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FELLINI Federico Fellini and Psychoanalytic Skills in Films Sigmund Freud's psychoanalytic theory is at its most fully expressed in Federico Fellini's films. Fellini, while not the most thoughtful filmmaker currently in filmmaking, is certainly one of the most fascinating. While his films sometimes miss the mark, they are always dazzling: what they lack in content is often more than compensated for by pure visual beauty and brilliance. To understand that Fellini's films can make people have this special admiration mood, perhaps his childhood has a certain relationship. We can see from many of his films that Fellini as a full-fledged film director is not much different from the mischievous child Fellini. Fellini had fled his family to join a circus at the age of twelve. Here's what he said of himself: "I have a mixed mentality of a schoolboy - being warned, but still a little naughty." Indeed, some of his films seem to reflect this—the garishness of a third-rate circus, the innocence and mischief of a child. There is also the conflict between the strict canons of Catholicism and his nature, which is fully reflected in his creations. His "La Dolce Vita" even angered the Pope. Fellini's first job in the film industry was as a screenwriter (he worked with Roberto Rossellini on the screenplay for "Rome, the Undefended City"). His first batch of screenplays were written in the period of neorealism in Italian cinema that flourished immediately after the end of World War II, and the ins and outs of this period are vividly illustrated. But the "reality" used by Zivatini and other Italian neorealist filmmakers was too restrictive for Fellini. He chose his own path, the psychological world of the man he continues to explore in the film, perhaps more precisely "surreal" than "reality". But he, like Antonioni, claimed that they were still neorealists, because he believed that the human psyche was also a reality. Among Fellini's early films (he co-directed his first "Acrobatic Light" in 1950). The most important is undoubtedly The Road (1954). The mood of the story is melancholic and the tone is naturalistic. It's about a rough-and-tumble vaudeville powerhouse Sambano (played by Anthony Quinn, and she's great) and a simple-minded stray woman named Tersonina (played by Fellini's wife Juliet The tragic encounter between Masina). Fellini called the film "an index of my entire mystical world, an unreserved revelation of my personality". However, it wasn't until 1959, when he filmed the tumultuous "La Dolce Vita", that Fellini finally gained worldwide recognition. The film reflects Fellini's somewhat paradoxical vision of the opulence and decadence of Rome today. It's the extravagant scenes and bizarre passages that make moviegoers around the world (somewhat dazzled) both astonished and fascinated. For the first time in this film, we see Fellini fully mastering his means of expression - his fluid use of mobile photography, his precise selection of supporting actors, and his sculpting and expressiveness of the characters' faces. understand. But for all its breadth and vision, Dolce Vita doesn't actually exceed the level of a bizarre spectacle—though Fellini tried to raise it to a level of thoughtful depth, but he failed. That's largely because the film's protagonist, a morally messed-up journalist (played by Marcello Mastroiani), isn't strong enough to be a focal point against what's generally accepted at the time. Fellini's Method of Work A brief look at how Fellini makes a film (from concept to completion) is sure to give us a lot of insight. Fellini has a reputation as a filmmaker who is said to have never known what to do next, was in a state of crisis both creatively and personally, relying almost entirely on improvisation. Indeed, he himself openly admitted that he "worked on the irrational grounds of sensibility", thus "nothing is concrete, nothing is deliberately arranged, nothing is foreseen". But when he visited the United States, he said in response to questions from students that his work was very scientific and designed. No matter what he says, his actual way of working is contrary to what most people think, or what he himself says about his working methods, his films are actually made by himself and Several editors (among them the past Tullio Pinelli, Buunello Rondi and Agno Fraianno) have designed it with great care, although he himself says that his films may not be the same. "As pure and accurate as crystal design", and most of it is told "at the rhythm of breaking bamboo". When Fellini conceives a film, no matter how ambiguous its origins, it always manifests itself in the form of a story, and this is perhaps the most important stage of the director's creation of a film. (Fellini, speaking of his early filmmaking, said he was only interested in storytelling, and paid little attention to the technique or visual aspects of the film—an attitude he has apparently changed now, but not much, Because Fellini is still a storyteller, a storyteller with dazzling and powerful storytelling.) From story to screenplay, as noted above, this is usually what Fellini and a few others do. The product of a collaboration of authors. Finally, when he felt that "the scriptures of the movie have dried up," he opened his office, let people in, and let hundreds of faces pass by him, which he described as "an atmosphere-creating Ritual, one of many rituals, certainly not the most important." That's how Fellini started casting actors, and it's perhaps one of the most important elements of his particular cinematic genius. He once said: "I am The film is looking for expressive faces, so that they can speak for themselves as soon as they appear on the screen", "Face is my word". He always hand-picked supporting actors and found a relationship between the faces of the supporting and the protagonists , which he very aptly called "orchestration." For example, in his transitional work "She in the Darkness" (CABIRIA) between neorealism and his psychological realism A paragraph. When the young prostitute Kabylia went to the church to pray, a middle-aged woman with a black turban appeared behind her several times, and her vicissitudes of life was the same young face of Kabylia. The following inner refraction. We also saw in "Eight and One and a Half" that the director of the protagonist of the film is also choosing the role actor himself. If a filmmaker's vocabulary can be based solely on the actor's role in his film. Judging by the quantity and features, then one of Fellini's films can be compared to a movie cihai. Fellini believes that the most critical factor in production is not the screenplay, but the atmosphere he creates in it. Ms. Ile told us that Fellini's final script was completed a few days after the film began, and was constantly revised during the production process. He was quoted as saying: The real job is not to choose before or after the fact character, or decide what he has to say. If you can create an atmosphere that gets to the point where something comes out of that atmosphere, that's the determining factor, and rightly the determining factor. Everything. can all come together to create this atmosphere. It first appears alone around you, and then becomes a scene that is required. Fellini was fascinated by circuses and vaudeville since he was a child, so when he was working in the environment It is not surprising that when the atmosphere is very circus-like, with sheds being erected, sheds being demolished, and endless chaos, that is when he is most proud. When enough had been done in line before him in the office, Fellini began filming what he called "the decisive phase of the ceremony. That's when I knew I'd have to start making a film soon." And so, Fellini's film went on like this, constantly revising the screenplay. "Even up to the first screening of the film", everything can be greatly edited; "Anything can be changed; in fact, no matter how well you prepare it, everything can be reversed. Then you don't have to stick to the steps you've taken, the choices you made the day before, or what you wrote five months ago." , As the filming progressed, the scenes and characters changed, the situation was enriched, and the dialogue changed. But the reader must not get the impression that Fellini only asked for the initial stage, after which the screenplay could still be extensively revised, without having any concrete idea of what the film would look like in the end, as he himself said "I believe the internal rhythm of the scene was in my head long before filming started. At this point, I was very faithful to my original concept. When I started to see a scene in a certain way, I don't make any changes anymore." Because Fellini and Antonioni are both Italian masters of film art, and both focus on expressing the inner world of the characters, it is necessary to mention the difference in their creations . Although Antonioni also expresses the character's world, he never takes a camera into the character's mind, he expresses the character's heart from the outside (at least until "The Proof of a Woman"), while Fellini It directly visualizes the heart of the character. Generally speaking, Antonioni's method is more difficult, so he is better known as a master of visual language. Now, let's discuss "Psychoanalytical Techniques in Film", and then see how Fellini Akira embodies it in his most prominent films. The unique cinematic time and space embodied by the audio-visual elements of "Eight and One Half" In 1963, Fellini made his first true cinematic masterpiece to this point, "Eight and One Half" (except "The Road") . In this highly autobiographical film, Fellini has finally found a suitable tool for his burgeoning film talents. The film is about a middle-aged director (played by Marcello Mastroiani) who, after a creative blockage, tries again in vain to make his eighth and a half films ( Before that, Fellini made seven feature films and two episodes that were roughly half the film, hence the name). From Boyle's book about Fellini, the original idea for Fellini's film "Eight and One and a Half" was collected. This idea eventually became the idea for the film that Guido was going to shoot. A man, at first, is just any middle-aged, professional person who goes to a nursing home for recuperation and reflects on his life. There he met the daughter of a museum janitor. It was an innocent girl. He believes in saving himself through the love between them. The girl agreed to give up everything and fly away with him, but he failed to persevere and left the sanatorium alone. Later this "professional character evolved into a screenwriter" , Wells went through a crisis in both professional and private life. Someone commissioned him to write a screenplay for a movie. When he was writing the script. Come up with such a scene: Humans, including Catholics, leave the earth in a huge spaceship. The scene is intended to reflect his own crisis, only on a broader basis "humanity, like him, must abandon Earth and start anew somewhere else. In the end, Fellini puts his The protagonist becomes a director. He mixes all the previous scenarios into the film his protagonist is trying to make, and the spaceship scene serves as his (guido's) climax, the baseline is him Her own crisis. In the final scheme, the daughter of the museum keeper morphed into the role of Claudia. The actress Guido chose to play the heroine (the heroine of Fellini's earlier scheme) Such a story line must be chaotic, because "Eight and One and a Half" is actually a film set...and endless. Everyone knows that free association is the basis for the flow of thought material in the stream of consciousness - the will The smaller or looser the influence on the mind, the greater the degree of free association. That part of the stream of consciousness that is not controlled by the will is almost always present in the background of one's thinking. Even when one is arguing vigorously or concentrating on a lecture The consciousness that is not under the control of the will is still flowing. The reader can test it for himself that while you are reading this passage, thinking about the meaning of this passage, there is still all kinds of freedom in the background of your brain The consciousness caused by the association is flowing. For example, the content of the text reminds you of the protagonist in "Eight and one-half" flying in the sky, but there is a rope holding him, like a kite, you think of a certain A kite-flying event was in spring. The catkins in spring sometimes seemed to be snowing. That time, there was a heavy snowfall in Shenyang in March. Lao Wang took me to visit. Later, he went to Hainan, Shenzhen University. Teacher Shi also went there, as well as Lao Zhou, a screenwriter from Sichuan TV. His son has not heard from his son since he left the film school. He took me back to Guanghan’s alma mater last time. During the Anti-Japanese War, Sichuan’s Guangkan was cheap. Apan picks mandarin oranges on a tree. He is now doing business in Bangkok. It seems that Lao Chen has also returned to Thailand. It is a pity that Lao Liang died. I saw him last year in Kunming. Free association means that there is no will to control, so it is not Affects your volitional mind. It flows almost all the time. Fellini draws on this principle when arranging the structure of Eight and One and a Half, but in a way that is closer to Freudian psychology Analytical skills. Briefly, the skills are this: when the state of mind is Some other factor or force that exists in the subconscious (for example, unresolved internal conflicts that arise primarily in childhood) heavily influences the flow of thoughts in the stream of consciousness when the psychic effect is diminished or absent at all; In this case the associations that make up the stream of consciousness are actually "unfree" at all - so in analyzing this "stream" of states of mind we may be able to discover the source of these unresolved subconscious conflicts where actually. Yet in Eight and a Half, Fellini, in his attempt to reveal the unresolved conflicts (some conscious, others unconscious) of his protagonist (Guido), does not The continuous stream of consciousness in the mind, but only a few dreams (actually eleven), flashbacks (aka 100 million), and fantasies in the "stream" are selected, which allows us to see deeply The association of Guido's inner state (and possibly Fellini's inner state). Professor Gassner therefore believes that the film has two threads: "One is a story line that recounts the setbacks of the unresolved film, and the other is a flashback and fantasy that aims to explore childhood motivation or adult escapism. Parallel threads." But that's not a stream of consciousness, because they appear logically, trying to explain something. Therefore, it is more accurate to study this film from the perspective of psychoanalysis. Storytelling Threads First let's examine the linear progression of Fellini's film. "Eight and a Half" and "Wild Strawberries" are very similar, and both begin with a nightmare passage. Guido, who was driving the car, was caught in a serious traffic jam, waiting for suffocation, and he was impatient to escape from it. So he slipped off the roof of the car and flew high into the sky, only with a rope tied to his foot, one end of which was held by the hand of a man on the beach. Finally, the man tugged on the rope, causing him to fall into the sea in a daze. After this passage of the dream (which could mean an imminent disaster), we find Guido lying in a bed in a nursing home, diagnosed by two doctors: he has some kind of illness--perhaps of his own imagination. . A sane writer visits the land, a collaborator on Guido's future films. In the original script, he was called Carini, but later changed his name to Daumier. The theoretical basis behind this character is very interesting. Clearly, it is impossible to imagine any cooperation between this pretentious and rhetorical intellectual and this impulsive and bombastic Guido. So why did Guido (or Fellini) choose him? At once For Guido, it is clear that Daumier is an ascetic's sackcloth. Guido never cared about his criticism, and the critic himself had such an annoying personality, so Guido didn't care. For Fellini, Daumier undoubtedly meant providing a foil for his protagonist. However, some critics have pointed out that the real purpose of the character Daumier was to dilute certain critics' opinions about Guido's (and in essence, Fellini's) films (such as those that lack real substance or content). Fragile childhood memories, etc.), they brought it up through the mouth of Michel before they had time to say it (but they finally said it anyway). Dina Boyle mentioned. During the later dubbing, Fellini decided to bring Daumier to a symbolic level. Let him be the apologist for the school of critique that espouses nothingness—the school that believes that the only truly perfect art is nothingness (like a blank sheet of paper, etc.). Guido set up his own production office in the nursing home, and his producers, actresses, and supporting actors came to him. They asked him to tell them what the film was about, especially the actresses and their agents who demanded to know what roles they would be playing. Guido, however, refused to make any statement - did he himself actually know what to shoot or was he just stalling for time? None of this we know. From several conversations he had with the writer Daumier (who read the script and arrogantly disagreed), we get the impression that Guido's film will be based on his "emotional take on the Catholic upbringing of his childhood". "Memories as a foundation. However, based on what his producer said, and from a set we were building (a big rocket and its launch pad), we got the impression that Guido was going to shoot a science fiction film (more on Guido's film below). While he's recuperating (pretend) in a nursing home and working on the film, Guido seems to be asking for trouble by bringing in his wife and mistress. His mistress (Kalla) is an overly sexy woman and revels in her various erotic fantasies; while his wife (Luisa) is a mature and extremely charming woman. She constantly expressed dissatisfaction with his behavior. Guido's unconscionable impulsive behavior had inevitable consequences: his wife found out that his mistress was also in the retreat (which Guido did not make much effort to hide), and there was an immediate marital confrontation. quarrel between. Later in the screening of auditions (the purpose of these auditions was to select roles to act as those in his life All the characters who played an important role), Louisa walked out of the screening room angrily. She was outraged that one of the characters had insinuated her. When she left, she told her husband that, as far as she was concerned, he could go to hell. However, the screening of the audition continued. At this time Claudia, a beautiful young actress secretly came to the screening room to discuss the details of the role she would play in Guido's film (Claudia was cast by the same actress, K. Rodia Cardinal, who has always been Guido's vivid vision of innocence and innocence, a corollary of his eventual salvation). Guido sneaks out of the screening room with Claudia and travels in her car, where Guido tells her about the film's theme. He says the story is about a man who loves neither his wife nor his mistress; he loves a young and pure girl (Is it Claudia?). He thinks she can put his messy life back in order. Guido asked Claudia if she could fall in love with such a man, "and give up everything for him. She answered bluntly that she could never fall in love with a man who had proved in life to be so indifferent to both women. because such a person has already shown that he himself will not love. Guido admits that she may be right, and admits that the movie may not be made. The next day, Guido's producers drag him hard to the point of rocket launch Press conference in front of the shelf. Guido's producers gave him an ultimatum to either face the press and start filming, or he would destroy Guido's career. Guido attended out of resignation attended the press conference, but had nothing to say. Then, in fantasy, he wanted to see himself commit suicide. So it was all over, back to the reality that we saw the scene of the rocket launch pad being dismantled. The writer Daumier told Gil More to say, he was right in deciding to stop making the film because it could ruin his career. Besides, isn't it more accomplished when an artist does nothing and keeps silent? Guido fantasizes about All the characters in his life and all the characters in the film come together, and in a spectacular circus finale, he says to them, (voiceover): One of the big mistakes in his life was fighting them and not accepting them. He His wife, dressed in white, also attended the finale. She told Guido that her mistake was not loving him the way he wanted. Louisa told her husband that she would try to reconnect with him if she would help her. Life begins. The film ends there, with Guido ostensibly solving his personal problems—at least in fantasy. Fellini actually shot two endings for his film: one was the leopard featured above. Also used last: the second one was written in the original script. In the second scenario, many of the characters in Guido's life and in the film. Not at the circus finale, but in the dining car of a train (as another fantasy dream) with Guido's wife. However, both endings mean equally that Guido accepts his present and past life in its entirety, and all the characters in it (although in the second Fangdo the forced separation between Guido and his wife is emphasized more prominent). Boyle tells us that Fellini made the final choice between the two endings purely on the basis of business — a choice he told us was unanimous among all those involved in the production of the film. Flashbacks and fantasies Of the eleven flashbacks and fantasies in "Eight and One and a Half", only three actually illustrate the subconscious conflicts that shape Guido's character, the remaining eight are mostly sexy fantasy. They are indirectly related to the protagonist. The most notable among them is their daring grotesqueness, which some critics think is Fellini's daring (some people even use "shameless") to expose his inner activities, which has no implied meaning. As for the three flashbacks and dreams that provide important insight into the protagonist's character, the first occurs after Guido has had a sexual relationship with his mistress. It's a fantasy dream where Guido's mother wipes the walls beside Guido and his mistress's bed, thinks he's dirty, and takes him to sweep his family's grave. There he talks to his dead father. The father complained to his son that his final resting place was too small and too narrow. In the end, Guido kisses his mother tenderly, and the mother he kisses suddenly becomes a woman (since the camera position has not changed, it seems like magic at first glance, the mother suddenly becomes a wife) One by one, we took a look, and it was her wife. The meaning of this first psychological association is very clear; it expresses Guido's sexual guilt (his mother is cleaning the walls for him), while pointing out that there is a confusion of mother-son-wife conflict or relationship. A perspective on Guido's second psychological state, shown through clairvoyance: Guido is taken back to a distant childhood (through flashbacks), several of his female relatives (quite sexy) caressingly bath him, Touch him, then take him to bed. This tender childhood memory undoubtedly reveals the source of Guidodo's subconscious lust. This lust, that is, in his adult life, wishes that all women (real or imagined) will dedicate their lives to him, and and be able to tame him all the time (it is worth noting that in a later sexual fantasy Guido imagines that all those women have now become a group of concubines. He is their master, and the concubines have suffered in his childhood. In the farmhouse they caressed, they bathed him too, as he did in childhood), and his wife became the steward of the concubines, just like the mother, which once again brought up the mother-son-wife relationship. relation. The final piece of psychological perspective is caused by Guido's glimpse of a woman's voluptuous thighs. (It has been pointed out that Fellini likes fat women, so the sexy women in his films tend to be fat.) The shot is juxtaposed with a flashback of a childhood event. At this time, Guido was caught and punished by the priests of the Catholic school for buying a prostitute to dance an obscene dance. This association is clearly intended to express the subconscious (though possibly conscious) conflict between his strict Catholic upbringing and his infatuation with women—a conflict we realize that runs through Kyrgyzstan more of your adult life. We can notice that the music used in the passage where the prostitute dances is not only close in tone but is the work of the same composer Rota. The dreams in Swedish director Bergman's "Wild Strawberries" have pointedly posed some questions: "Did Isaac Berger gain a deeper understanding of himself through several of his own dreams?" If so , then "Will he be able to resolve those inner conflicts that his dreams indicate?" Although, we answered "no" to both of these questions, we did notice how much Isaac at the end of the film mature. In Eight and One and a Half, we must ask the same question: "Did Guido come to know himself more deeply through his dreams, memories, and fantasies? If so, then "could he be able to Using this newfound knowledge to resolve his inner conflict about religion and sex? Since they always affect his private life and his career. "The answer to the first question must be an unconditional "yes," as Guido himself admits at the end of the film that he has acquired this realization; to the second, however, it appears that the answer is still "no"—but in the Before drawing any final conclusions, let's do a little more analysis on this issue. I don't think we need to think about what has changed in Guido's private life right now, or what will change in the future. It is doubtful that , whether his wife will agree with Guido's affairs in the future, or will she think he will abandon him mistress. But Guido appears to have made, or will make, progress in eliminating that inexplicable "creative blockage." But what exactly is Guido's "creative blockage"? We know that he wrote a script (or at least a first draft of the script) for the film he was going to shoot, and has already started casting. But Guido complained that he lacked "poetic inspiration" and that he had a lot to say but nothing to say. For all his eloquent words about the crisis of art, we sometimes get the impression that Guido's insincere words are just part of his cliché - the one he always does before he starts a film wordy. It doesn't seem like what Guido needs is "poetic inspiration," but rather someone to motivate him to make a film—the kind of thing his producers tried and failed to do. So what is Guido's problem - is it the calm on the eve of the creative storm, is Guido trying to elicit as much sympathy as possible, or is he really on the brink of disaster? Dina Boyle said Fellini told her shortly after filming began that Guido really wanted him to find a way out and figure out where he and his film were going. But this effort of his ultimately failed, he fell down, and everything around him disintegrated. However, Fellini's alleged creative blocking of Guido may be slightly deceptive, and may have actually changed during filming. So now let's look at the desperate situation facing Guido from another angle. It is important to realize that this is also Fellini's problem. We know that he, like Guido, made a mistake in making his own film; but Fellini eventually got back on track. The question is will Guido do the same? Before we answer that question, let's analyze Fellini's and Guido's creative conundrum more precisely, since they are basically the same. Guido confessed, "I wanted to make a film that was honest and didn't lie." But how did he try to do this in the first place? In the same way as Fellini's: the protagonist in the film is actually himself, but does not directly reflect and confront his own personal crisis, but abstracts it—that is, on a much broader basis. reflect. For example, in order to start life again, humans try to leave the earth in a huge spaceship. Yet as the preparations for both Fellini and Guido progressed, the more autobiographical they became, the less abstract and more real the result. So in both films, that ridiculous rocket launch pad is just a crutch Fellini finally threw it away. We hope Guido throws it out too. Boyle concludes her book by saying that Fellini cast aside earlier pessimistic views about Guido's future. Guido is now reconciled with everyone in his life, she said, and Well will continue to make his films. Yes, Guido will continue to make his films, as Fellini did; but he must have the courage of Fellini's to face life and the people in it instead of looking for the absurd and escape birth problem. "Eight and one-half" is a film about one's entire psychological state (whereas "Wild Strawberry" is limited to one's dreams). In 1963, it made it so because of its non-normative way of jumping irrelevantly between past, present and fantasy (that is, without the traditional slow melting or defocusing). Viewers are bewildered and dazzled, while at the same time providing them with one of the most fanciful, absurd, and sometimes erotic flashes of film. The camera movement of the audio-visual language "Eight and one-half" in "Eight and one-half" is very consistent with the law that the movement of the cinema camera creates meaning. This is a concept that must be discussed in cinematography textbooks. It is a very important means of expressing film language, and there is no question of whether it is fashionable or not. The first shot in the opening sanatorium sequence is a panning movement of the camera, and it's a deep shot. It followed a few tourists in the distant woods slowly walking from left to right, then the camera passed a group of middle-aged women in the foreground, and behind them was a middle-aged woman in the distant view walking slowly, Then passed the foreground an old man with a glass of water in his hand, turned around and walked in the same direction, a woman with her eyes not open pressed the water away, the camera did not stop, just on the high-backed stool the woman was sitting on A clergyman walked out from the back. Note that at this time, behind the clergyman, a group of nuns rose from the depths. When the conductor of the open-air band appeared, the camera cut, and then the group of nuns came from a close-up, with their backs to the camera. Go deep. The rear shots are shorter, but match the direction of movement and light very well, so many viewers tend to see it as one shot. In this way, in these traversing shots, one is far and one is near (there are passers-by dozens of meters away in the far, and a close-up of an old man's hand in the near), one is far and one is near. All kinds of people who are healed by holy water can be seen at a glance. We generally call this "choreographic How impressed you were by such a treatment and how impressed you were by switching from a long shot to a close-up or close-up, which one was more impressive? This is a question of the rhetoric of film language. Remember, the rhetoric of film does not manifest itself in the embellishment of dialogue. "The dialogue in my script is beautifully written." This is not a movie, but a drama. In addition, this film is also very unique in the processing of time and space. I'm not referring to that so-called interlacing of time and space. The question of the interlacing of time and space, as long as the thinking is clear, it is not very difficult to do. Fellini has here a unique treatment in a unified space and time. At night, after a phone call with his wife in Rome at the reception desk, Guido wanders to the small living room on the right. There was the sound of piano playing in the distance, and he noticed in the background the woman who had caught his attention was talking on the phone. Then he went into the small living room, where one of his friends' young wife was sitting on the floor against the wall, and her elderly husband was playing the piano. The camera has been following slightly in front of Guido when the female star's voice "Good evening!" is heard. At this moment, the camera follows the voice and pans to the couch in the foreground before Guido (Guido). has been excluded from the painting), the female star's hand slides into the painting on the back of the chair, and then shakes into a close-up view of her head, who is talking to the director, turning her head from right to left, and then extending Go out and hold Guido's hand, which is drawn from the bottom left of the painting. Then, excluding Guido's hand from the painting, he followed the female star who stood up and walked to the right, around the back of the sofa, and asked Guido for his hat. cut. Guido took the hat to her. The director hints to the audience that Guido is coming forward from the left side of the picture through the head movement and gaze of the female star. Don't forget, this shot was taken in 1961. It took more than two decades for a similar spatial treatment to appear in Hollywood movies. At the beginning of this century, there were several pioneers of genius like Griffith in American movies, but later they were busy fighting for patent rights, filing lawsuits, and then engaging in assembly-line industrial production. Starting from the safety factor of business, they no longer What an innovation. If innovations from European films have box-office value, Hollywood will take them. Don't do anything that doesn't have box office value. This is more secure. So there was a time when they were very afraid of the avant-garde, and regarded those who engaged in the avant-garde as monstrous beasts. This is determined by business. In other words, Hollywood is a second-order businessman. I still don't understand why we like Erdao dealers' stuff, but don't like the first dealers' stuff. Fellini's spatial treatment came a dozen or two decades later, when American audiences, mainly through TV shows and arthouse theaters or videotape, became familiar with these European films and accepted the appearance of European films. After the means were discovered, it was only then that Hollywood treated space in this way in its own films. Or it can be said that Hollywood is not conservative. As long as there is box office value, no matter what kind of avant-garde you are or not, it must be used first. If there is no box office value, no matter how high the artistry is, it will ignore it. Interestingly, Swedish film master Bergman's films were originally screened in art theaters in the United States as pornographic films. Specifically, the audio-visual language used in European feature films is not the one-size-fits-all narrative convention adopted by Hollywood: the three-shot method, which in China has evolved into “who speaks for the camera”. That's the Hollywood 900. Many directors in China see that as "grammar", which is wrong. When we study audio-visual language, we must first clarify a little, and perhaps many problems will be clarified when we watch the film. If storytelling is the main Hollywood movies are mainly about storytelling, and entertainment films are mostly about storytelling, so its means, that is, the time and space (that is, the story structure) reflected by light and sound, are subordinate to storytelling. When the processing of time and space in a film is subordinate to the development of the story, it is nonsense to talk about the characters. In a film that focuses on storytelling, the characters are nothing more than catalysts for the development of the story. The characters in genre films in entertainment films are more stereotyped. If the film focuses on the characters, and most of the art films show the characters, conflicts and development of characters, then its time and space are subordinate to the characters. The time and space of Eight and One and a Half are clearly subordinate characters. The sequence of camera positions in the scene where Guido's wife meets her husband at the exhibition is also as smooth as a dance. Because the sequence is more complicated, it is difficult to describe it in words. The cinematographer of this film. DI VENANZO is arguably the main cinematographer of Italian neorealist cinema. Visconti's "The Sinking" (1942, known as the forerunner of the new realism) and "The Earth is Fluctuating" (1948), Rossellini's "Rome, Undefended City" (1945), "Partisans" ( 1946), Germany. Sika's Miracle of Milan (1951); the last two parts of Antonioni's trilogy: Night (1961) and Eclipse (1962). In his color feature film "The Elf of Juliet" for Fellini, the change of color is used to express the mature process of the heroine. Vannazzo's handling of light was less blissful, and critics felt his tone was more suited to Antonioni's film. Probably the film that best reflects his style is Antonioni's "The Shout" (IL GRIDO, 1957), which was released in my country in the 1950s. By the way, the film was not a hit in Italy and didn't pay for itself. But because it won an award at the Venice Film Festival, it may be released in countries around the world, only to recover the cost. Bear in mind that, in general, at most 5% of the audience in each country are willing to watch art films, and that new German films are not popular in Germany, The fifth generation is not popular in China, which is normal. Addendum (Translator's Note): This article was written before the film "Last Year at Marienbad", a true stream of consciousness, when his conclusion made sense: "The well fails to provide what can A visual image that is beautiful or admired compared to a popular literary image like Joyce." And "Last Year at Marienbad" can be said to be a full use of film means to express the visual stream of consciousness in the human brain. In addition, let's not forget that the history of film is only a hundred years old. Of course, the achievements it has achieved so far are impossible to create works that are as beautiful as literary works with a history of hundreds of years and drama classics with a history of thousands of years. Stream of Consciousness in Film "Stream of Consciousness" is a trend of thought in literature and art in the twentieth century. Stream of consciousness is a technique used in movies and novels to describe states of mind. It originated in Europe after the First World War, represented by the writer James Joyce. We must understand, however, that the term "stream of consciousness" comes not from literature but from psychology; it was coined at the beginning of this century by the American psychologist William James to describe the nature of conscious thought activity. word. According to James Incorrupt, "Consciousness . So it is quite natural to compare it to a 'river' or a 'flowing water'." However, no matter how apt James' metaphor may be, it can only give us a vague understanding of consciousness, so we now have to This concept can be understood more clearly by studying the processes and components collectively referred to as 'consciousness'. Especially in our country in the late 1970s, the literary circles were interested in "stream of consciousness", but they made a wrong understanding. Consciousness can be said to be all the thought processes that take place when we are awake; on the other hand, our consciousness is the thought process that we are directly aware of or can be directly aware of when we fall asleep. Some of these thought processes are recollection, imagining or fantasizing, feeling—both seeing and hearing—and reasoning about words, numbers, and scents. But since most cultures are based on speech, it is the thought expressed in words that is most often associated with consciousness; so our discussion will focus first on the verbal aspect of consciousness—hope the reader will not I think the author of this article is biased in one of these aspects. Not only are there different processes that make up consciousness, but there are also different levels of these processes, commonly referred to as "levels of consciousness." The basic criteria for these levels are the syntax and logic of speech— And normalized, grammatically correct language is the highest level of consciousness, and syntactically disordered thinking, writing, and discourse are the lowest level of consciousness. In other words, one end of the hierarchy (the superlative) is unified, clear, and organized; the other end (the lowest) is difficult and chaotic. In between these two poles are thought processes that break the general laws of syntax, logic, and coherence—but are connected to rhetoric, symbolism, and imagery. Thus, in the case of verbal thought, all levels of consciousness can be likened to the various stages of essay or novel writing: the most basic stage consists of only a few hastily jot down prompts or impressions, and then, through constant revision and processing, several times the basic draft, Be a well-thought-out, logical, and coherent final draft. Stream of Consciousness Now that we know that states of consciousness are qualitatively different, let's go back to James' metaphor of "running water" and see how the material of conscious thought "flows" through the mind. James makes a very important observation when he says that in this "stream" of consciousness there is a "sudden qualitative contrast" (the term "qualitative" is used by James here, referring to Not only the level of consciousness, but also the different processes of consciousness, such as memory, perception, and imagination.) Thus, recall can be juxtaposed with fantasy, clear thinking with chaotic thinking, and feeling with reflection. There are two very important terms here: will and free association. The former is probably the most familiar because it refers to the psychological components that govern memory, imagination, and reflection. The term "free association" may be unfamiliar to readers because it involves a thought process that we are seldom aware of happening (although it may be one of the most frequent, or even always-present, thinking activities)— Bottom line: "Free association" is the conscious flow of thought when there is no consciousness (sometimes called involuntary thought). Freud considered this state of mind to be like the state of mind that exists just before falling asleep: "'Involuntary thought' arises because of the deliberate (and no doubt necessary) thoughts that affect our thinking when we are awake. of thought) relaxes... When involuntary thoughts appear, they become visual and acoustic images". He has induced psychoanalytic subjects into a state similar to involuntary thought in order to help them analyze their dreams; but in order to assist the subject in reaching this state, it is necessary first to have him use a certain Willpower. When the subject reaches this state, all thoughtful and necessary thoughts must be purposefully abandoned, and "those retained mental fortitude (or part of it) closely follows the flow of consciousness in the present involuntary thought). In this state of mind, various thoughts flash through the mind rapidly: memories, fantasies, sensations, etc. are juxtaposed in an apparently arbitrary order—and we say apparently arbitrary, because we usually have Not realizing in what way or logic these ideas are connected to each other, but, however trivial, they are connected. Therefore stream of consciousness can be considered as the interaction of two important variables (quality and flow). These two factors have long been major stumbling blocks to the effective depiction of mental activity in literature and film. Stream-of-consciousness novels In the nineteenth century, with the advent of psychological novels, the thinking activities of characters in literary works have also shown a new importance, but this importance is limited to the extent that it affects the plot of the novel and reveals the motives of the characters. two aspects. Such thoughts that reveal motivation and purposeful behavior generally belong to the higher consciousness, and they are drawn from the stream of consciousness in psychological fiction, excluding those that are more incoherent and less rational. Only in the first quarter of this century did writers such as Taurax Richardson, Virginia Wolfe, James Joyce, and William Faulkner emerge that there was a real sense of what is called consciousness. Streaming novels. These writers are not concerned with the thoughts of the characters who influence the plot or motives, but with the thoughts themselves: their subject matter is consciousness. So they describe all levels of consciousness, but just not the most rational and organized consciousness. Stream of Consciousness Techniques in Novels In novels, there are generally three main techniques used to describe the stream of consciousness of characters: direct inner monologue, indirect inner monologue and omniscient description. The first technique is to present to the reader the direct thought of the character at all levels of consciousness (it is somewhat analogous to direct speech) with little or no intervention by the author; The preferred method, and is generally written in the first person. The following excerpt is a famous direct inner monologue by Molly Bloom at the end of James Joyce's Ulysses. Note the incoherence (and lack of punctuation) of it: ...I think she's religious because no one pays attention to her a second time I hope the case I'll never like her I'm surprised she didn't want to cover Our faces but she must be a cultured woman and gushed about Mr. Riordan long Mr. Riordan short I think he was happy to get rid of her and her fur coat that sniffed me and always got into me skirt The dog below in particular I still liked his manners towards old ladies and waiters and beggars back then. In the second technique, the indirect inner monologue, an all-knowing writer also presents the thought disorder as if it came directly from the consciousness of one of his characters (somewhat like an indirect quotation), but when He occasionally adds comments and descriptions when he feels the need to guide the reader. This technique is generally written in the third person. The following excerpt by Robert Humphrey from Virginia Wolfe's novel Mrs. Dalloway serves as an example of indirect inner independence (note that although she uses the third person, the idiomatic The language is still the character's): Mrs. Dalloway said she was going to buy the flowers herself. Lucy has her work set up and those goalkeepers are up: Lumbel Meyer's men are coming. Then, Clarissa Dowlaway thought to herself, what a morning—as fresh as the fresh beach air on a child. How fun! What an adventure! She always had that feeling when she heard some creaking of the doors and sprinted to push the French windows open and plunge into the fresh air of Bolton. How fresh and calm the air is in the early morning. Of course it would be better to be calmer than this; like the slap of the waves; the kissing of the waves, although bitingly cold, but still solemn (because she was an eighteen-year-old girl), this is what she stood on open In front of the window, when I feel that something terrible is about to happen... In the last method of describing stream of consciousness, that is, in the description of omniscience. An omniscient writer paints the minds of his characters without regard for their idiomatic language, and concentrates only on the substantive aspects. Humphrey chose the following excerpt from the second volume of Tauresai Richardson's The Pilgrim to illustrate the technique: The little jolt reminded her of the one they had just left. The view from the road. She thought of the uninterrupted length of the road, the shops along the street, and the streets were so bare that there were not even a single tree on either side. The broad street, through which they now rumbled with their wagons, repeated the same scene over and over again on an enormous scale. The sidewalk was wide, three stone steps higher than the street. Pedestrians walking up and down are all the same. They were... She couldn't find the right words to describe the strange impression they made. This impression paints the whole area that they pass through in one color. That was a slice of the new world she decided to go to on September 18th. It was her world, and yet she couldn't find the words to describe it. It is important to understand the three techniques described above, ranging from the author's little or no intervention (direct inner monologue) to substantive premonition (all-knowing description). Only by first understanding this important difference can we explore how these techniques are used in the film. Stream of Consciousness Techniques in Movies The techniques used to describe stream of consciousness in movies are essentially the same as those used in novels, including direct inner monologue, indirect inner monologue, and omniscient depiction—the first of which is The first and the last are the most recognizable by moviegoers. A direct inner monologue, usually in the form of a voice-over of the main character (as in Diary of a Country Priest), tells us what he or she is thinking or feeling. The third technique is to depict the thoughts or feelings of a character in a voice-over, usually by an all-knowing narrator—but generally not the thoughts or feelings of the narrator himself, even if he is also a character in the film . The second technique, the indirect inner monologue, is the most difficult to identify in film, mainly because it is never expressed through words. We have said that rational, organized language thought is not the only inner activity in the state of consciousness: for sensations, especially vision, are also part of consciousness. Thus, what a character (whether in literature or film) is looking at is as important as what he is thinking or feeling for dealing with a true stream of consciousness. Sometimes in order to show what a character is looking at (through a point of view shot, from a character's point of view, and usually from his eye level), the film director places the ) intricately inserts some other shots to guide the audience, which is exactly the same purpose as a novelist who thinks it necessary to occasionally comment and describe a passage in order to guide the reader to understand a stream of consciousness . For example, there is a man sitting in a car looking at a woman standing next to his car. In this example, there might be a shot from inside the car (through the windshield) that shows the woman he's looking at, and it just appears that he's looking at her. However, the director may think it is best to let the audience know where the car is, especially between it and the woman. To do this, he can take the person in the car as a big vista, and shoot from outside the car—that is, from the distance of the omniscient docent (in this case, the director and the camera). Thus, in the other example above, the film director predicted the consciousness of the character (via the person in the car) object point of view shots), and included information he felt necessary to guide the viewer (expressed through the perspective). The above three techniques merely point to some means of depicting the stream of consciousness (such as the characters themselves or the omniscient docent or camera), not the flow or quality of consciousness, nor how they are embodied in a novel or film. Therefore, we will specifically discuss these two important aspects, and see how the stream of consciousness is embodied in these two mediums. Stream of Consciousness in Novels and Movies In literature, punctuation is often used to indicate changes in the direction and flow of consciousness, the most common of which are the dash and the ellipsis. Although some authors are willing to generalize other punctuation marks, such as Faulkner's use of italics; A. Wolfe uses parentheses; James Joyce uses no punctuation at all. Another commonly used technique is the tense of verbs. These tenses are often the only means of describing those transitions back and forth between present, past (recollection), imagination, and fantasy. The primary means (visual) in which these changes are (usually always abrupt) manifest in movies are direct switching. In this way, directly juxtaposed shots can be very effective at reproducing thoughts and feelings that are juxtaposed in the stream of consciousness. Since films have no tense, distorted photographic images can often be used to express an unreal emotion—a memory, dream, or fantasy that may be suggestive. The quality of consciousness expressed in novels and movies The qualitative aspect of stream of consciousness, that is, the various levels of consciousness, is depicted in literature by various means, the most prominent of which is syntax. The more fragmented and incomprehensible the syntax of the depicted thoughts is, the lower the level of consciousness expressed; conversely, the more organized the syntax, the higher the level of the depicted. The tangled village of thought between these two extremes is characterized in literature by rhetoric, symbolism, and imagining expressed in words—such as metaphors and analogies. In film, the lowest and highest grades are easiest to express purely visually (of course, many filmmakers prefer to use mainly verbal forms, i.e. voice-overs, to express consciousness and stream of consciousness, because that is easier); Juxtapositions can easily be arranged in a form corresponding to the syntax of words, which generally distinguishes the two opposite extremes. But that consciousness between the highest and lowest levels is difficult to visualize in movies. This consciousness is the consciousness that requires the use of image structures at all. In the previous chapter, we pointed out that one of the most common metaphors in literary images obviously cannot be translated directly into film. Eisenstein was one of the first filmmakers to discover something in this regard. He pointed out that the development of Soviet cinema, as well as his own theory of montage, went through a "phase of conveying meaning and simplistic metaphors". An example of this is his childish attempt to employ film metaphors or escaping (that is, expressions that use words or phrases with unusual meanings). This example is a set of montages from his film "October" (1927): we cut to the scene of the Mensheviks speaking at the Second Congress of the Soviets with the harp and grand piano. These harps were not meant to represent harps, but to serve as a symbol of the sweet-talking speeches of the Menshevik opportunists at the Congress. The grand piano is not represented as a grand piano, But as the image of the Mensheviks' tiresome, bombastic empty speech. They were blatantly disregarding the stormy historical events to come. Put Mensheviks and harps together, Mensheviks and grand pianos, and we break out of the montage of equality into a new realm, a new quality: from the realm of action into the profound field. Eisenstein also finds another similar example in his earlier film, The Strike (1924): the crowd shot of the demonstrators at the end is intertwined with the bloody shot of the slaughterhouse. ...a cinematic metaphor for 'a human slaughterhouse'. So what did Eisenstein intend to propose to adapt the cinematic image to the literal image? ──Therefore, within the realm of stream of consciousness, what is the key to the thought process of visual representation of images? One possible answer he came up with was the visual image, especially the composition or framing of the shot. As we mentioned in the previous chapter, one of the reasons why Visconti failed artistically when he brought Camus' novel "The Stranger" to the screen was that the naturalism of photography was the exact opposite of the substance of the novel. . Eisenstein pointed out a similar problem with The Land (1930) by another Russian filmmaker, Alexander Duvzhenko. He blames this on "not understanding that the imagery and hyper-life (or surreal) 'processing' of the cinematographic footage requires abstract, life-like representations. Here's an analysis by Eisenstein, Explain how composition can be used to advantage in Du Frenko's film: This abstraction of life can be expressed in close-ups in some cases. A healthy and beautiful woman's body, raised can actually be seen as an affirmation Life is like the image of the rising sun, which Tu Furenko should have compared in "The Land" to his funeral montage. If "the Lubin way", get rid of naturalism and abstract when necessary , cleverly creating a montage with close-ups, then it is entirely possible to get this "sound and tactile" image. However, the whole structure of "Land" is doomed to fail, because the director did not use such a montage, instead he In the "Funeral" paragraph, a panoramic shot of the farmhouse is cut and the naked woman is running around the farmhouse. This makes it impossible for the viewer to see the specific woman full of life (she summarizes the fire-like Vitality, affirming the physicality of life, is what the director wishes to represent the whole of nature), thus and death and funerals The theme of Pantheism is contrasted! This is because other stoves, urns, towels, benches, and tablecloths get in the way - all these details of everyday life that could have been distinguished from the woman's body by framing the scene, so the naturalism expressed also It will not interfere with the metaphorical task that the director's embodiment intends to express. Some New Ways to Use Stream of Consciousness in Film Eisenstein was concerned not only with the question of how to use metaphor in film (and with it to represent consciousness), but also with the whole question of how to deal with the phenomenon of stream of consciousness in film. Since Eisenstein fully understands the use of stream of consciousness in fiction, he believes that this psychological phenomenon can be fully artistically expressed in movies. In fact, he even went so far as to claim that the laws of montage he had systematically articulated and used in his films were, in fact, merely "representations of the laws of thought processes," expressed through "inner monologues." He often replaces stream of consciousness with the term "inner alone." Eisenstein believed that the laws of the mind alone (sometimes he also called this "inner discourse") not only determine the laws of film montage, but also provide laws for all other art forms: "The structural laws of inner discourse are laws of every kind. The foundation is the law that determines the formal structure and compositional structure of a work of art.” Eisenstein realized, however, that such a bold claim might mean that "art is nothing but an artificial retreat in the spiritual realm into the form of primitive thought processes, i.e. the same phenomena as in the form of narcotics, alcohol, yellowism, religion, etc. !" He thinks this is not the case; in his view, the work of art is the result of a dialectical process: the expressiveness of the work of art is based on the fact that 'a work of art has two processes: one is along the most The advanced consciousness line has risen sharply; one is to penetrate the deepest perceptual thinking with the help of formal structure. It is the bipolar division of these two lines of development that closely unites the form and content that represent a true work of art. In Eisenstein's view, a work of art fails because the two processes are not in harmony, or as he explains it: Allow this or that factor to dominate, and a work of art cannot be completed. If it is biased towards the thematic-logical side, it will make the work dry, logical and didactic. But the overemphasis on the perceptual form of thought, and the lack of consideration of the subject-logical inclination, is also fatal to the work. The work is bound to become something of sensual chaos, rawness, and incoherence. Thus, according to Eisenstein, a successful work of art is a balance between these two thought processes the result of. These two thought processes are first the lowest consciousness and then the highest ignorance. Eisenstein wasn't just interested in stream of consciousness as a theoretician, he actually wanted to use the technique in one of the many films he planned to make—namely, using Dreiser's novel The Tragedy of America. 》Move to Silver Raising. He was planning to shoot the film in the United States. Deresai's novel is about a guilty or innocent young man named Clyde, who is accused of murdering his girlfriend in an "accidental" incident that capsized (Clyde planned this did, but gave up because of lack of courage). Eisenstein believes that the key passage of the whole film is this so-called capsize event, and therefore needs to be described in such a way that it "reveals very clearly what Clyde's inner activities were before the 'accidental' capsize...". However, Eisenstein found the author's literary treatment of the issue to be of little help, but a rather "primitive" piece of rhetoric; the following excerpt from Dreiser's novel illustrates the lack: save her. But you shouldn't have to save her! Look how she is struggling. She was stunned. She couldn't save herself, she was in a dread of erratic resentment. If you come near her now, it will bring you death too. But how much you want to live! Her desire to survive also uses the right to make you feel how meaningful life is. Take a break for a while── Just wait a few seconds - don't be moved by her cry for help. And then—then—OK! Look, it's all over. She is sinking now. You'll never ever see her alive -- never again. Films of the time (around 1930) used traditional techniques to reveal a character's consciousness, which did not seem to apply to Eisenstein either. He writes: frowning, eye-rolling, panting, odd poses, stunned facial expressions, or close-ups of impulsive waving of hands—the entire arsenal of representations is not enough to convey the myriad complexities of inner struggles come out. So what was Eisenstein's answer? Here's the answer: the camera must go "inside" Clyde. Those frantic thoughts must also be recorded aurally and visually, and interspersed with external reality—the boat, the girl sitting across from him, his own movements. Thus, the form of "inner monologue" was born. To better understand how Eisenstein handled stream of consciousness or inner monologue, we can take a look at the many annotations and drafts he wrote to design this montage of passages. Here's Eisenstein's introduction to the many drafts: How wonderful are these montage designs! Like thoughts, they are sometimes visual, sometimes audio, sometimes synchronized and sometimes out of sync. Then, like the sound, it is invisible, or the sound that the sound image expresses objectively... Then suddenly it is completely rational speech, as rational and emotionless as the uttered words. The screen was pitch black, a visual image without an image that quickly passed by. Then came the broken words of emotional impulse. Nothing but nouns, or nothing but verbs. Then there are the interjections. Accompanying these sounds is a whirlwind of crooked, unrelenting things. And then there's the flashing visuals with no sound at all. And then connected with the counterpoint sound. Then there is the alignment screen. Then both appear at the same time. Then insert the external process of the action, and then insert the factor of the external action into the inner monologue. As if to express the inner movement of the character, the indecisive conflict, the outburst of emotion, the voice of the intellect, the fast or the slow movement, to mark this or that different rhythm, to the almost completely absent external The action contrasts: a frantic inner struggle lurks behind that expressionless mask. This montage of material for "An American Tragedy" at least illustrates Eisenstein's attempt to make a film that makes the audience seem very unique and exciting. But unfortunately, this design has never been super Stages of desk work. Ironically, Eisenstein's most imaginative attempt to make the most imaginative use of the psychological principles of stream of consciousness during the first sixty years of film history was in a film that never actually started. Before concluding the discussion, it seems that we also need to mention the 1967 film based on James Joyce's novel ULYSSESS (probably the most famous stream of consciousness novel) . But unfortunately, this Joseph Stryker adaptation is quite a disappointment, with nothing new about the treatment of the consciou
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