Text / Gucheng "The Voyage of Selena and Julie", unsurprisingly, took me into the video journey of Miaoman, the wonderful hallucinatory impression could not disappear from the brain for a long time, and the color of light and shadow seemed to settle in the memory. In the texture, it becomes a frightening and intoxicating hallucination. A movie that tempts people to stay up all night has already succeeded. I call it "wonderful", which originates from a wonderful viewing experience, conjecture, trembling, anxiety, and madness. These complex feelings will emerge alternately during the entire viewing process, sometimes in pairs. Come, sometimes looming like hide-and-seek with you, that kind of pleasure, that kind of taste, I have never experienced, this is the magic of Rivett. In my opinion, the surreal intentions in the film stitch up the omissions in the suspense. The seemingly limitless haunted house seems to have a mysterious connection with reality. It is a combination of Hitchcock and Renoir's works. story The film is adapted from Henry James' "Affair of Old Clothes", which borrows the costumes of James's haunted house story and completes the later chapters of "Slug". The first half of the film travels through the streets of Paris, telling the story of two girls chasing and approaching each other. In the second half, they alternately come to a "haunted" house, experiencing a wonderful coincidence that is like a dream but not a dream. The little girl in the haunted house is rescued in an illusory way. At the beginning of the chase film, Selena and Jolie have an interesting encounter. The rough and unadorned shooting techniques and the street chasing scenes reminded me of "Exhausted", where each long shot outlines a different Parisian street scene from Godard. The film inherits the shooting style of the director's debut "Paris Belongs to Us", and uses a stubborn deep focus lens to give the simple chase process a complex context. The audience not only feels the Paris street scene passing by in the chase, but also gradually understands the two girls in the scene. The ambiguous emotional pulse in each other's temptation. What's more interesting is that this seemingly unremarkable chase satisfies the audience's voyeuristic psychology, and makes this voyeurism a view from the beginning to the end of the film. , peeping in a heartbeat. The chase itself is a process. In this process, the audience is presented with the concretization of the characters, the red-haired Julie is the librarian, the strangely dressed Selina is the magic performer; the second is the ambiguity of the relationship between the characters , at first Selina's pursuit of Julie was resistant and panicked, but soon this antipathy disappeared, replaced by an attraction, and the pursuers also began to enjoy this kind of lace-like attraction , she even took the initiative to find a place where Selina worked and lived to continue this relationship and bond. In fact, in the process of portraying the images of the two characters, the film reinforces the common character traits of the two—inferiority. Julie shows a strong possessiveness and Selina shows a strong vanity. In the film, Jolie rips off the pages of the book with Selina's hand, and she has to taste Selina's breakfast first, while Selena brags about Jolie's identity in front of colleagues and brags about herself in the dressing room The tour is about to take place, and a few details outline Jolie's neurotic possessiveness and Selena's sensitive vanity. These two psychological states come from the inner world of inferiority shared by the two, which also makes an appropriate psychological foreshadowing for the two to explore the "haunted house" in the second half of the film. The former meets the needs of possessiveness, and the latter meets the requirements of vanity. . The haunted house should be said that the "haunted house" in the film is not a haunted house in the strict sense. The "ghost" actually has the continuation of the director's previous works "Out1" and "Out: Ghosts". Views, a kind of surrealism. These three works all use the illusory concept of "Ghost" to construct a dream effect that is both real and illusory. The black and white photos of the actors inserted in "Out1" and "Out: Ghost", the haunted house that flashes from time to time in this film. The scenes are all through the defamiliarization of the main line narration to achieve the effect of blurring the boundary between reality and fantasy. The story in the haunted house is not complicated. The man of the haunted house promised before his wife's death that as long as his seriously ill daughter is still alive, he will not remarry. Therefore, the two women in the haunted house made a deliberate design to marry the man. Harm to seriously ill girls. And Julie and Selena entered the haunted house and became the nurses who protected the girl. Whenever Julie and Selina come out of the haunted house, their memories of the haunted house are stored in a magical candy that can only be retrieved by tasting this candy. But magic candies are fragile, and memories are no longer coherent and orderly, but fragmented, disordered, and even incomplete. Seeing this, we know that the director's handling of memory is postmodern and deconstructed. The memory is turned into a disordered arrangement of fragments, thereby creating an absurd and mysterious atmosphere, and then through the reorganization and rearrangement of the fragments, to find a path leading to the real memory, until the truth is revealed. It should be said that this way of telling through layers of fog and recreating the complete context of memory is the essence of the second half of the film. This technique of disrupting the memory sequence was inherited throughout "Memento" and is still talked about by countless fans today. At the end of the film, after the two obtained complete memories, they returned to the haunted house, rescued the male owner's daughter without any risk, and successfully brought her back to reality. When they were rowing and frolic in the middle of the lake, the three people in the haunted house suddenly appeared, the boundary between fantasy and reality suddenly blurred, and an inexplicable fear emerged spontaneously. The mystical direction at the end of the film is quite suffocating, and I can't help but think that there is the same connection in "Hiroshima Love", between reality and fantasy, there is a knot that we can never reach. Marriage, deliberately designed to harm the seriously ill girl. And Julie and Selena entered the haunted house and became the nurses who protected the girl. Whenever Julie and Selina come out of the haunted house, their memories of the haunted house are stored in a magical candy that can only be retrieved by tasting this candy. But magic candies are fragile, and memories are no longer coherent and orderly, but fragmented, disordered, and even incomplete. Seeing this, we know that the director's handling of memory is postmodern and deconstructed. The memory is turned into a disordered arrangement of fragments, thereby creating an absurd and mysterious atmosphere, and then through the reorganization and rearrangement of the fragments, to find a path leading to the real memory, until the truth is revealed. It should be said that this way of telling through layers of fog and recreating the complete context of memory is the essence of the second half of the film. This technique of disrupting the memory sequence was inherited throughout "Memento" and is still talked about by countless fans today. At the end of the film, after the two obtained complete memories, they returned to the haunted house, rescued the male owner's daughter without any risk, and successfully brought her back to reality. When they were rowing and frolic in the middle of the lake, the three people in the haunted house suddenly appeared, the boundary between fantasy and reality suddenly blurred, and an inexplicable fear emerged spontaneously. The mystical direction at the end of the film is quite suffocating, and I can't help but think that there is the same connection in "Hiroshima Love", between reality and fantasy, there is a knot that we can never reach. Marriage, deliberately designed to harm the seriously ill girl. And Julie and Selena entered the haunted house and became the nurses who protected the girl. Whenever Julie and Selina come out of the haunted house, their memories of the haunted house are stored in a magical candy that can only be retrieved by tasting this candy. But magic candies are fragile, and memories are no longer coherent and orderly, but fragmented, disordered, and even incomplete. Seeing this, we know that the director's handling of memory is postmodern and deconstructed. The memory is turned into a disordered arrangement of fragments, thereby creating an absurd and mysterious atmosphere, and then through the reorganization and rearrangement of the fragments, to find a path leading to the real memory, until the truth is revealed. It should be said that this way of telling through layers of fog and recreating the complete context of memory is the essence of the second half of the film. This technique of disrupting the memory sequence was inherited throughout "Memento" and is still talked about by countless fans today. At the end of the film, after the two obtained complete memories, they returned to the haunted house, rescued the male owner's daughter without any risk, and successfully brought her back to reality. When they were rowing and frolic in the middle of the lake, the three people in the haunted house suddenly appeared, the boundary between fantasy and reality suddenly blurred, and an inexplicable fear emerged spontaneously. The mystical direction at the end of the film is quite suffocating, and I can't help but think that there is the same connection in "Hiroshima Love", between reality and fantasy, there is a knot that we can never reach. While playing in the middle of the lake, the three people in the haunted house suddenly appeared, the boundary between fantasy and reality suddenly blurred, and an inexplicable fear emerged spontaneously. The mystical direction at the end of the film is quite suffocating, and I can't help but think that there is the same connection in "Hiroshima Love", between reality and fantasy, there is a knot that we can never reach. While playing in the middle of the lake, the three people in the haunted house suddenly appeared, the boundary between fantasy and reality suddenly blurred, and an inexplicable fear emerged spontaneously. The mystical direction at the end of the film is quite suffocating, and I can't help but think that there is the same connection in "Hiroshima Love", between reality and fantasy, there is a knot that we can never reach. symbol As a master work of postmodern surrealism, there are many metaphors and symbols in "Sai", too many to enumerate. The thoughts that Rivett wants to express are not focused. The seemingly scattered metaphors actually have an internal logic. This logic is the main proposition that runs through Rivett’s own works, and it is also important to understand the inherent philosophical direction of the film. in accordance with. Dolls Dolls are another important symbol of the film. Both Selina and Julie have a special fascination with dolls: Selina always carries a puppet doll in her package, while Julie has a hobby of collecting dolls, with a large box of dolls in her house. In the film, when Jolie was looking through Selina's luggage, she saw the puppet she liked and took it for herself, highlighting Jolie's strong fetish. Fetish means attachment to memory and personal experience The dolls are indelible marks of childhood memories and experiences. In the interview, Rivett said that at first the doll was designed into the film without any special meaning, but actress Juliette (who played Selina) felt that it has always been in her mind. Rivett said that the doll should have some special meaning. Meaning, but he did not explain that, in fact, this special meaning has a small tail in "Say", which provides a possibility to explain the unreal scenes in the film. There is a scene in the film where Julie waits for Selina outside the haunted house, and wanders to her grandma's house next door to the haunted house. So we hurriedly visited the grandmother we hadn’t seen for a long time. After they talked to each other and talked about Julie’s childhood playmates, we were surprised to find that the so-called haunted house in reality was actually a place that Julie was familiar with when she was young. The same scene actually existed twenty years ago (here is the highlight of the film). The dolls and the haunted house turned out to be lingering memories of Julie's childhood. Even today's objects are still the same in consciousness as they were twenty years ago. In fact, Rivett confuses reality and dream in a way that erases temporality, and Julie cannot tell whether the present or past tense is present in her mind at this moment. I inadvertently asked myself, could Selina be the daughter in the haunted house who was separated 20 years ago? From Selena's age and personality traits, to her homelessness (life experience), to her special obsession with that old haunted house photo (emotion), she shares this with the daughter in the haunted house It's a subtle pathway, and putting the two of them in the context of the whole film fits so well. I can't help but sigh at Rivett's uncanny workmanship. He ubiquitously reveals the difference between reality and dream, and he blurs the difference all the time. When we recognize it as reality, we suddenly discover that it is actually a dream. mirror image The reality depends entirely on the observer's perspective and the observer's inner state. The dolls interspersed in the film, although seemingly trivial, are like a mysterious existence in the dark, effectively conveying a context and atmosphere to the audience, thereby creating a fantasy that is like a dream but not a dream. , to lure out some of the initial illusions hidden in everyone's heart. Candy Let's look at the role of candy in the film, we will see that it has a perfect fit with the doll. Both Selena and Julie show a state of amnesia after leaving the haunted house, and can only recall what happened by eating a mysterious candy. Time no longer reads the index of memory, but candy instead. Candy acts like a bookmark, recalling fragments of memory from the brain, and the recalled memories of different flavors are also different. This also indirectly confirms why the story fragments that happened in those haunted houses at first were chaotic. Taste becomes a tool for identifying memory timing, just like when we smell a smell, we think of someone's voice and smile, and when we eat a smell, we think of a person's cooking skills or a scene in a certain place. The choice of candy as the source of taste is quite influenced by Freud (although Rivett does not admit it), because candy is a "magic medicine" in childhood, a candy is put in the mouth, no matter how much unpleasant and Pain immediately turns into a satisfied smile, which often represents the original desire in the memory card of the brain. Freud saw breast love as a sexual awakening, so candy can be seen as an awakening of desire. In order to obtain candy, the child makes a gesture, or acts like a spoiled child, or acts wild, just to obtain a kind of taste satisfaction. If understood in this direction, candy is equivalent to our adult desire, that is, desire becomes the index of our memory and dreams, what a profound sense of humanity! The episodes of the story that take place are chaotic in timing. Taste becomes a tool for identifying memory timing, just like when we smell a smell, we think of someone's voice and smile, and when we eat a smell, we think of a person's cooking skills or a scene in a certain place. The choice of candy as the source of taste is quite influenced by Freud (although Rivett does not admit it), because candy is a "magic medicine" in childhood, a candy is put in the mouth, no matter how much unpleasant and Pain immediately turns into a satisfied smile, which often represents the original desire in the memory card of the brain. Freud saw breast love as a sexual awakening, so candy can be seen as an awakening of desire. In order to obtain candy, the child makes a gesture, or acts like a spoiled child, or acts wild, just to obtain a kind of taste satisfaction. If understood in this direction, candy is equivalent to our adult desire, that is, desire becomes the index of our memory and dreams, what a profound sense of humanity! The episodes of the story that take place are chaotic in timing. Taste becomes a tool for identifying memory timing, just like when we smell a smell, we think of someone's voice and smile, and when we eat a smell, we think of a person's cooking skills or a scene in a certain place. The choice of candy as the source of taste is quite influenced by Freud (although Rivett does not admit it), because candy is a "magic medicine" in childhood, a candy is put in the mouth, no matter how much unpleasant and Pain immediately turns into a satisfied smile, which often represents the original desire in the memory card of the brain. Freud saw breast love as a sexual awakening, so candy can be seen as an awakening of desire. In order to obtain candy, the child makes a gesture, or acts like a spoiled child, or acts wild, just to obtain a kind of taste satisfaction. If understood in this direction, candy is equivalent to our adult desire, that is, desire becomes the index of our memory and dreams, what a profound sense of humanity! proposition Lacan's influence The propositions that Rivette discusses in his films are usually obscure, one of the first reasons is that his propositions are always based on some philosophical point of view, and Freud, Udal and Lacan all have an opinion on his. Thought had an important influence, especially Lacan. When Lacan explained the relationship between subject and object, he borrowed the way of "mirror image", that is, people first confirmed their existence in infancy by seeing the self-image in the mirror, and the self-image in the mirror was based on " The identity of the Other" appears. At the same time, no matter whether we identify or reject this "other", the relationship between ourselves and the outside world can be established for the first time, and we can truly distinguish ourselves from others. Therefore, the confirmation of the subject of the self is based on the establishment of a relationship, on the basis of the relationship with the other. Only when this relationship exists can the self exist. Therefore, we find that when Rivett describes the relationship between characters, the existence of one party often requires the identification of the other party to achieve, and this identification is often expressed through concepts such as possessiveness and jealousy. Possessiveness actually achieves the purpose of confirming self-existence by possessing the body or mind of one party, while jealousy is the inevitable result of unsatisfied possessiveness. Both the painter and the model are the epitome of this relationship. Obviously, the heterosexual relationship described by Rivette is extreme and philosophical. When the relationship between the subject and the other falls apart, the existence of the subject is meaningless. , is a kind of survival-style gambling after the complete denial of the self, which is a complete disregard for the value and meaning of self-existence. In "Say", Julie's possessiveness and Selina's vanity can both be explained as a desire of the subject acting on others. Possessiveness is to establish a master-servant relationship, while vanity is to establish a relationship chain superiority in. At the beginning and end of the film, one party is attracted by the behavior of the other party, and then follows and chases the relationship, thus confirming the existence and meaning of self; Julie stands on the stage to imitate Selina's grandstanding and Selina herself is skilled and mellow. The performance has become Julie's way of distinguishing the two and feeling her own existence. (We tend to pin our emotions on the success of others, and at the same time establish the meaning of our own existence.) In fact, "Say" and the three previous works "Out1" and "Out: Ghosts" are all about a kind of pull. Kang's philosophy. A point of view mentioned in these three works is that the establishment of the self is based on a dream, and the self is a work of perfection. The difference between this ideal and reality produces human desires. In other words, the establishment of the self is based on the desire for the other. In "Say", Rivett rescues Julie's childhood friend from the haunted house by means of illusory means, which is an expression of desire, and it is impossible to fill this reality and ideal without the help of ideas and magical magic. difference. Therefore, these three films are quite different from Rivett's earlier or later works in style. It can be said that "Say" is the least Rivette in Rivett's films. In the film with the eternal theme, Rivett made the roles of characters in the beginning and the end of each other, and the positions of the self and the other in the relationship chain were swapped. Here again, we can see Rivett’s personal understanding of postmodern deconstruction. When we place ourselves in an illusory central position, we are actually unconsciously placing others in a central position (establishing ourselves in the other person), placing ourselves in an illusory central position. nihilize. It is very appropriate to use this view to explain the elusiveness of human relationships (especially men and women in love). We see: in "Don't Touch My Axe", from the original marquis's infatuation with the countess to the countess's bitter love for the marquis; in "The Story of Mary and Julian", the chapter "Julian and Mary" tells the story of Julian For the active sexual life, and in the chapter of "Mary and Julian", Mary becomes the leader of the two... The relationship between the pursuer and the pursued is frequently exchanged, and the center of power changes. It is a constant emotional destination, and pays more attention to a hidden but perceptible change. In fact, throughout Rivette's directorial works, the intricate relationship between people has always been his eternal topic. From the original "Drunken Love" (L' Amour Fou) to the well-known "Unruly Beauty" to the recent "36 Scenes of the Holy Wolf Peak", without exception, describe the turbulent undercurrent conflict between the descendants and characters, and often the emotional confrontation will not be directly compiled in the In verbal dialogue, it exists in each other's eye contact, body shape and position. Rivett said that he wanted to break away from the painful emotional confrontation in "Drunken Love", but he still couldn't avoid his discussion of the relationship between the characters. The scene of Selina and Julie stalking and chasing, in essence, marks the emotional distance between the two people from far to near, and uses a kind of spatial distance to represent a kind of inner distance. In fact, whether it is between the opposite sex or between the same sex, there is such a distance. Often the character's sensitive touch to the distance of this layer of film determines the character's behavior and even the direction of fate. But the distance between people's hearts is immeasurable. Its fragility and uncontrollability can fall apart with one abruptness and one sensibility. "The Unruly Beauty", "The Story of Mary and Julian" and "Don't Touch My Axe" are all in This kind of distance between people's hearts is explored on their respective levels. In Rivette's video world, the inner distance between the opposite sex is often more elusive and cruel, while the distance between the same sex is much easier and simpler, and the lines are much clearer. The relationship between Julie and Selena in "Say" is a contrasting reflection, while in "Northbridge", the relationship between Mary and Baptiste is more of a confrontation conflict, but in the final analysis, they are more or less the same. There is at least a mirror-image relationship. Even though the characters and behaviors of the women in the two films are quite different, this "comparison" and "confrontation" are within a communicable range. In this film, chasing is the way to explain the distance between Selena and Jolie in this film. It clearly and intuitively expresses the ambiguity in the same-sex relationship, and also excludes the possibility that the relationship between each other will go into chaos. What it expresses is a process of gradually narrowing inner distance. Whether in space or emotional, Julie and Selina have gone from being strangers to "sleeping in the same bed", from strange alienation to spiritual mutual life. heralds a change in this distance. Fou) to the well-known "Uninhibited Beauty" to the recent "36 Scenes of the Holy Wolf Peak", without exception, describes the turbulent undercurrent conflict between the descendants and the characters, and often the emotional confrontation is not directly compiled in words In the dialogue, it exists in each other's eye contact, body shape and position. Rivett said that he wanted to break away from the painful emotional confrontation in "Drunken Love", but he still couldn't avoid his discussion of the relationship between the characters. The scene of Selina and Julie stalking and chasing, in essence, marks the emotional distance between the two people from far to near, and uses a kind of spatial distance to represent a kind of inner distance. In fact, whether it is between the opposite sex or between the same sex, there is such a distance. Often the character's sensitive touch to the distance of this layer of film determines the character's behavior and even the direction of fate. But the distance between people's hearts is immeasurable. Its fragility and uncontrollability can fall apart with one abruptness and one sensibility. "The Unruly Beauty", "The Story of Mary and Julian" and "Don't Touch My Axe" are all in This kind of distance between people's hearts is explored on their respective levels. In Rivette's video world, the inner distance between the opposite sex is often more elusive and cruel, while the distance between the same sex is much easier and simpler, and the lines are much clearer. The relationship between Julie and Selena in "Say" is a contrasting reflection, while in "Northbridge", the relationship between Mary and Baptiste is more of a confrontation conflict, but in the final analysis, they are more or less the same. There is at least a mirror-image relationship. Even though the characters and behaviors of the women in the two films are quite different, this "comparison" and "confrontation" are within a communicable range. In this film, chasing is the way to explain the distance between Selena and Jolie in this film. It clearly and intuitively expresses the ambiguity in the same-sex relationship, and also excludes the possibility that the relationship between each other will go into chaos. What it expresses is a process of gradually narrowing inner distance. Whether in space or emotional, Julie and Selina have gone from being strangers to "sleeping in the same bed", from strange alienation to spiritual mutual life. heralds a change in this distance. Fou) to the well-known "Uninhibited Beauty" to the recent "36 Scenes of the Holy Wolf Peak", without exception, describes the turbulent undercurrent conflict between the descendants and the characters, and often the emotional confrontation is not directly compiled in words In the dialogue, it exists in each other's eye contact, body shape and position. Rivett said that he wanted to break away from the painful emotional confrontation in "Drunken Love", but he still couldn't avoid his discussion of the relationship between the characters. The scene of Selina and Julie stalking and chasing, in essence, marks the emotional distance between the two people from far to near, and uses a kind of spatial distance to represent a kind of inner distance. In fact, whether it is between the opposite sex or between the same sex, there is such a distance. Often the character's sensitive touch to the distance of this layer of film determines the character's behavior and even the direction of fate. But the distance between people's hearts is immeasurable. Its fragility and uncontrollability can fall apart with one abruptness and one sensibility. "The Unruly Beauty", "The Story of Mary and Julian" and "Don't Touch My Axe" are all in This kind of distance between people's hearts is explored on their respective levels. In Rivette's video world, the inner distance between the opposite sex is often more elusive and cruel, while the distance between the same sex is much easier and simpler, and the lines are much clearer. The relationship between Julie and Selena in "Say" is a contrasting reflection, while in "Northbridge", the relationship between Mary and Baptiste is more of a confrontation conflict, but in the final analysis, they are more or less the same. There is at least a mirror-image relationship. Even though the characters and behaviors of the women in the two films are quite different, this "comparison" and "confrontation" are within a communicable range. In this film, the chase It is the way to explain the distance between Selina and Jolie in this film. It clearly and intuitively expresses the ambiguity existing in the same-sex relationship, and it also excludes the possibility that the relationship between each other will go into chaos. What it expresses is a process of gradually narrowing inner distance. Whether in space or emotional, Julie and Selina have gone from being strangers to "sleeping in the same bed", from strange alienation to spiritual mutual life. heralds a change in this distance. film style Jonathan once said that every Rivett film has the side of Eisenstein, Lange, and Hitchcock, emphasizing a sense of design, a conception and layout of the plot, and the director's domination and control of the film. Power; also has the side of Renoir, Hawks, and Rossellini. Following the law of development of things, giving things space for their own expression, the director becomes the viewer rather than the controller. Renoir's mantle Rivette was Renoir's assistant director at first. It should be said that the proposition about memory and time was subtly influenced by Renoir. In the film "Stuff", the previous chase scene reminds us of "Rules of the Game" easily, and the scene of the haunted house reminds me of the hotel in "Last Year in Mariambard", huge, luxurious, bizarre and cold. Inside the house, the unexplained male host is covered with Baroque carved wood panels, embossed flower decorations and copper-frame mirrors, and a labyrinth-like corridor connects the stairs and the living room... In "Last Year in Mariambard", a film that is isomorphic with the imagination, there are all kinds of disordered fragments of the imagination. The love and murder of the characters only happen on the spiritual level, only "existing in a fleeting moment. In the time of dreams or memories, the exact time cannot be determined.” This technique of completely erasing the boundaries between inner reality and outer reality is exactly what the film “Say” stole from Renoir. In Rivette's early films, he explored a unique expressive technique (fantasy), combining unrelated visual elements to produce narratives with strong emotional power and innovative editing techniques, digging imagery on the plane of light and shadow. The hidden mysteries are very consistent with Renoir's image style, and the intimate personal experience often reflects a slightly mysterious hallucination. The memories of the haunted house in "Say" not only reflect the inner emotions of the characters, but also explore the inner relationship between memory and reality, and the complexity of the relationship between time and space, which is similar to Renoir's "Muriel" ” is very similar. In "The Story of Four Women", Lucia found the key with a spell. In "To Know", Anna found the stolen ring by feeling, and fell in love with the human and the ghost in "The Story of Mary and Julian". Both reflect a mystical exploration that borrows fantasy to operate reality, and similar scenarios can be seen in Renoir's "Hiroshima Love" and "Destiny". Rivett's "Women" Several pioneers of the New Wave were extremely fond of Hollywood films of the 1950s and 1960s, and they had a general preference for Hitchcock and Hawkes, even writing in "Cinebook" How to Be a Hitchcock-Hawks Director? " and other articles. Some people have analyzed why the film critics of these manuals hold Hitchcock so much, maybe they are attracted by the blond actresses in Hitchcock's films. Ingrid Bergman, Joan Fontaine, and Grace Kelly have the nobility that makes these French literary youth obsessed (Hawks' Mary Lynn Monroe). While Rivett's casting is no longer limited to exotic blondes, he is interested in noble and mysterious women. Blue Ogier, who played Selina in "Say", can be said to be the queen of Rivett's early works. Her "Drunken Love" is impressive, and later appeared in "Out1", "Out: Ghosts" " and "Say" continued the terrifying and neurotic performance, and in "A Tale of Four Women", he co-starred with the later Cannes actress Irina Jacob, who later won "Twin Flowers" for the latter. And the role of "Blue" plays a vital role. After that, Rivette used Jane Birkin and Emmanuelle Bea, two actresses of different styles. Bea was famous in Cannes for her performance in "Beautiful Beauty" after "The Set", and in 2001's "Mary and Julian's Story" also continued her sexy goddess image. And Jane Birkin has repeatedly appeared in Rivett's films. The roles of his wife in "Love on Earth", "The Routine" and "Beautiful Beauty" are all subtle and powerful. She and Sandrina Bernell ( "Joan of Arc" and "Secret Conspiracy") both won Rivette's favor with their intellectual and independent temperament. Rivette's recent use of Jeanne Balibar ("To Know" and "Don't Touch My Axe") is known for her dignified elegance. It is not difficult to find that the female images in Rivette's images are not typical beauties. Unlike Truffaut, Louis Mahler, etc., he prefers those women with unique temperament and experience in dramatic performances, that is, beauties A sexy female star like Ah still attracts the audience with her melancholy and slightly frightened temperament. From "Drunken Love" to "Stopped", to "The Story of Four Women" and "Going to Know", the perspective of Rivett's films has not changed, that is, women of all kinds who are independent and individual. In fact, most of the New Wave directors’ fascination with the female perspective follows the symbolic order of men’s hearts, that is, women are often in the position of objects or absences, they are the recipients of male desires, and in essence The female body provides the object of lust for the male audience. But Rivett’s gaze on women is de-erotic, and in his work, men are often absent (Say and Northbridge) or unstable (Beauty and Mary and Julian’s Tale). ”), once a lustful gaze is formed, women stand up to break it. The tension and relaxation of Bea's character in "The Uninhibited Beauty" reflects an inner experience of resistance and obedience. What she pursues is respect, recognition and love on the basis of equality, rather than pure sexual attraction; "Say" directly leaves men absent and examines women from a feminist perspective. When we observe the temperaments of Emmanuel Bea and Blue Ogier, we can see this tendency to de-sex, which is fundamentally different from the women in Hitchcock's images. Film language Rivette, a French New Wave standard-bearer, wrote for Cahiers du cinéma for a long period of time, until 1969, before taking up filmmaking. During this period, he read countless films and began to pay attention to issues such as the relationship between film language and text language. Even in his first few directorial works, this experimental tendency towards cinematic language has not been interrupted. In his view, the reading of language is itself an experiential experience (as is the language of film), and to a certain extent, this experientiality enables thoughts and understandings to be conveyed to the reader on the spot. This contextual reading, which emphasizes language, is quite speculative (Heideggerian). Rivett's film language is often criticized as "verbose" and "procrastination". In fact, the most fundamental reason lies in his understanding of film language. In fact, by comparing the two versions of "The Uninhibited Beauty", we will clearly find the unique charm of Rivett's film language. There is a feeling that is not found in reading other director's works. It is a kind of suspension in the atmosphere of the scene. The germination, growth and deepening of ideas are the living artistic experience. The tireless attention to the details of the painting in "Brunette Beauty", and even the sound of the brush rubbing the paper, seems to have become an indispensable experience for watching movies, which actually contains a kind of gradual narrative effect. I think the seemingly protracted chase scene in the first half of "Say" is a kind of exploration in the early formation of Rivett's film language. Like poetic tunes, Rivett's film language has a lot of repetition, a sense of exploring the original composition of things, and it expresses a tense and full flow of life experience. The memory fragments about the haunted house in "Say" appear again and again, and with the alternate memories of Selina and Julie, the recurring memory fragments gradually become self-reliant. Ordered, the inner logic of exploring the true nature of things does not need to be elaborated, and it is already presented to the audience. Drama and improv The avant-garde of Rivett's film language also includes the fact that his works are covered with a layer of theatrical form. Each chapter of the play has its conflicts and its focuses, its breath ebbs and flows with these conflicts, and there is a tension between tension and relaxation. This tension jumps between chapters, progressive or scattered, forming the unique theater aura of drama. Both "Mary and Julian's Tale" and "Don't Touch My Axe" set dramatic conflict in chapters, using the inherent tension of each chapter's conflict to drive the film's progress. Of course, the process of drama creation must contain a kind of improvisation, which attaches great importance to the personal experience in a situation. We have seen that the protagonists of some of Rivett's films are theatrical actors ("To Know" and "The Tale of Four Women"), he uses the actors' improvisation to expand the connotation of his works, and the actors use the inherent tension of the drama to also Extend your expressive space. Despite Rivett's strong control over his images, we still see that his shots and techniques are more casual and lifelike, sometimes not strictly following a pre-set framework. For example, in the film, after Selena and Julie went to the library to steal books, they chose to use roller skating to escape at night, which is a spontaneous reaction in the creative process. All have the presupposition of uncanny workmanship. Rivett's style, described by many as a "fictional house", is all derived from the film "Say", which shows that "Say" has an extremely important influence on the formation of Rivett's future movie style. His narrative development ("Beautiful Beauty") coupled with the improvised movement of the camera in space ("North Bridge") makes him unique among New Wave masters. Today, Rivett still uses his own stubbornness and stubbornness to explore other possibilities expressed in film language, but he is no longer entangled in obscure themes, and has converged the avant-garde image style and grand philosophical propositions into his works. Presenting a more approachable image form. 09/11/28 14:20 "Watching Movies"
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