In the middle of watching "The Terrorizers", I vaguely sense the intense and breakthrough style of this seemingly slow literary work from the hidden plot. The neatly staggered urban style shows a special mixed atmosphere. However, in a special atmosphere like Taipei, there are different families and different people suppressed by it in different spaces. Before watching the movie, the teacher reminded me that this is a very exciting movie, and actually, it is.
Yang Dechang is a genius in the Taiwanese director industry. His "Terrorist" is his famous masterpiece. The usual style of Taiwanese movies. Therefore, some blind film critics say that Yang Dechang is influenced by Western films of European and American style, which is a kind of Westernized line. In Jameson's eyes or in essence, Yang Dechang did not mean this. He focused on capturing the special significance of the era in Taipei. In the indifferent third world city where modernity is pervasive and capital is impacted, there is a potential uneasy factor (point). These factors or people or things are all lurking in the daily life of urban residents. Yang Dechang captures these potential personnel affairs that are difficult to be noticed by ordinary people, and these personnel affairs are closely related to the personal life of Taipei citizens, the dynamics of the city and the society of the whole third world city.
The filming skills of "Terrorist" are also very attractive. Modernism is about structure and form. The spatial reflection (Spatial Reflection) is just one of the major technical techniques of this film. From the beginning of the urban streets, the scenery is completely silent, and a glimpse of typical modern buildings, from small to large, dimly shows the spatial outline and style of the entire city. The structure of the heroine Zhou Yufen's residence and the enclosed space where she writes her novel; the photo shoot of the youth flyover and the street corners where dogs bark often passing by; the close-up of the mixed-race girl's airtight room and the phone; the door of the apartment with chewing gum hidden in it ...these shots with spatial characteristics are like urban symbols with modernism and semiology, which are shaped into a hanging unease in the mind of the audience through the grasp of the visual field according to the depth sense. modern city city). A careful analysis of its structure reveals that the three parallel spaces of the three protagonists also reflect the anachronistic particularity of Taipei: the heroine Zhou Yufen is full of depression in the elegant writing room carefully laid out. She can't do genius-like creation. It seems that whether it is artistic creation or novel writing, that kind of authentic aura has nowhere to be found, and it seems to have stayed in the history of the period of classical romanticism. However, Zhou Yufen still insisted on writing in such an era full of mechanically copied images, especially in such a dislocated modern Taipei; the dark hut of a mixed-race woman was hermetically sealed by her mother, the only tool for modern communication is the telephone, when the camera lens From the layout of the room in the dark, projected onto the long telephone line, we vaguely feel what kind of uneasiness and mischief with unbearable consequences are hidden in this spatial structure belonging to a mixed-race woman; Darkrooms and wall-covered photos are the embodiment of post-modernism. The pictures on the wall are like fragments of dismantling the structure. What is behind the image, the image is just an image when it is shot, and what can it represent? No matter how you deconstruct it and analyze it, it is not the way to the origin. Even if it is torn to shreds, it will only coldly express this deconstructed nihility. The three representative spatial subjects are composed of ordinary citizens who play social roles. And among these masses, in the parallel space that we cannot see, what kind of pressure, what kind of outbreak, what kind of crime, blood, violence, indifference, etc.
"Terrorists", which sounds like they are far away from us, are actually very close. The film's allegory for Taipei lies in the constraints and consequences of its urban character. As said in the article Melodrama of the City: "This parallel between human society and technology depicts a general situation in a commercial society." Taipei is a new industrial zone developed by a developing country, and the living space of the masses seems to be structured as a whole limited. Influenced by capitalism and the impact of technological development on human society, the multi-layered cities are influenced by the modern and post-modern intertwined features. Yang Dechang brilliantly uses the lens to express the complex spatiality of the city and the truth of the hidden metaphors to the audience; starting from the niche and family who are not social celebrities, it reflects the complexity of social interpersonal relationships and the hidden non-minority of the niche. The dark power side of sex.
In a potential sense, "Terrorist" tells people living in today's modern living environment that in the twisted and complex urban space, everyone can be a potential terrorist. The image can be a shifted replica of the original life, edited and presented on the screen. In real life, what should we do when we live in the flood of modernity, but only by inviting ourselves to be the directors of our own life, using the technology era to reflex, so as to understand the world around us better and more clearly, can we find the only way out .
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