The various counterpoint edits in the section where Buster just entered the screen are matched with appropriate music that is rushing and slowing. The space transformation editing is to reflect the staggered editing and play the film itself, and it is unimaginable that it was like this a hundred years ago. (Of course, today's students are taking this as a dazzling skill, but it seems backward, if you use it a little bit, it's fine. What is the whole process of dazzling this kind of thing? People Buster is a former with solid text afterwards). The two best points of the film are that after the car entered the river, the two flirted with their backs to the audience deliberately like a stage (the music transition at this time is also extremely wonderful), and the learning and imitation of the video at the end - this extends the video It also reflects the realistic guiding role of images (similarly, reading detective books is also a kind of imitation, in general, it is even a kind of prophecy for the age of images, and the text has a direct impact on his life). The spatial gaze on the stage becomes the actor looking directly into the camera: art without an audience. Similarly, there is a more terrifying explanation at the end: the story on the screen that Buster saw is a person's life, so he scratched his head, who was always smiling on the screen. When he looked directly at the camera and looked at us as the audience, he was in the same mood: even Buster would scratch his head and feel embarrassed in the face of the heavy life. When I think of the most uncomfortable thing is seeing him in "Sunset Boulevard", I feel extremely sad.
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