If I were to find a point on this circle and start walking around, I might choose the scene of IAN WALKS. Although I exist at every point on the circle at the same time, every point on the circle is me, all known, all unknown, all fragments of my experience being formed.
Costi said it's not much like a science fiction movie, it's mainly about communication. Transformers was not a science fiction movie just now, not even the Star Wars series, it was a fantasy.
Non-linear time is very interesting. The last one I saw seriously involved the concept of interstellar crossing, which showed higher dimensions by folding paper cubes. The introduction of a lot of linguistic theories and knowledge is also very fascinating (this perspective is very new) and makes the story structure more reasonable. I think this is a very orthodox science fiction. Orthodox science fiction generally has connotations. The connotation of this book is about trust, understanding, and an open mind.
Although following the perspective of the heroine to experience this story, at first glance, it seems that the rhythm is not fast, but it is this rhythm that can more easily lead the audience into the steps and process of gradual communication and understanding. One detail is that the guards rebelled and planted bombs. From their motives to actions, they tried to compress their pen and ink as much as possible, just following the perspective of the heroine, which brings a stronger sense of enthusiasm. With such a sense of immersion, the interpretation of nonlinear time does not require lines at all, just follow the heroine's experience directly. Compared with verbal explanation, this presentation is straightforward and simple, lowering the threshold of science fiction viewing.
There are a lot of interesting things to say. The process by which humans learn and analyze the language of the heptapod is probably a process of training the brain, and the result is that they can slightly feel and understand 3.5 dimensions. To use an analogy, we are three-dimensional creatures. If we want to communicate with the two-dimensional creatures on the floor on which we step, how to convey the concept of a cube? They should be more receptive to the concept of a square, which can be used as a projection of a cube on the plane when a certain surface of the cube is parallel to the plane where they are located. Rotate the cube to flatten the scene we see. Just like the basic sketch course, you can draw the cube you see on paper and add shadows. After fully conveying and explaining this image to two-dimensional creatures, they should be able to understand three-dimensional space.
Echoing this setting in the film is the text information of the three-dimensional combination given by the seven-legged monster before the explosion (one dimensionality reduction), and the text used for communication in the previous contact (single, no combination, flat. It is a second time) Dimensionality reduction); and when the heptapod's spacecraft left, it first tilted upwards, and then disappeared from one end. Regarding the second point, imagine that your foot is in contact with the plane of the floor, and then you lift your foot-the heel is lifted first, and the toe is lifted last. For the two-dimensional creature on the plane of the floor, your foot It is gradually disappearing from the heel to the toe, leaving only the footprints.
The film is really attentive in these details.
View more about Arrival reviews
