Recently I read "Let the Heavy Rain Dump the City - "Weathering Children", which is more left than the left. It is a very interesting article, especially the interpretation of "pistol" and the emphasis on "exchange category", I feel Very in place. However, in general, there is a considerable parallax between the author's attitude and Makoto Shinkai's conscious or non-conscious awareness. This parallax is caused by the author's overall introduction of the left-wing narrative. Although I have never opposed participating in living Zen, I still think that the author's living Zen participation is a bit slippery.
Undoubtedly, Makoto Shinkai was infiltrated by left-wing ideological trends, and the famous Japanese left-wing thinker Pedestrian Karatani is an important part of his self-reported book list, but at least Makoto Shinkai himself does not have such an obvious position, and the Japanese left wing has long been marginalized. As for Karatani pedestrians, whenever they talk about the situation in Japan, they can't help but laugh at themselves. The author believes that Makoto Shinkai conveys a kind of radical resistance, and the uncompromising, uncompromising choice of the protagonist in the film is consistent with the spirit of the left. However, as far as the interpretation of the film I watched, it was just the opposite: behind all the powerless and vulgar positivity is actually a deep negativity, and there is no way out. Rain means the oppression of modernity, and the urban cement forest, which is inserted into the eye from time to time like a slideshow, constitutes the premise for the beginning of the story. The so-called repression of modernity in Japan is a state of involution (different from the original meaning of Involution) in which the society is both highly stable and saturated. The capitalist system that constitutes exploitation is related to this state, but not the whole of it. The gradual solidification of social mobility and the geographical closure of the island make the "Tokyo Complex" possible. In all kinds of Japanese anime, the yearning and secret excitement for Tokyo is surprising enough, even if it is exaggerated and stereotyped. The huge Tokyo is the embodiment of universal repression. Makoto Shinkai has a long-term obsession with it. Many of his works express the loneliness of atomized individuals in the metropolis. His peak was when he was preoccupied with presenting loneliness rather than thinking about redemption.
Measured by this standard, "Five Centimeters Per Second" is his best work so far, and "Your Name", which is more influential than "Five Centimeters Per Second", has already become popular. "Your Name" has a high degree of completion, but its redemption, that is, the real encounter of the protagonist, is only the last scene. Before that, the time and space of the two were dislocated. This dislocation structure is no longer important in "Weathering With You", and the consummation of interpersonal relationships becomes less and less suspenseful in the second half of the film. The heroine Yang Na's ability to make the weather partly sunny is a sporadic and absurd redemption, which is impossible to achieve after all. The fantasy technique is a kind of innocence in Hayao Miyazaki, but in Makoto Shinkai it is a self-examination after the innocence has been lost. The combination of depression and absurdity reflects the predicament of Makoto Shinkai himself, and his predicament is in fact the predicament of Japan's introverted society. Xin Haicheng's popularity is inevitable, but it also proves that his detachment from reality is the sense of the world. In the end, the heavy rain drowned Tokyo, reflecting the irredeemable state of involution, and the answer given by Makoto Shinkai was to coexist with it, but to move to a higher place. "Enjoy the moment". Taking the "now" as the purpose is partly because the "future" cannot be seen.
Ji Hai Meng Dong Sui An Shi Ji
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