movie urchin's fairy tale complex

The fairy tale style actually runs through the whole film of "War Horse". At the beginning of the film, Joey was just born, and the little boy gradually approached the stable from a distance. The film used a set of parallel montages to show the state of the pony and the approach of the little boy. Paradoxically, when the little boy approached the pony, under the action of editing, the pony had turned into a tall horse. This deliberate incongruity creates the illusion of a "suddenly grown pony" for the audience. And we know that the creatures that can "suddenly grow" can only be magical creatures, such as the unicorn in the movie "Unicorn Nick". When Joey was captured by the Germans to pull military equipment, Joey even volunteered to replace an old and weak warhorse with a heavy weapon. At this time, Joey has become a typical hero in a genre film, and he is completely different from the "Louqian" in front of the two masters before (it should be said "differently like two horses"). The director obviously used the technique of creating heroic characters to create the image of Joey. After all, Joey is different. He was born out of the ordinary and was bought back at a high price by the old farmer's eyes. After all the gunfire, he finally escaped. There is also a special "mark" born on the forehead, which has become a proof of its identity in the chaotic era.
Just as Hitchcock liked to leave a "signature" in his works - he showed his face in each of his works, Spielberg's films also have a distinctive "mark", but this mark It's not used very often, and it's very obscure, it's a way to make an effect. This "mark" I call "emerging danger". In "Saving Private Ryan", the US military team looking for Ryan stopped in front of a wall to rest. Everyone was talking and joking, and there was nothing unusual. However, when the wall suddenly collapsed, they were surprised to find that another German detachment was resting and chatting next to the wall. The same scene takes place in Empire of the Sun. The little boy Jim looks for a toy plane that flew out of the safety zone. He jumps on a seemingly ordinary mound, only to find a group of Japanese soldiers resting on the other side of the mound. In "Schindler's List", this "label" is presented in the opposite form. We do not see a scene where Jews suddenly meet a group of German troops, but inadvertently captured by flashlights during the night search of German soldiers. A group of Jews in hiding. Slovenian scholar Žižek interprets Lacan's theory in his monograph "Squinting: Looking at Lacan through Popular Culture", which has introduced in detail the embodiment of Lacan's theory of subject structure in film and life. He used the toilet as an example, and there was no incongruity with flushing the filth down the drain with the toilet after our convenience was over. And when the toilet breaks down one day, and the stolen goods are not flushed but overflowed in large quantities, it will create a sense of unreality in our psychology, and we will feel a little panic. ” warning sign. In Spielberg's film, this "sudden danger" is similar. Knowing this, it's not surprising that we see a similar approach in War Horse: The little girl adopts Joey and another dark horse, and then rides on the grass while the grandpa smiles at one end of the hill. With them, everything is so peaceful and leisurely. However, after a while, the little girl went over the hillside and disappeared for a long time. Grandpa hurried to the past, only to find that a large group of Germans were catching the girl and her horse at the other end of the hillside. The tranquility on this side of the hillside contrasted sharply with the spectacle of danger posed by large groups of German soldiers on the other side. The shocking effect of the sudden outpouring of the danger lurking around us is as overwhelming as the sense of panic brought by the filth pouring out of a broken toilet.

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