Modernity and Director's Will
The opening chapter is of course a summary of "comedy and proverbs" style points, showing the ability of bourgeois sentiments. In the dimension of Rohmer, this can probably already be called authorship, and there is no need to say more. The two sentences before and after are actually not juxtaposed in terms of cause and effect, but if there is no juxtaposition and causal connection, it cannot be intuitively justified, so it is actually not easy to see through the narrative trajectory of "The Full Moon Reflecting the Flowers" at a glance.
However, when exploring the symbol of the title and its specific meaning in the film, it is actually difficult to see the effective narrative meaning. It is assumed that individual words in it are screened, or even tried to interpret, the hypothetical meaning of "actually" here. It will unconsciously invade the narrative structure and tend to draw a one-to-one correspondence, or even a one-to-many correspondence, in the process of comparing and choosing between the whole and the part, words and sentences, and characters and relationships. Explicit interpretation of relationships will form the overall narrative structure of the film, which is generally one of the reasons why Hommer-style points roam inside and outside the text and are inextricably linked.
Thanks to Rohmer's consistent focus on the emotional world of the bourgeoisie in his film creation career, "The Full Moon Reflects the Flower City" presents the modern standards of modern youth, that is, many gender relations are summarized as {having the exchange of bodily fluids} } and {Platonic beauty} coexist, and in the film world, the boundaries between the two are relatively clear. In fact, this is also the premise of the most ideal urban white-collar emotional life, which is generally defined in the western world and the eastern world. Our heroine is undoubtedly such a character, and throughout the films of Rohmer, the narrative space is almost always established on the relationship between characters. According to this analysis of the explicit relationship between the dominant characters, we can initially draw the following conclusions:
Relationship 1. "Hostess-Boyfriend"
Relationship 2. "Female host - male best friend"
Relationship 3. "The Heroine - Dancing Lover"
In these three pairs of relationships, the coexistence of {having a body fluid exchange} and {Platonic beauty} should be only relationship 1, {Platonic beauty} and {attempting body fluid exchange} should be relationship 2, and a simple {body fluid exchange} relationship Should be relationship 3. Under these three pairs of relationships, the narrative presents a standard French-style "freedom, democracy, and fraternity" structure, that is, maintaining an appropriate distance with her boyfriend, after all, distance creates beauty; maintaining a close relationship with her boyfriend to "participate in and discuss politics", there are occasional frictions Feeling with sparks; burning passion with dance lovers, and then the helplessness of sages.
If we only use this structure to examine the whole story of the film so far, it is actually very easy to find that the story will present a predictable smoothness of life, which has no shooting value. , even to the conclusion that "this is just a boring emotional story" is understandable. And if the narrative is removed, if there are only empty concepts left in the story, it seems more suitable for "over-interpretation". And the emotional stories of men and women/men/women in emotional relationships are often reflected in the interpretation of "you guess, I guess, you guess I guess and you guess I guess you guess not guess". . From this perspective, the structure may not be that simple, or it may be full of dimensions. As mentioned above, the reflection and choice are the embodiment of this dimension. Taking this angle as an opportunity to re-examine the first three pairs of relationships, namely relationship 1, relationship 2, and relationship 3, as the outermost explicit story constitutes the surface, that is, the view we can see, in fact, we can find one of the A corresponding contrast relationship forms an additional layer of hidden underside of the structure. This underside is the knowledge that we can infer or guess based on the existing information. The structural images in between constitute the narrative structure, so that we can get a glimpse of Houmai The richness and mockery of an emotional story. It is not difficult to see that the Houmai-style system of reflecting life and choosing the topic can guide the audience to gradually reach the bottom surface of the image entity formed by the above two, that is, to know the surface and express the main idea.
Returning to the story, after our heroine insisted on how to better handle relationships and express her ideal vision, the movie entered the first key party scene. I must praise the heroine's acting skills. Her multi-layered performance of "poor people must be hateful" with her revealing thoughts, but also pear blossom-like grievances, will make the audience completely focus and empathize with her. Since there is empathy, it is very easy to ignore that two new ladies have been added here, the female friend of the heroine, and the roommate of the female friend of the heroine. Interpreting the relationship between these three and the heroine's boyfriend will become the arrival of knowledge. The key to the face, that is, a non-Roland Barthes puncture point.
Therefore, the former three characters are combined to form a pre-relational allegory, coupled with their mutual character relationship, the symbolic expression of the latter three becomes subtle, which can be simply summarized as:
Relationship 4. "Boyfriend - Roommate of the Female Friend's Female Friend"
Relationship 5. "Boyfriend-female friend of the heroine"
Relationship 6 "Female friend of the heroine - roommate of the female friend of the heroine"
Looking back at the plot facts at the end of the overall story, it can be seen that these three pairs of relationships cannot be specifically confirmed, but what can be guessed is that there should be only relationship 4 if there are two kinds of exchange of body fluids and those of Plato. It is relationship 5, and it should be relationship 6 that is purely "Platonic" friendship.
Among the six-person and six-pair relationships, the visible first three pairs, when we confirmed the fact, were not confirmed by us. That's it. Of course, omission.... is not an omission in the true sense, at most it should be regarded as a kind of "concise writing". The three pairs of relationships on the visible side can be seen as specific and subtle surface stories, and the direct manifestation of things is the cinematic nature ; The underlying story that can be felt relative to the fleeting thorns, and the idea formed by the indirect revelation of things is also literary. And this is the symbol of the real Rohmer film. First of all, it involves the real facts of the objective representation of the first three pairs of related characters that we can see as far as our eyes can see. Through association, we happen to discover that the last three pairs of related characters are hidden. The influence of the present, but real and unreal, so that the narrative space formed by the three pairs of characters corresponding to each other has the transcendental effect of "seeing only half, and knowing the other half". It can be assumed that the latter three As for the fact that the relationship happened, it is the mirror-like answer in the plot that we can see in the view. We might as well make a bold guess that the heroine still chooses to return to her boyfriend after being passionate about her lover. The fact that the roommate of the female protagonist's female friend's roommate has fallen in love with the female protagonist's roommate. The six pairs of relationships present a "mirror relationship" that mirrors each other. This relationship is connected by the inescapable difference between the visible and the perceptible, and is complementary to each other because of the vastly different similar imaginations. After returning to the "thorn point" that can be used as a whole film. ”, that is, a party scene that directly hits the overall narrative structure of the film, and you will find that in the film it is the “presence” of the actual characters to draw out the relationship of contrast, and the “presence” in the mental image is the feedback of the contrast relationship to the characters. , cinematography and literature complement each other, then look more closely at the plot turns that appear in the middle of the movie, the intertext between the first and last shots, and other various compositions, colors, set symmetry, and many other seemingly sloppy, but in fact exquisite arrangements, The visible and invisible subtlety of the structure of Rohmer’s narrative makes it self-evident that the visual aspect arrives at the familiar aspect, which embodies the ingenious fusion and complementarity of cinematography and literature, and can even be used in illogical symbolization. At one level, extending to the analogy of free indirect language in linguistics, the ironic motif of Rohmer's consistent sharpness and neatness that must remain in the image also jumps over the image, and even at some levels, his film language. The structure is also a form that can be mastered, learned and even inherited.
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