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This film is actually a film about a movie, of course, with the experience of a viewer, Cecilia, as the main point of view.
The 1930s and 1940s were the golden age for the development of Hollywood films. The reason for this film has been confirmed. People have nothing to do and can't find a job. In addition to all kinds of disappointments, they often spend time in the cinema to find solace, just like the heroine of this film. Cecilia, after brushing a rotten film called "Purple Rose of Cairo" more than ten times, turned from passers-by to brainless fans, and even moved the characters in the film to "play" to ask for a meeting
In the film, the virtual characters enter the reality, and the real characters break into the screen. This kind of dislocation of "playing into the play" is exactly the combination of the audience, the actors, and the three-way dilemma of the screen characters.
Audience Dilemma (1): Being defeated by reality and relying on daydreams to survive
One of the biggest functions of film is to meet the audience's psychological projection needs, which is a dream machine.
In reality, the hostess is just a humble waitress. Her husband has nothing to do and is often domestic violence. The hostess apologizes and threatens her when she wants to leave, but she never repents. The heroine was unable to be independent financially and was not determined enough. She tried to run away several times (it felt like she came back after less than half an hour), and she couldn't get rid of this giant baby + scumbag. So I fell into this cyclical cycle of domestic violence-running-movie-movie-returning.
In addition, the heroine and her husband do not have children. The heroine lacks a channel for psychological energy transfer. She naturally chooses to escape from reality when she is repressed by the environment, and projects her true wishes on the screen character. Her love for the virtual character Tom , but more real like a nympho girl, although the heroine is fully aware that the object of her infatuation is not real.
In "Archetype and the Collective Unconsciousness", Jung put forward the concept of animus, the male image in women, which is the character and image of men in women's unconscious, which can make women blindly obsessed with men. Tom in the film is this Animus, the male prototype in the heroine's heart, projected onto a virtual character image. In essence, the heroine's love is a narcissistic experience, and the heroine enjoys the process of projection (the feeling of being in love), regardless of whether the object being projected is real or not. It's just that the difference from true narcissism is that the heroine's psychological energy can be projected onto an external object, while the true narcissist's psychological energy can only be projected onto himself. For example, the actor Gil in the film Tom, Gil only loves himself. A natural showgirl and crowd lover, Gil played Tom just to get more attention.
According to Freud's point of view in The Interpretation of Dreams, the function of dreams is to achieve wish fulfillment through various mechanisms, satisfy all tendencies (id and repression) and protect sleep. The heroine's daydream can be applied to this point of view, and even the entire film can be regarded as the imagination of the heroine who has been dreaming. In the film, you can see the heroine's urgent desire to escape, but the reality makes the heroine have to return to gain a sense of security, but the desire to escape has not been satisfied, what should I do? The heroine will dream in the movie theater (a sense of substitution), which is a cheap way to satisfy this desire. Anyway, you can watch it in a big movie in the world, and you don’t have to go to Hollywood. Transpose mechanism, the reality is that I chase stars). So the result we see is that the heroine still stays in place, and life continues like sleep. Later, it can be guessed that the heroine will suffer more domestic violence, create more dissatisfaction with reality, and then play more films in the theater to obtain greater satisfaction and psychological compensation.
The reason for this mechanical repetition of the cycle is that this repetition brings pleasure. It's good to brush for a while, and it's always good to brush, even if it's only for a few hours, and then the pain is much longer.
As a result, we only saw that the heroine continued to brush the film in the theater with a dull gaze at the end.
Audience Dilemma (2): The Parting Way of Experiential Self and Narrative Self
What's worse is that the heroine doesn't even realize that she is in pain.
In the film, the heroine was forcibly pulled into the screen by Tom to "enter the play", and she experienced a play addiction. Although the champagne was blended with ginger juice, the city exterior was paper-pasted, and she changed from color into black and white.
The film itself is a narrative medium, and this transition into the play, from color to black and white (this is ironic, the reality is dark and the film is bright, suggesting that the film is unreal), representing the heroine The transformation from the experiencing self to the narrative self, that is, the kind of life the heroine wants to show to outsiders—participating in a party of rich, rich and idle people, and living like the characters in the movie, even though this life is a play , and it is seriously inconsistent with the heroine's own life experience.
It’s just that the experiencing self has no memory, it can’t tell stories, and it can’t tell the audience how hard it is. When the heroine makes a major decision, she is responsible for the narrative self. This part of the self makes up all kinds of stories, and does not describe all the details. It is usually just the climax and final result of the event (peak-end rule), and will not care. How long does it take, even like the heroine, which is not based on her own experience but is substituted for the movie plot. Finally, based on the pleasant peak experience in the movie theater, the heroine will judge that the current life is not so bad, and choose to continue the current state.
In short, the fundamental reason why the heroine can't change her life is that she can't give up her happiness, the desire that has already been generated is immediately fulfilled by some kind of virtual, coupled with the natural self-deception tendency of the narrative self, and she is unable to take practical and effective actions.
As a result, we only saw that the heroine continued to brush the film in the theater with a dull gaze at the end.
Audience Dilemma (3): Confused by the confusion of actors and roles
Then the part that brings happiness to the heroine is actually ambiguous due to the appearance of the actors.
In the film, the heroine can't tell whether she loves Tom or Gil, and finally chooses Gil, because Gil is real, but Gil is actually just continuing to play Tom's gentle and considerate image of little fresh meat to win the heroine's heart. Tom is back on the screen again, and Gil also walks home without saying goodbye.
So in the eyes of the heroine, Tom and Gil are actually the same thing (the two are actually played by Jeff Daniels in the film), so the question is, is Tom necessarily unreal?
Discussed as an objective existence, Tom only exists in the film, and all his images are given by the script, the actors and the audience. But from the subjective experience, the heroine has identified Tom as her other half confidant in life, and the image of Tom is seen from the real Gil. The heroine chooses Gil to choose the real version of Tom, so even if Tom is objective It's not real, and the heroine also subjectively endows him with real attributes. For the heroine, Tom is not much different from a real existence. In reality, it is the real Gil deceived the heroine's feelings. Only Tom's character based on the script will never betray, which makes people feel more real.
For the identification of virtual characters, human beings have never lacked imagination, and even endowed them with the status of legal entities to produce practical effects. Small ones, such as Kumamon, can be civil servants in Kumamoto Prefecture; large imaginary communities, such as companies and countries, actually have legal persons. Qualification and supreme power. People never live in reality, but in the perception of reality. Wang Yangming said that there is nothing in the world, and Tom's authenticity is also based on this. His existence is rooted in the male image of women, Anima. This archetype of animus.
It's just that it's hard for the heroine to admit that her love for a virtual character has real meaning. As a result, we only see the heroine in the theater with a dull gaze and continue to continue her life.
Actor's dilemma: Tian Xingjian actor is a narcissist with endless traffic
In the film, Gil is a very dedicated actor. What he cares most about is his reputation and audience, and he is even responsible for the social impact caused by an avatar, so he does not hesitate to run over thousands of miles to coax the character back to the screen. During the period, his performance in love with the heroine was very good. Not only the heroine but also the audience believed him. His only truth was that he wanted to play a more popular hero role such as Lindbergh, while telling others that he was just an irrelevant little dragon. Set was furious.
It can be said that Gil is a promising young man who is constantly advancing on the road to becoming an actor. Even now, he will be a good traffic star.
It should be said that getting more attention is the dilemma of all actors, and narcissistic people have a natural advantage in this regard. Freud believed that narcissistic people cannot be treated by psychoanalysis because the patient cannot form a relationship with the doctor. A relationship of mutual trust, but just to get the attention of doctors beyond the scope of their profession, narcissism may be harmless to humans and animals, and it can bring real traffic, as long as he doesn't fall in love.
But Gil's actions are very harmful to the heroine, even worse than the heroine's husband. Gil is very good at making the heroine fall in love with him, all kinds of small romantic surprises, but the experience and experience of the heroine In fact, it is impossible to empathize, because narcissistic people generally have empathy disorders and do not realize that they are irresponsible. And after it was over, Gil really had no feelings for this relationship, only the joy of success, just like "I'm in heaven" sung in the song "Purple Rose of Cairo".
The Screen Character Dilemma: On the Free Will of Virtual Characters
The fantasy part of the characters on the screen crossing into reality is the biggest highlight and philosophical essence of the film, and we can also see some of Woody Allen's forward-looking thinking about the film.
There is a character in the movie shown in the film. After hearing about it, everyone can do whatever they want and not follow the script, so they do what they want to do the most and dance a jazz dance:
Then Tom appeared in the play, the virtual character was completely liberated, he fell in love with the heroine, and fought with the heroine's husband. It is estimated that it is the same as what AI can do in the future:
Other characters, discussing what to do, ask the theater owner not to turn off the projector in order to continue their existence:
But this loss of control caused a panic, so Gil kept claiming that he created Tom himself. The fear is that if Tom does not come to the screen, he will kidnap his career in turn (in reality, there are indeed cases where the role kidnaps the actor's scene) .
Virtual characters have free will. This sounds like metaphysics, but it is actually a fact. For example, Hatsune Miku, others not only have specific voices of height, weight, age, gender, image, but also have held many live concerts, with millions of fans, no less than The influence of big-name stars, many otaku said that their other half is Princess Hatsune Miku, such a virtual character is basically not much different from a flesh-and-blood person in terms of actual influence.
According to Richard Dawkins in The Selfish Gene, a product of human culture such as an avatar is a meme of some sort, "which is created by non-genetic means, especially by imitation. To be passed on, just like genes are transferred from one individual to another through sperm or eggs, thereby achieving reproduction. A memetic should be seen as a living structure, when you transplant a living memetic into mine When you think about it, you actually turned my brain into a host for this meme, making it a vehicle for spreading this meme, like the genetic machinery of a virus parasitizing a host cell." And in this transmission In the process, the mememe will constantly change to adapt to the new environment, realize the evolution in a similar biological sense, and even be very different from what it was originally created. This is similar to when a hot topic is discussed in a post bar, it starts to crook from a certain floor, and then the initiator can no longer control the direction of the topic.
Therefore, virtual characters also have a certain will to live, and they can evolve and iterate in other more favorable environments without the original environment created for them by the screenwriter/director/actor. In reality, there are indeed screen/fiction images that kidnapped actors/creators in turn. For example, the character Sherlock Holmes was created by the author Conan Doyle and became popular, but the author himself had no intention of continuing to write, and arranged for Sherlock Holmes in "The End". In "A Case", he and the villain Professor Moriarty perished together, which was opposed by the majority of fans. In the end, the author had to write Sherlock Holmes to life again. Now Sherlock Holmes is not only living well in 221B Baker Street, but also in "Sherlock" The inside is completely crushed by IQ, with all kinds of anti-sky reasoning and show operations, and the appearance of the appearance, which has achieved the highest realm of homestead corruption. During the period, I also went to the United States to teach "Basic Deduction" and met the Asian female Dr. Watson.
Conclusion: The Future of Cinema
The film is essentially a multimedia interaction. The difference is that the screenwriter/director/actor has the main right to speak. The film creates a full-fledged character image and puts the image in a strict story situation. As long as the character setting does not collapse, the props The costume dialogue performance is a little more particular, and the audience will make up for the remaining important content by substituting their senses—to achieve some kind of approval/disapproval, and then like and follow to join the fan group for a second visit.
In the past, the multimedia communication technology was not as instant as it is now, and most of the audience was YY in their minds. The real-time interaction is like this film. The screen image should be "please come down" with a fantasy color. Now if you think it is good, you can brush an airship and let the characters sing. , or immediately a large wave of nuclear energy barrages dominate the screen, completely submerging the character plot scenes. In short, the audience began to gradually grasp the initiative of interaction, and the audience's experience became the dominant one, and even the audience overcame the starring.
Recently, there is an app called ZAO that is very popular. You can paste your face on a certain movie character through the "head change" technology, and there is no sense of violation, which greatly satisfies your sense of substitution and star dream. You can see This kind of real-time calculation AI technology has broad prospects for application in theaters. Maybe in the future, you can really "enter the play" like the heroine, and then AI relies on a set of algorithms to generate a new story, and every time you brush the film, you will You can see different endings.
The people who are filming now and in the future may not be much different from the heroine in motivation. They are all looking for some kind of spiritual outlet. It’s just that you have more initiative, and you won’t look like the heroine when you continue your life. You are sluggish, on the contrary, you will be very excited, but you can't give up happiness, and you can't change your true destiny. On the contrary, the fate of the virtual character will become more and more real because of your approval.
over
PS The heroine is actually very happy to brush the film, and the troubles are immediately thrown out of the sky:
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