translation. Its original text, Interstellar, literally means "interstellar" and has nothing to do with "traversal". "Through" is a Chinese word that has not faded, and it points to time travel. Therefore, this Chinese translation of the name greatly limits the broad meaning of the original English. In the film, when Cooper and others discuss and analyze the whereabouts of the pioneer explorers, each tracking screen shows the planet where the person is located, one person and one star. On a human planet, this can't help but think of the romance of "The Little Prince", which points to the absolute loneliness of the body and the heart. In the film Cooper speaks with a Texas accent, and the actor himself, Matthew McConaughey, was also born in Texas—also known as the "Lone Star State." And between loneliness and loneliness, it is precisely what the original title refers to: "Interstellar". As for whether to "cross" or not, the original text is left blank.
I hope that some of the above-mentioned superficial analysis of "name" can fundamentally help readers to understand the ontology of each of them. Because these "names" will appear repeatedly in the following text, just as Nolan spent a lot of pen and ink explaining the setting of the name "Murphy" in the film. However, in the film, after listening to the setting, Murphy's character showed a certain kind of incomprehension: whether he believes in the universally agreed and simplified "anything that can go wrong will go wrong", or accepts his father's optimistic interpretation— -"Anything that can happen will happen"? In any case, when a researcher of the U.S. Air Force’s High-Speed Manned Vehicle Program named this theorem after the engineer Edward Aloysius Murphy (Jr.) in 1949, he lamented a large number of unavoidable “errors”. "Practitioners" and "responsible persons" are those who participate in the plan. This article will inevitably make mistakes. I hope readers Haihan and Fang Jia will give me advice.
The above is the first section of this article.
The mainland release version was translated by China Film and the translation and subtitle team were signed by six people. In terms of manual arrangements for the domestic release of foreign language films, it can be described as a large number of people. It's a pity that there are many mistakes.
The science students are at the opening of the film, and soon after the spacecraft takes off, it may be like falling into hell. Because the proper name for speed "Mach 1" (Mach 1) was wrongly translated as "Mach 1" which refers to a certain device model, it is a flaw. Liberal arts students may have a worse viewing experience, especially in language subjects. Because "Endurance", which is represented by the name of the core space station in the film, is mistranslated as "Eternity", which is a far cry. There are also some mistranslations and improprieties, but they are not as absurd as these two, so I won't give more examples. The most uncomfortable is probably those of theology students who are in relatively marginal subjects in China. Their poor viewing experience is not necessarily from the "English to Chinese" inter-language translation, but more likely from the dislocation of the inter-symbol translation. Because this movie is full of generalized Christian symbols, such as Lazarus, eternity, temptation, trial, prayer, belief, typology, promise, and imprint, there are too many to mention, but it hardly points to the glorious God of Christianity. This first caused a major irony of the film itself: the cost of 160 million US dollars, the box office has exceeded 260 million US dollars in the first week, so ungodly points to the huge flow of funds to believe in God, which is reflected in today’s Hollywood in the United States. On every banknote and every coin, there is a sentence printed in accordance with the law-"IN GOD WE TRUST" (IN GOD WE TRUST). Then across to China, the media such as The Hollywood Reporter [Note 1] and China Daily [Note 2] admired the People’s Republic of China for its box office contribution. Here, due to the official authority of atheism, the unfamiliar "belief" has become a marginalized symbol. It is outside the existing information dissemination framework, and the audience does not feel that the irony carried by the film is a sense of absurdity. This kind of misplacement can be described as a mistake plus a mistake. ——In China, to earn renminbi, one must insist on art "serving the people." This is obviously the legal logic that demonstrates absolute truth. It seems that negatives are positive, wrong and wrong?
People are the source of Nolan's film art. His debut short film "Doodlebug" (Doodlebug) is a movie that infinitely points to "people" as individuals. Such a literary and artistic work does not serve the people at all, because "people"-not "people"-is a political concept.
Politics, starting with Nolan's debut feature film "Following", presents an important dimension. In the "Batman" series, political allegories such as class, revolution, and terrorism seem to be more obvious, but Nolan denied the "Batman: The Dark Knight Rise" in an interview with "Rolling Stone" [Note 3] Political, insisting: "It's just telling a story."
Religion, especially the Christianity that created the capitalized "Western" culture, is the dimension Nolan tried to avoid. Although the mysticism involved in primitive tribes and magic has been touched in the "Batman" series and "Fatal Magic", the taste is only a taste. It's a far cry from discussing religion specifically, or even a particular sect or religion. Nolan’s character in this time still speaks English as his mother tongue, but he is careful to avoid the common exclamation that has been spoken beforehand—"oh, my god" (oh my God). And Nolan's evasion of religious beliefs, especially Christianity, is also reflected in his life all the time. In a statement on the Colorado shooting at the premiere of "Batman: The Dark Knight Rise" (The Hollywood Reporter) [Note 4], Nolan finally said that "our thoughts are with them and their families." them and their families), not quite in line with English habits. In American culture, which is generally influenced by Christianity, people habitually say "our thoughts and prayers be with someone" (our thoughts and prayers be with someone), rather than deliberately disassembling this relatively fixed combination. Nolan's deliberately hidden "prayer" finally appeared in "Interstellar", but it was a joke: Old Cooper teased that Cooper and Murphy, who stared at the "vision" on the ground, were "praying." And asked the two to "clean up this (vision) after praying." ——Cooper didn’t respond until the end of the film, telling Tas: “It’s never been so clean here.” But the film also clearly shows that Cooper is in space with his hands clasping his hands and sitting silently in the light. This scene does not point to prayer. , Pointing to what? Cooper's children and Old Brand continue to confide to people who have no answer or even life or death on the earth. Only those who believe that they will return will return. This is not a prayer, but what is it? Nolan presents such a hesitation in many dimensions, which requires the audience's effort and effort to experience it. If viewers want to experience the film’s feeling that the astronauts in space can only hear prayers but seem powerless, they can take a look at "Jesus, Du weisst" (Jesus, Du weisst) by Ulysse Seidel.
Science is an important appeal and selling point of this science fiction film. The visions mentioned in the film first point to ghosts, then to gravity, then to love, and finally to the "you" in Murphy's mouth. Under the all-round scientific packaging from behind the scenes to in front of the scenes, Nolan transmits the signal of humanism: "You" can use "gravity" to express "love" and be redeemed. This is like a fairy tale co-created by a popular science writer and a soul chicken soup writer. At first glance, it seems to be a nonsense; at a closer look, it is ambiguous. Nolan’s beliefs resemble some fashionable scientific omnipotent humanism, as if the advancement of science and technology will eventually be able to achieve ultimate self-help. "USA Today" [Note 5] believes that this film is anticlimactic, saying: "The content of this film involves a world that has undergone a dramatic and wrong turn, and its subsequent complex chaos. It is ultimately intended as the climax of the humanities presented. The ending of ism seems to be too concise and orderly.”
Symbols carry the metaphors on which we live. As a symbol, the word "director" has the original meaning of the root "direct" (direct), which is derived from the Latin "I guide, I rule" (regō). A "name", as a signifier, points to a "reality"; but the signification at this level is not its end. On the basis of Saussure’s structuralist linguistics, Roland Barthes deduced the secondary signified relationship, that is, the interpretation of all signs and the formation of ideology all point to the inheritance of the hidden system of social self-construction to maintain the rationality of discourse. That is to say, all "human words" point to "myths"-not a text of myths and legends in the classical sense, but a spiritual and cultural framework. Just as Confucianism, Buddhism, and Taoism originally influenced the spiritual culture of the Chinese people, Christianity originally influenced the American and even capitalized Western spiritual culture.
If Nolan earns money to believe in God, but does not believe in or glorify God, it is not uncommon. It is just a widespread crisis of faith in the United States; then he is dressed in science and humanity, playing with religious stalks, without mentioning the source of the information. , Almost a little too dishonest. Fortunately, European and American audiences are already familiar with the metaphor of Christianity; unfortunately, Chinese audiences may lose a lot of excitement because of this. I hope that every word in this article will benefit viewers who are not sensitive to beliefs and get a movie-watching experience closer to native native speakers of the original film.
The above is the second section of this article.
The greatest benefit brought by Christopher Nolan’s film is people’s lively discussion, that is, the exchange of information and the collision of ideas—“interpersonal” travel. The film sparked discussions among experts, scholars and fans in various disciplines. Even "translation", a field that has always been silently dedicated, has received a lot of attention, because an untitled poem that runs through the outline of the entire film has naturally become one of the hot topics of discussion. Celebrities such as Gao Xiaosong and Zhang Dachun shared their individual translations of Chinese and even ancient Chinese on the Internet (Weibo) [Note 6], which further heated the topic. Due to space limitations, I only quote Wu Ningkun's highly faithful literal translation of the original text as a reference; I only disagree with his sloppy handling of the "gentle" part of speech and grammatical elements, and the lack of a full stop at the end. The original English text can be read on Poets.org [Note 7].
Don't walk gently into that good night,
old age should burn and roar at sunset; rebuke, rebuke
the passing of light.
Although wise people know that darkness is reasonable
when they are dying, because their words did not flash in and out, they
did not walk into that good night gently.
Kind-hearted people, when the last wave passed, shouted
how brilliantly their fragile good deeds might have danced in the green bay,
ranting, blaming the disappearance of light.
The violent people caught and sang the soaring sun,
knowing it, but it was too late, they made the sun sad on the way,
and walked into that good night not gently.
Serious people, close to death, use dazzling vision to see that the
blind eye can shine like a shooting star with joy,
rebuke, and forgive the passing of light.
You, my father, in that sad height,
curse me with your tears now, bless me, I beg you
not to walk gently into that good night.
Rebuke, rebuke the passing of light.
Thomas was extensively influenced by Christ, God, Judaism and other cultures since he was a child. He wrote many poems on this theme. He held the traditional Christian view of life and death in capitals. After his death, he was buried in a church cemetery in his hometown in Wales. cross. Therefore, Nolan, who refused to face the cross, quoted Thomas as far-fetched and literally. The two sentences that appear repeatedly in this poem are almost straightforward Christian beliefs, that is, a series of anti-logical beliefs such as "living to death", "light in the dark", and "turning curse into blessing". The interpretation of this series of anti-logical issues will inevitably lead to theological issues, which will lead the interpreter to the dimension that Nolan avoided or deliberately left blank, that is, the dishonesty set by the "human" to the machine "human". The truth is concealed, whether it is 5 percent or 10 percent. ——Comprehensive truth and truth, requiring complete information and information. This is something that Nolan admits through the mouth of the characters in the film that human science "temporarily" cannot do.
In the film, twelve people, twelve top astronauts and scientists, embark on a journey to save mankind, blaming the disappearance of light. Among them, the one recognized as the smartest, the best, and the bravest is actually called "Dr. Human". This person is called "person". This is a German surname, Mann, which is only one letter difference from the English "Man" (Man). It has the same pronunciation and the same meaning, so it is an obvious symbol for native English speakers. This most outstanding person has betrayed mankind-this is another self-evident symbol for American audiences: this "person", that is, the person whose Chinese subtitles are transliterated as "Mann", inevitably points to the "Bible" Judas, one of the twelve disciples who betrayed the Lord Jesus Christ.
But Nolan is not filming "Interstellar Bible" or "Bible Crossing" after all, so it is not advisable to do more analysis on the number of seats. For example, the role of "person" is not only tied to Judas's memory, but also bears Cain's memory because of the murder committed in the film, and everyone's "memory of murder" and its original sin—— "Human" killed people, killed robots, and attempted to murder the protagonist. He also tried to further murder all mankind and wanted to be the first person in the universe. It's like a simple pun in the film: "Mann was lying." (Mann was lying.)-"Man" is about to become a hopeless Satan again.
So who embodies the key symbol of the Lord Jesus Christ pointing to the Redeemer? Is it Old Brand or Little Brand? Or Cooper or Little Cooper? Who can save mankind? According to such a functionalist thinking, people who are willing to play jigsaw puzzles can even interpret that the "spacesuit" symbolizes the "cross", which is useless. Therefore, it is certain that Nolan deliberately uses a large number of Christian symbols, but does not adhere to the Christian faith, so its overall presentation does not completely conform to the broad sense of Christian thought-based on this little background knowledge, it is probably Set up a launch pad that crosses to Nolan Heart Star.
The film has a large number of shots of the starry sky, and there are more than one scenes that use the "star" to represent "someone", constantly emphasizing the loneliness of "one person, one star". The darkness of the night shows the way by starlight; the astronauts driving various vehicles point to a star on every undetermined journey; even Cooper, who drives a car and chases a drone at the beginning of the film, hopes "Do something for society", isn't it also to obtain the solar cells on the drone? Doesn't it ultimately point to the sun, the source of the earth's energy? The light shines into the vast darkness of the universe in a macroscopic way, and in the movie it is shown microscopically as Odysseus-like behaviors such as the hero's burrowing into a black hole. The name of the black hole in the film is Gargantua, Gargantua, whose name is derived from a king with huge appetite described in The Giant's Biography, which echoes the author Rabelais's humanistic perspective. In other words, Nolan’s understanding of “light shines into the darkness” may have reached the height of “truth and love touches the heart”, but through the language of the film, the facts only reach the point that “heroic earthlings penetrate the esophagus of the giants of the universe (and then The metaphorical depth of being'excluded')".
The above is the third section of this article.
Nolan quoted Thomas, his ambition was really big. Thomas presents himself as the narrator, the father who is seriously ill in reality as the object of narration, and the "(heaven) father" as a pun in this poem, which is mainly realized through the imperative sentence of the implicit subject. In this movie, Nolan presents Cooper as the protagonist, the old Cooper as the father of Cooper, and Cooper’s alienated son-the robot "Tas"-the echoing relationship between the three. It is mainly realized through the traditional narrative structure of drinking, chatting and telling stories. At this point, Nolan is obviously a full dimension lower than Thomas, because the former is a robot as a "creation" that goes down the road besides human beings; the latter directly touches the heavenly Father as the "creator" of human beings. Go straight to the sky.
This robot Tass serves as Cooper's "road": Cooper can talk to "them" through it, similar to the telephone in "Snow Country Train". This kind of "Dao becomes a machine body" setting is really not new, and it has been touched in a large number of science fiction works such as "2001 A Space Odyssey". Nolan himself has already tried to express "Tao incarnate" in an extreme way in "Fragments of Memory"-even more than the text attempt of "Hazard Dictionary"-"Tao" (Word/Λόγος) is directly engraved with a tattoo The flesh and blood of adults is shown in audio and video. At this point, Nolan has turned to a mainstream Yangguan road that is alienated to science and technology; the expression "Dao becomes a machine body", as far as the film is concerned, is very helpful for the audience in the post-industrial era to empathize, and produce "mechanical" in the sense of pun. Resonate. When Cooper asked Tas "who are they", the movie is about to climax, but it's as quiet as stagnant water. Because Nolan gave up the violent drama tension that allowed Cooper to confront "them" and question "who are you". Nolan threw an indirect answer directly to the audience. Although he reluctantly added a seemingly conflicting self-referential reversal like "They are us", it also gave the audience some room for thinking, and would not be thoroughly guided and interpreted like watching "News Network". Information thinking. However, I have to point out that the climax narrative of a film actually needs to rely on traditional language expression, which is probably the degradation and sadness of the film language. If the audience needs to experience that kind of evolutionary avant-garde, they can watch Chris Mark’s "Dyke" ( La Jetée), or even Derek Jarman's "Blue".
The narrative suspense that Nolan has worked so hard to retain is just like what Matthew McConaughey said in a logically absurd statement in an interview with the New York Times (NYT) [Note 8]: "This movie challenges humanity, but it also has Belief is in it. It says:'Yes, then there is something out there. Call it an alien or God, call it the motive force, whatever.'"-the last moment of the film , If the ending is said to be aliens, then the answer will praise the aliens; if interpreted as the god of ramen, it will also glorify the god of ramen, there is no essential difference. Then this cannot be called "belief", without carrying "for-ever", it can only be called "what-ever" (what-ever). This is like, if you change the names of all symbols borrowed from capitalized Christianity in "Evangelion", it will not affect its overall narrative. After all, it is not a "gospel" in the Christian sense; at this level, it is entirely possible. The humanity and technology omnipotence theory of "Interstellar Crossing" is understood as Nolan's version of "Human Completion Plan". In contrast, Luc Besson alienated or "completed" in the Hollywood sci-fi blockbuster "Lucy" during the same period, and made a USB flash drive with 100% cosmic holography. Then he didn't know how to continue. Can resort to an open ending weakly. Nolan is much wilder on this point. He directly uses 90% of it to show a process that can be interpreted as "saving mankind" and choose a logically inconsistent answer for it. , Relayed to the audience. But there is really a subtle humor here. I wonder if Nolan deliberately did it: The answer Nolan gave is actually the deus ex mechina (deus ex mechina), and Cooper is close to the "Tao" passed by the deus ex mechina. It is a robot. This robot finally became Cooper’s "co-pilot" after everyone else, and his biological son was the object of communication on the porch to "pass on the story" after the end... I always feel that Cooper in the film is helpless, even seems to want Crossing the galaxy and the screen questioning Nolan: What are you going to do with me to be satisfied? ! —— Cooper is obviously Nolan’s self-conscious projection as a creator. In a sense, Nolan's criticism of himself is quite comprehensive and profound, and even deliberately used a lot of naive and unnecessary montages to show the inevitable overlap and variation of the identities between Murphy and Brand; therefore, On the other hand, its more mature criticism is most likely to be made unintentionally in some dimensions.
At the moment when the answer was revealed, Nolan’s popular science narrative completely slid from humanistic powerlessness to the nihilism that he had displayed for a long time in his career, and fell sharply into the endless abyss-but the atmosphere was already in Hans Zimmer’s London Temple The church organ's gongs and drums as the main sound were set to the apex under the noisy sky, and it was impossible to go up any further-it had to become a boisterous tragedy and comedy. Everyone is happy, there is sadness in joy, "white-haired people give black-haired people", sorrow and joy, great joy and great sorrow, neither sad nor happy, in short, chaos, even the style of painting has changed, unexpectedly appearing with a selfie The dim chocolate-colored virtual focus lens of the artifact looks too much like a watch ad that was suddenly inserted into a movie. The answer Nolan revealed was almost Hitchcock's "Mugffin"-the audience dazzled by the "love" shown in the film's special effects, in fact, almost didn't mind what the final answer was. , Or whether this explanation is logical.
If "Memories" is "revenge for revenge" and "Inception" is "dream for dreams", then "Interstellar" is "love for love". Nolan does have the ability to complicate a simple story. ——In terms of scale, this time Nolan will not only lead the audience in the cinema to experience the feeling of redeeming Gotham City, but also experience the feeling of redeeming all mankind, and it is a fairly traditional process: starting from the present and contacting the future , Go back in time... Sci-fi fans have probably been tired of such structures for a long time.
Nolan must believe in eternity and love, because the character in the film says "I love you forever". But these people who claim to love each other forever have also made it clear that their own knowledge is probably far from enough to know what "love" is, let alone what "forever" is. The old Cooper advised Cooper not to give little Cooper a wish he could not realize, but Cooper still said to his daughter, "I love you forever and I am coming back" (I love you forever and I am coming back)-in I don’t know exactly what “forever” and “love” are, or even when I’m not sure when or whether I will come back in the end. This is really desperate love.
What Nolan tried to express, such as "We are just memories for children", is a linear and irreversible retelling. Therefore, Mr. Cooper left the child and went (returned) to space to find the future "home" in a concrete sense (the "new home bathed in the new sun" described in a prophetic voice-over at the end of the film), and "fly" in " "Heaven", like falling into the clouds and in the mist, received the revelation of "it seems to be successful because'they' are closing the supercube", and finally returned to (to) the "home" of the past in the abstract sense-the family gathering Place (specifically as a hospital ward in a super large space station). Mr. Cooper's time "traveling" is relative, according to the logic and scientific explanation in the film, it is "irreversible"; according to the background music, it is the time passing by the ticking sound.
Nolan’s actual performance is more of a cyclical reproduction, like the second hand that conveys the “sign of love” swinging back and forth and stagnating, or like the monotonous repetitive fugue and the overturned reproduction part, it is inevitable that the pursuit will be pursued. The fresh sense-stimulating audience is dull and sound asleep. Because Nolan intends to express the prophet's prophecy, but again and again in the film did not point it to the ultimate "type" and "fulfillment." I feel that after a while, the volume of this film is forced to be super loud, to match the brightness and darkness of the screen. Is this how Nolan used the language of the film to express "annoying the disappearance of light" to the extreme? ——In other words, if Nolan points to the ultimate, then the whole movie is just a prelude. There will be a man and a woman on the new livable star who will continue to lead mankind towards "the good night" and "the passing of light." ——This seems to be a perspective that can greatly enhance the concept and dimension of this movie. If you accept this transcendental perspective, the poem as the "motivation" of the "Nolan Symphony of the Universe" is the prophecy of the entire movie as a substance, beyond what is needed as a purpose and a utilitarian full narrative. This is a symbol that points to "prophecy" like "leave" spelled out by Morse code. ——Only from this perspective, Cooper relayed to Murphy the word "now" that appeared in the sentence of his deceased mother after giving birth, and Nolan relayed that the late Thomas was when his father was about to die. The word "now" (now) that appears in the poem that I understand can be seamlessly connected, and it will be filled with all kinds of thinking and interpretation possibilities of life and death and time in an instant.
So, from this perspective, at the end of the film, a single woman who has just bid farewell to her biological father uses a robot to "personally" bury the lover she sought across the "longest journey of humanity to her time". At that time and afterwards, all the human reproduction and the existence of this movie stood on a new star who "now" only took off her oxygen mask and breathed freely, setting up a wasteland. The voice-over narrates that she may be about to usher in a long sleep, and the new home that will follow, and the new light of the new day. A single man who bid farewell to all his relatives, with a robot with a higher degree of honesty and lower humor, and with a lower honesty, higher humor and discretionary retention of information, he was approached closer to "them" The truth data, driving the spaceship, probably has safely escaped from the huge curved technological body named after the dying daughter and the whole clan, and went straight to the single woman "now". ——Cooper and Brand are looking for each other? what is this else? Did Cooper and Brand exchange or obscure genders? Why does this woman have such short hair and this man actually holds the forbidden fruit of the machine that carries "complete information"? Do Cooper and Brand, like the protagonists in "Cloud Atlas," use the status of "ancestors" to symbolize different clans and even the division of people in other categories? In "Interstellar", a Hollywood special effects epic stacked of symbolic clues, Nolan failed to give any answer even if he touched the ultimate, and only reluctantly resorted to the "pre-narrative" or the emptiness of infinite reincarnation. , It's a pity. ——Just like Joyce’s old prophecies and new fables in "Finnegan’s Night Watch", with circular words overlapping and surpassing the speed of the two-dimensional carrier carrying words, with a sound and light feast and beyond Carrying the durability of the four-dimensional cognition carrier...A lonely one is loved and a long stretch of it/a river flows through the church of Eve and Adam...
The church that Nolan built for human civilization, especially Hollywood civilization, is the tallest, most magnificent, and unique building on the planet with the American flag flying one after another in the film. It is built with US dollars, but because of incomplete honesty, or so-called sense of humor, or so-called discretionary silence, it does not say the belief that the United States has long been in crisis. This is the biggest contradiction of the film, and it is also the elephant that exists in each child's room when a large number of viewers discuss the film's vision through the knowledge of philosophy of science. ——Or use Nolan's high-tech "central idea" that is thrown out by Cooper through the "Daigoi initiation", the mystery in each child's room is full of various scientific terms and transcendental mysteries The possibilities "from the future" are endless. ——Or to use Murphy's "innocent" words, it is the ghost of "I am not afraid", it is "I said but people don't believe me", the so-called unspeakable, the entity actually refers to the meaning, " The "Father" of "Heaven"-Is it the "Father" pointing to God? Nolan seems to have no guts to make such a joke through a robot. Isn't he as brave as Harry Potter calling "Voldemort"? Fear is only out of awe, not simply because you can't write new stories. After all, there is nothing new under the sun. Cooper’s promise, "I will always love you, and I will come back", is not only the promise fulfilled by the Supreme Treasure in "Journey to the West" for the prayer of Fairy Zixia after he was sanctified, but also Ancient words recorded in the "Bible".
It is worth mentioning that Gao Xiaosong's translation of the Buddhist symbol "Nirvana" from Thomas' spiritual poems is actually closer to Nolan's perspective. "Nirvana" refers to the transcendence of life and death beyond the concept of reincarnation. It is a state of "no death, no life, no death, no life". It can at least echo Nolan's nihilistic black hole formed by the collapse of the humanistic supercube, or Nietzsche’s so-called “it should not be, it should not be”; Thomas’ Christian view of life and death, that is, the “resurrection from the dead” symbolized by “Lazarus” in the film points to “there is death and there is The state of life and death is not Nietzsche's so-called "Platonism of the masses", but only based on the transcendental ideals and hopes of personal salvation. Although Chinese absorbs a lot of Buddhist vocabulary, such as the word "Jiu" used in the title of this article, it rarely carries any Buddhist connotations in daily communication. I am afraid that "Nirvana" does not arouse too much impulse to make readers want to pass away. But these two religions are obviously different in nature, and the three views are different.
The above is the fourth section of this article.
My personal movie-watching experience made me realize that Nolan is a man of secular wisdom. Because even though audiences from all walks of life "catch bugs" to the film, Nolan can cleverly avoid all risks by using the classic paradox of "what I said is a lie" triggered by self-referentiality. He is also a simple and kind person. Although he holds a perspective full of contradictions and emptiness, he still naively believes in love and eternity, even if he cannot grasp the answer for sure. He is also a person who is qualified to be wild, which is equivalent to spending one billion yuan in the film, constantly boasting the extent of the film's "extended dimension" through the mouth of the character in the film, and more than once mentioned that "the mankind has gone the farthest in history." So much. Still a very serious and calm person, he can go to Iceland to set the scene for his exacting requirements for the actual details of the film, or honestly plant 500 acres of corn, and probably sell it to subsidize the budget after the filming. -But after all, it is just a person-just one of hundreds of millions of dazzling human beings, no different from "people". Without the dizzying hard work of hundreds of special effects personnel in the ending subtitles, and without the time and money contributed by tens of millions of viewers around the world from behind the scenes to the front, "Nolan" as a family name, may not be In the long river of the universe, it emits a more brilliant glimmer than "Thomas".
Thomas, Thomas, the original meaning of "twin", refers to one of the twelve disciples of Jesus, Thomas. Thomas reported doubts about the resurrection of Lazarus, and even reported the attitude of "unbelief" toward the resurrection of the Lord Jesus Christ. It's like Murphy's life and death, because he heard too many negative voices, he affirmed that he refused to believe in the return of his father, until suddenly saw the second hand is like a heartbeat with fresh assurance. Dylan, Dylan, points to the sea and waves, literally can be understood as "big waves", "violent waves".
Although Dylan Thomas’s poem is full of sunrises and sunsets, it does not "extend" at all, and does not want to go to any aliens at all; it is not the "death" that Nolan criticized for no reason in the film. The idea of "being on the earth"; instead, it shows a completely different path-going deep into people's hearts, "birth" and "body" and death. Christopher Nolan, the ethnicity of the "driving warrior", the "Christian Messenger", starting from the black and white "Insect", tried linear, non-linear, circular, spiral, various sex, various forms of film narrative, and then used The top colorful special effects control the Kagan Tuya of the giant kingdom. Perhaps the next step is to break through, and we should and can only turn to start completely inward again and challenge ourselves-not Batman or humans-to the original light and darkness in the deepest part of the soul.
Don't enter the night with gentleness,
Old age should burn and roar in the sun and evening;
rage, rage against the death of light.
Confucian scholars finally know that darkness is correct,
because their words are not lightning-fast, so Confucian scholars
should not enter the night with gentleness and elegance.
The good ones, howl, say goodbye to the last waves,
their slight goodness has not dazzled in the blue bay, so they are
angry and angry against the death of light.
The savage, praised and praised day by day, learned, and
regretted the lateness, so Dong Xi drove the road to worry,
don't be gentle and elegant into the good night.
Shen Su, who is dying and dazzling,
feels that blind eyes can dance like a shooting star,
furious, furious against the death of light.
Now you, my father, in the high world of sorrow,
curse and bless me with your tears, and I pray for blessings.
Don't enter the good night with gentleness.
Rage, rage against the death of light.
The above is the fifth section of this article.
Who created the interstellar crossing? When people chanted "Nolan" or even worshipped, "Christopher" became a blank and absent for him.
Christopher Nolan and a top international literary and artistic operation group have successfully completed the "mission" given to them by Hollywood, just like the characters in the film, and created the imaginative "Interstellar", but they did not create an impressive The infinitely fascinating "interstellar crossing"-Christopher is just a messenger trying to express "interstellar crossing". After all, he cannot cross the barriers of time and space, technology, language, etc., and guide you through the interstellar hand in hand. Just as Anne Hathaway’s very superb acting monologue in the film said, she played Brand who smiled and convinced herself with tears and strengthened her confidence: Although love leads her to roam the universe, but, " 'Love' is not something we invented." (Love is not something we invented.)
The "name" of "interstellar crossing" is a subtle signifier in the vast cognition of mankind. This expression may indeed be a human invention.
Its "reality", along with all human cognitions and expressions, points to the undisclosed five percent in the film. It is a complete foundation for the possibility of interstellar inter-psychic communication. It is included in the "Guide to the Hitchhiker in the Galaxy". The holographic mystery of life in the universe represented by "Forty-two" has burst. It is the reason why the woman named "Trinitarian" in "The Matrix" dedicated her life to the man named "New One". The Ο symbol" presents asymptotic infinity, which is a burst of light from the "Fifth Element" in "The Fifth Element"! It must eventually point to the one who created interstellar crossing in the true sense...
(Journal of Sanlian Life Weekly, Issue 49, December 8, 2014, see the publication has been deleted. I give 5 stars, a full score of 100.)
[ Note 1] http://www.hollywoodreporter.com/news/interstellar-penguins-madagascar-make-final-742840
[Note 2] http://www.chinadaily.com.cn/culture/2014-11/17/ content_18927880.htm
[Note 3] http://www.rollingstone.com/movies/news/christopher-nolan-dark-knight-rises-isn-t-political-20120720
[Note 4] http://www.hollywoodreporter. com/news/colorado-shooting-dark-knight-rises-christopher-nolan-352628
[Note 5]http://www.usatoday.com/story/life/movies/2014/10/27/interstellar-review/18018445/
[Note 6] http://weibo.com/p/2304186b736b5b0102v5sl
[Note 7] http:/ /www.poets.org/poetsorg/poem/do-not-go-gentle-good-night
[Note 8] http://www.nytimes.com/2014/10/26/arts/mcconaughey-hathaway-and- chastain-on-interstellar.html
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