Documentary, as a new form different from film and literature, has a high degree of objectivity and authenticity. The recorded facts should be the only thing that needs attention, and the producer's subjective intervention and editing guidance should be restrained as much as possible. However, as a film poet who has always been committed to exploring the possibilities of images, Orson Welles has never been bound by genre definitions, so he shot a very self-referential and alienating work - "Fake" . We can't simply define "Fake" as a feature film or a documentary, because it is a "real illusion" between fiction and reality. Wells completely subverts the concept of true and false by exploring the boundary between art and fake. In this way, the thinking about truth, truth, truth and even the ultimate problem of human beings is sent out, and it leads to a positive and affirmative direction.
"Fake" is undoubtedly a film with prose qualities. The film revolves around the dialogue between two "liars" - painter Emile and writer Owen. Wells is a strong voice in the film, his narration, dialogue, performance throughout the film. He cleverly used the Kurishov effect, intercepted the dialogue between Emile and Owen in the original documentary, used quick editing, and used the subtle movements and expressions of the two to conduct virtual interactions, and reorganized them to produce new meanings. In addition, the pictures of the editor at work are added, and the full-screen images and the picture-in-picture images are alternated alternately, showing the behind-the-scenes production process without hesitation, so as to distance the audience from the dependence on the authenticity of the images. He said frankly at the beginning of the film, "This is a film about tricks and deceit, as well as lies." And he went on to say, "But definitely not this time. I promise that for the next hour, everything you hear from me is true, based on solid truth." This seems to be made by Wells Yet another ruse, does it necessarily lead to correspondingly true conclusions based on perfectly sound facts?
Wells went to great lengths to edit, and his seemingly documentary form became a poetic means of expression. In one of the last few scenes of the film, Picasso looks at the beautiful Aoya walking down the street. Everything about this young woman is real. Was Picasso really looking at this beautiful woman? Yes, and no, because Wells has skillfully photographed Picasso's pictures, in which the great painter's eyes are very sharp, sometimes looking to the left, sometimes to the right, sometimes facing the camera, sometimes in the A shutter was placed in front of Picasso, making him peek at the beautiful Aoya like a pervert. This scene shows the extraordinary ability of film editing to be a device for mysteries - and that's the whole theme of the film, its revealing tone and cynical vigour that make Welles's The style is a far cry from Shakespeare - Wells has since truly broken away from the drama and become a pure poet.
The material about the two protagonists is directly quoted from the existing material of the BBC documentary. Wells tries to establish a dialogue with the audience. He does not act as the master of the truth, but throws one question after another. , boldly ask what is "true"? Who has the right to claim that he is "true"?
This goes back to Nietzsche's thought. From my previous in-depth understanding of Wells, it seems that there has always been an inseparable connection with the values advocated by Nietzsche. In this sense, "Forgery" can be regarded as "Thus Spoke Zarathustra" by Orson Welles. Nietzsche's final destination is "Superman", and in Wells' case, it is the artist or art itself. Nietzsche reprimanded the "counterfeiter" who claimed that he was "true". You have not really understood the flying of life, you can't get rid of the inherent reliance on morality in your mind, and you can judge "life" with a noble attitude. To affirm the flying of life, we need the higher realm of "Superman", he is a dancer, a joker, and a creator. Wells more sharply eliminated all elements of "truth" and regarded counterfeiters as a standard. In Picasso's words, "art is a lie that makes people realize the truth", which completely subverted the concept of true and false, but he did not affirm it." The value of "false", because although counterfeiters seem to be the opposite of "true", they have not really reached the realm of creation. Therefore, at the end of the level of creation, it must be the artist who takes over the baton, and it is he who really elevates the fake and fake to the level of creation. "The so-called artist is the creator of truth. Because truth is not something that should be reached, discovered, or recast, but must be created. There is no truth outside of the creation of 'new things'." This again It confirms the common ground with Nietzsche - "A person who can't even tell lies will not know what truth is."
Therefore, Wells completed a miraculous magic show with the help of the camera, revealing the identity of the real creator behind the artist, constantly moving from one form to a new form, and truly practicing and affirming Nietzsche's idea of the flying of life. Take a giant step towards "Superman".
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