We have no doubt that children know the secret to happiness better than adults. They are more easily amused and more likely to laugh cheerfully. A trivial thing that may seem extremely boring to adults, such as hide and seek, is something children will never tire of. This is naturally related to the growth of a person's intelligence. For example, when a person grows to a certain level, through repeated trials, he will find that things do not exist because they are invisible. What's the fun in peekaboo if things continue to exist out of sight?
Imagine how many simple pleasures we lost as we grew up. What makes us happy gradually becomes the satisfaction of the senses, that is, the realization of a desire. Satisfying a certain desire is also based on experience and is also accomplished on the basis of repeated practice. This is how the brain works, the domain governed by memory. When our body is repeatedly exercised under the influence of time, it is also cerebralized. Thinking takes precedence over perception, and children become adults.
Jacques Tati's film that takes us back from adults to children. The stiffness of Uncle Hulot's limbs is because his brain has not been able to completely make him agile according to the rules of society; his taciturnity is because he has not yet learned the rules of social discourse. This is why he can only play with his nephew in the suburbs and taverns, but not in modern houses and factories. Suburbs and urban areas, bicycles and cars, reflect the confrontation between the body and the brain.
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Fairy tales, fables, and folk tales are often considered a kind of children's books (of course, any interested adult will also benefit from reading these three categories). With the passage of time, an adult who has grown up to read his childhood books may no longer be able to easily enter that imaginary world because he feels too naive. This world is completed not only by the author, but also by the imagination added by the former little reader himself. The reason why adults feel alienated may be that these literary works have moved away from the way they are perceived.
With certain movies (comedy or cartoons), they will revive this long-forgotten way of perception. Here, I want to talk about comedy films represented by Wes Anderson and Jean-Pierre Genet. Their novelty lies in the fact that the audience's experience of a childlike world is reawakened. Becoming-children, if you may say so, are the tangible things that happen in these films. The films of Wes Anderson and Jean-Pierre Genet are full of fairytale-like "childlike" colors.
On the other hand, we have also found "intelligent" movies. Isn't the acclaimed "Super New Testament" such a movie? Isn't the joke it sets a product of mental design that the audience needs to engage their brains to understand? Similarly, there is also the film "Fox Immortal Lisa Shashashasha", which is based on a wide range of materials from fairy tales, fables and folk tales. In this. They are just some works that are deliberately designed and obey the power of thinking, so they do not have much vitality.
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It is very important to distinguish between "childish interest" and "intellectual interest" in movies. If the former allows the audience to regain the perception that has been obscured by forgetting in the process of becoming-child by simulating the way of perception of children, then the latter undoubtedly cannot lead these adult audiences back to a world where perception is still growing. The agility of the former corresponds to the rigidity of the latter, and the lack of organs of the former body corresponds to the will of power of the brain of the latter.
Jacques Tati's films can be seen as a model of "childlikeness". It is from the innocent perspective of a child that he can so deeply observe the corruption of modern society on people's hearts, and it is this same perspective that can make adults' exaggeration and hypocrisy cute. This is not a critical perspective, but a warm observation. For the rather comical characters of father and mother, no matter how pretentious they are, the audience does not feel disgusted, but loves them. If this were a "fun" movie, it would be the opposite.
Even if we see the social grotesque in Tati's films, it doesn't cause any discomfort, and we always have a feeling of being made to cry when faced with the tragic scenes in Chaplin's films, or by the complicated scenes in Keaton's films. Confused action. We had the utmost pleasure in laughing and cheering the university at every turn, and complimented the director's genius. We can be reborn as children, as if we were going back to childhood.
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