Modernity and Director's Will
Shooting a film about a movie without the way it was filmed felt extraordinary.
As far as we know, all of the manuals' films fully embrace manuals, it seems, this is an honest nonsense.
In the face of "Contempt", the biggest disadvantage is that there is almost no Chinese evaluation of "Contempt" in "Cinebook" at hand. How much misunderstanding will this cause?
First of all, we can't verify whether Godard, who was 33 years old at the time of shooting this film, was close to his elegant conclusion that "the artist should die at the age of 35, so as to avoid becoming a gangster". Take the ready-made chestnuts in the movie, the rich and grumpy American second-tier rich producer is sure that the famous Frieze Lang will come and make him an Odyssey epic that can help him make a lot of money. For an old gangster like Lang, who can no longer grow old, movies have basically become a business or a profession, and the "opportunity" to connect with art may not be too big. In this regard, of course, there are doubts. After all, Knot and Lang had no grudges recently, so why bother to smear him. But on the other hand, the realistic description of the film itself is also an issue that cannot be trusted in front of the eyes, which can be vaguely seen from the various reactions after a Chinese-language producer got angry. Then, the whole process of turning the contempt of the heroine Camille into a kind of estranged belief, although this process is directly related to the theme and the title of the movie, but whether her words and deeds can be fully trusted, plus the use of pimples Brigitte Bardot's natural attributes of "big breasts and no brains" are not impossible because of habitually rendered emotions. If you want to ask: What kind of magic did Knot operate on the character, so that Paul, the male protagonist, caused such an emotion? According to the plot, this is undoubtedly the place to "install" the crucial MacGuffin. In short, the guessing and retelling of some kind of routine evaluation of the "Manual" with an uneasy mood seems to have come to a common idea that can be rationally dismantled... However, if you look at the unconsciousness of "Contempt" contempt, this Perhaps closer to an agnostic mockery.
As far as McGuffin's pre-buried hard buckle is concerned, Paul's intention to "sell" his wife Camille to the rich and powerful Yankee is clearly on the paper. This may be reflected in the most important externally - action - and internal emotion. It is caused by the action in terms of causality. Once the action occurs, unless there is no receiver, it cannot be reversed, but in fact the receiver always exists, even if it does not exist in the image, we (viewers) outside the screen will also Now, it seems that Sartre was moved here out of time to drop a book bag, and it is inevitable to find that the action out of nothing may be Paul's unconscious love for his wife to live a better life? Or submit to capital, already disciplined by consumerism? Of course, the world will not be a simple black and white. This is from the fact that the colors of "Contempt" are different from the colors used in the color films before and after it. Therefore, we can know that his color films are not restored. A realistic color. Somewhere in the next year, that is, Angong's "Red Desert" in 1964 is also the embodiment of this psychological reality using color.
In the final analysis, the irreversibility of actions comes from the irreversibility of words, just like information, like fate, words that have been spoken cannot be taken back, cannot be erased, deleted, or undone. If you want to erase, delete, and undo, you can still do Continue to say more words, such as "do not count, I withdraw, I regret" and more words to "subtract", and the reproduced actions are equivalent to the actions actually made by husband Paul. It is true that we no longer see an image of Paul's action, but the action itself through and through this action image. Through the perception of an image, the viewer's consciousness is projected to the real action, and immediately forgets that this is only the attribute of an image, which in form unexpectedly "empathizes" with the new wave that does not want the viewer to empathize. Therefore, the existence of real actions and Paul’s real actions can be hidden, and the emotions created by images out of thin air verify the irreversibility of words in reverse. Within the formal framework of language, the possibility that words can annihilate each other is very important, reducing to In terms of the lens language of the Knot New Wave series, the most prominent one in "Contempt" is generally the objective point of view. The only POV shots of the characters in the video can actually be attributed to the camera's self-consciousness or later. Pimple self-awareness. In short, since the hidden author is the main narrator, it also implies the one-dimensionality of the content under the form, and the corresponding reversibility is self-defeating. The real big contradiction is that this film, which describes an action that is irreversible once it is sent out, is actually trying so hard to focus on how to get back to the time before the action when nothing has been sent out. It should be able to be placed and retracted, freely and controllable, so the irreversibility of discourse is reflected in a new (new wave) lens language that is "unquestionable". To use the movie's own chestnuts as an analogy, Lang's fairy tale is a story within a story, and the indoor scene between Camille and Paul in the middle is obviously an action that COS has used to argue that men may be disciplined, and The tension between the female protagonists, who may have received it accurately and possibly misunderstood, coincides with the irreconcilable conflict of fundamental ideas between Lang and the producers. In particular, this symbolizes that in terms of stories, it is necessary to make money by turning mythical stories into popular works; in terms of narrative, it is necessary to rely on meta-movies to change the fate of original movies; in terms of language, it seems that they are fixed on a regular basis. The soundtrack insertion does not hesitate to innovate a certain psychological expectation of montage at the cost of inaudible dialogue in some scenes; more metaphysically, it relies on seemingly reversible words to revolutionize actual irreversible words. In a way, the pimple itself is pure, powerful, and honest, the moral mission of the revolutionary left is crucial to the birth of "Contempt"
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