diorama film, beginning

Rusty 2022-01-28 08:32:39

After watching this film, I have more ideas about Andersson's diorama series of films. There are a lot of things to say, but they must be based on the evidence in the text - space, in order to expand.

The diorama film constructed by Anderson must firstly fall into the paradigm of site-seeing, topophilia, cine-city, e-motion, etc. that Bruno refers to, but not so much about real or extratextual locus. ), the "journey" of the people in the film is very inconspicuous, at best only "moving", and almost all of them are "moving" in the same painting.

The cinematic diorama and the space in it are not "established", that is, they are not built up one by one by means of the so-called set-up, front and back shots, etc., but are directly "given" in a complete form. kind of preexistent space. This being the case, reference lines to aid perspective must be arranged in every painting, even if it is not a true geometric form of walls, ponds and queues.

The space in a perspective painting is always a transparent/interpenetrating space: there are many roads leading out of the frame. The secondary characters can stand still, move, come and go, but the main characters tend to come and go, and the movement (and emotion, which is e-motion) of the latter is always sluggish, offset, reversed. Directional, destructive - they are "sticky" in the painting and try to reject.

Based on these basic spatial relationships (to be further refined), it may be possible to develop a concrete examination of the order of the life world, the historical-political-social context, and other metaphors; "s position. These of course require more careful reading.

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Extended Reading
  • Andreanne 2022-03-15 09:01:11

    #Venezia76 If Roy Andersson becomes a youtuber, I'll subscribe to help him increase his follower count, and never open it. The scene of watching his movie is more "Roy Andersson" than his movie, imagine: a big theater where the audience sits, a person is playing with his mobile phone all the way in the aisle, the person sitting on the right takes out his mobile phone from time to time to confirm the time, and some people nearby have fallen asleep , and occasionally people cheered and laughed, and Roy Andersson's works were displayed on the screen - all the time encouraging people to leave his films and go to the streets, to live, to laugh, to support themselves, to use the temperature of their own lives, not to eat "painted" The compositional light and brushstrokes stage a Reader’s Digest-grade (cold) joke” of tasteless scraps.

  • Marta 2022-01-28 08:32:39

    ……I can not. I wasn't interested in what she saw.