3D technology can be traced back to the beginning of the birth of the film. Since the 1930s, almost every ten years, it will always be popular for a while, and then it will die. No matter how the soul is revived, it is all with the help of the attraction of visual spectacles. Movies are mostly based on magic, thriller, science fiction, erotica, etc., which directly act on the senses with audio-visual stimulation. The once-popular "Avatar" also belongs to this category, bringing the audience a virtual but real sensory experience. I have seen a 4D science and education film once, although it really feels "immersive", but it is more like a scientific trick, one can't help but wonder whether the closer the film is to reality, the farther it will be from art.
"Pina" completely dispelled my doubts. I watched this movie first in 2D and then in 3D. The extra dimension is not only technical gimmicks and three-dimensional sense, but also a layer of "reality of the soul".
Originally, Wenders was planning to make a documentary about Pina Bausch, but Bausch died of cancer a few days before filming. The film changed from a "documentary" to a "memoir". In order to achieve a certain historical reality, documentaries often use interviews with the parties, visits to relics, and "replays" to trace people or things that no longer exist. "Pina" is also inseparable from these routines, relying on the traces of Pina in the world--dance and work film clips, interviews with her colleagues, and dancers reenacting her choreography--to assemble/evoke/ To shape this life that has gone away and has not left too many images and records, and the love and pain in her life. However, the combination of 3D photography and 2D historical images, as well as the additional setting of the theater space, all add and open up more temporal and spatial layers to the film; the meanings in narration, dance and historical images communicate with each other in a three-dimensional manner, which is obtained in the shaping of polygonal angles. A soulful truth, like a multi-angle cut irregular diamond finally catching the rays of the sun.
The film unfolds from the real space: city vista, with a giant poster of pina on the building in the lower right corner. This poster represents pina herself, but also her artistic career, so it is a meeting point that communicates all the actual or stage fragments of pina after the film.
1. The interviews with pina colleagues in the real space
are the basis of the real space, but all the interviews are done in the blue-gray background, in the medium and close-up half-length fixed shots, deliberately disconnected from the specific reality connection, and people's interviews are out of emotion and memory. , where reality also meets non-reality.
2. The first shot of the stage art space
film jumped over, and without warning, the performance on the stage began. The dancers reenacted the classics choreographed by Pina. Their body movements, expressions, the tension between the actors and between the actors and the stage setting included Pina's thoughts and emotions, as well as other people who knew Pina's understanding and recollection of her.
3. There are several stage performances in the stage and theater (art space and semi-real space)
, and the shadow on the back of the audience's head is in the foreground at the same time. This shows the advantages of 3D, which supports the theater space in a more three-dimensional manner, and has a certain distance from the stage. Remind the audience of their own viewing role--for most audiences who have never seen pina's performance and are unlikely to see it again, they can identify themselves with the audience in the movie and get to know them through "impossible" stage appreciation pina. This opens the gap between the screen frame and the cinema seats.
4. Reality - "Theatre -" Stage
"The Mueller Cafe" is one of my favorite episodes. In the garden, two of Pina's colleagues are facing the stage model of cafe muller, recalling the scene when they were creating. The camera penetrated from the stage model, received the actor's performance, and then cut to the archival footage of Pina's own performance of the dance drama. Creation records at the time, and then back to the present (filming tense) performance.
The time travel here and the juxtaposition of the 3D present tense with the 2D historical fragments of the past tense are full of vitality. In this comparison, pina's image has a historical texture generated in memory. On the one hand, he clearly understands that the person has left, and on the other hand, he feels the "resurrection" power of the image. If it is a pure 2D film, only the (wear and tear) film feeling of historical images can be used to express the time-space separation, but it is still flat. The 2D embedded in 3D reduces one dimension to express the disconnection from history and the historical reality only Leave traces untouchable.
From the reality of the garden, to the theater space of the stage model, to the dance performance, the last layer is juxtaposed with the archive images, resulting in fascinating past tense images, present images, and philosophical realities. Different time-space structures combination.
5. Location + Stage (Reality + Memory/Emotion)
The dance scene on location also opens up two realms of time and space. On the one hand, the film is shot on location in parks, cities, stations, etc. At the same time, the dancers dance in the location, turning the real space into a stage art space, which also shows that the soul of pina is scattered in every corner. There are three spaces of reality, dance and soul here.
6. Reality-theater-stage-pina soul-audience
The end of the movie is the most exciting. The actors danced in the exterior scene were received in the theater. There was no one in the auditorium. On the same empty stage, only a projection screen was hung. After pina made a few movements on the projection, she waved goodbye to the audience and disappeared from the projection. Then the projection screen was raised to reveal the back wall of the theater. This fragment has at least 5 spatial levels: the audience in the cinema, the real world including the theater on the screen, the theater, the stage plane, and the soul of pina. This is the way we go to pursue pina: through watching movies in the cinema, we can understand the world of pina, her theater, her stage, her soul that dances on the stage. The pina on the projection is still a 2D image, contrasting with the surrounding multi-level world, showing the "real" soul.
What this movie needs to reproduce is pina's soul. The dance segment expresses her soul experience - the struggle and agitation of the soul, her weakness is her strength, her loneliness, joy, sadness... From the tension between dance movements and dancers, the stage design , you can see the soul trapped in the body. The dance sequence selected in the film is the beginning of the dilemma and struggle of this soul. The further back you go, the more you release and become more free. In the middle part, there is a female dancer flying on a chair to express the ascension of the soul, just like the moment when pina died, the freedom of the soul. In the last few dances, a woman is tied by a rope and runs desperately forward, but only at a distance controlled by fate. Another woman was crawling on the ground, another woman kept covering her with dirt, and a woman in the distance came slowly with a tall tree on her back - summarizing the predicament, growth, and finality of a lifetime of souls. freedom of. In the last paragraph, the dancers dressed in colorful clothes, repeating the dance movements of "spring, summer, autumn and winter", walked leisurely in one direction on the top of the loess slope, wondering if it was the final bright place for their souls.
Because of the 3D technology, the dance jumping on the screen becomes the dance of the soul through the body, and the 2D image becomes the representation of the soul. In the blend of old and new technologies, the theme of the soul is fully expressed. This kind of soul is different from the soul in 2D ghost movies. If 2D is the flesh, the extra dimension is the air that God blew into the soil when he created man.
"Pina" completely broke my prejudice against 3D technology. Tools sometimes go one step ahead of expression. People have not yet realized how the extra dimension or two added by the film will change the world we see, feel and experience.
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