After watching "The Man with the Camera", I reorganized some of my cognitions about the film. If Gilsten Johnson reorganizes the fragmented images into a mixed theme in the form of a diary, it is fascinating, then the image as a kind of Can the form of the record be dictated by the form of the text in its final presentation? We have already seen the separation of sound and picture in Alain Resnais' films. In "Last Year in Marienbad", the image shapes a space of memory, and the narration (text) frames the meeting of men and women in the past, present, and future. Node, we begin to realize that text can add more meaning to images, not just as a simple interpretation, but to rewrite and reshape fragmented and blurred images, giving them new personal meanings. Chris Mark's "Sun and Moon Without Light" uses letters as text to connect the images of travel, mixed with personal emotions and associations, and spreads into a process of travel and thinking. Among them, the most common is the glimmer of Tokyo, and Chris Mark enjoys it. Feeling the diversity of Tokyo, leaving a deep love.
While film teaches us a new visual discipline and way of telling, text changes and expands our notion of how the image is reconstructed and the boundaries of which we can expand. Sound and picture are the standards of viewing, and innovative artists separate sound from the original picture to create new creations. The collection of fragmented images is the collection of the world, and the emotions and annotations make everything in the world go away. Close your chest.
In "The Sun and the Moon", Chris Mark looks at the sleeping passengers in the train, watching their faces with the camera, and it is interesting to associate different types of movies according to the appearance of different people, here the camera acts as a human The eyes record what they see, and the edited movie images are presented as associations in the brain. Its fun comes from authenticity and privacy.
From the day of its birth, the film has gone through the photography and carving in the silent period. After the charm of the image has been amplified, it has entered the sound era. We have made a lot of whitewashing or compromise in the choice of sound and picture to form a sense of distance from authenticity. Therefore, In Dougma 95, it is mentioned that only ambient sound is used. Naturally, as an audio-visual art, only using ambient sound is a great difficulty and challenge. In Chrismark's travels, we switch arbitrarily in Iceland, Africa, Tokyo, Hong Kong, etc. The randomness in space and time innovates our cognition of the linearity of film, but before it is called a film Next, we limit the subject matter of it to letters. Letters are different from novels. The story of novels should still develop linearly, but the randomness of letters is really where you want to write.
Today, movies are almost seen as a product of entertainment. This means that, like other popular art forms, cinema is not considered an art by most people. Is the effect of movies really enough to satisfy our poor audiovisual desires? I think most people who love movies are looking for a poetic feeling in their exploration of images. Because movies give people the illusion of traveling through unreal memories, with the help of images, we sneak into other people's lives. A movie is a highly concentrated memory crystal, and we enjoy this poetic gap. The power of our fascination with literature is not only because the arrangement and combination of individual words can form our unexpected world, we can also take the opportunity to enter the author's heart and spy on other people's emotions. "The real images are connected in series, and the real emotions conveyed by a diary and a letter are more common.
If we accept what the camera is recording, we freeze our memory in twenty-four frames. As a fragmented image, it is difficult for outsiders to understand the connection. However, the text as a memory statement fills this gap that cannot be shared. As a creator, when sharing his own experiences and ideas, it is impossible to simply show meaningless fragments. Ideas, only narrative things make us understand. As an art form where space and time intersect, some great experimenters have already opened up the boundaries of images. We have experienced the illusion of cinema from the films of Tarkovsky, Rohmer, Godard, Alain Resnais and other pioneers. Form and a more visual aesthetic.
In Woolf's classic short story "Spots on the Wall", Woolf in the chaise longue associates with all kinds of beauty that makes perceptual consciousness flow freely, and in Chris Mark's "The Sun and Moon" We embarked on a journey of memory from the images of three Icelandic children recorded by the director. The idea was first, and then the images followed. We followed Chris Mark to perceive different regional cultures and the director to sigh the fantasy-like existence of memory and time.
It ends with Eliot's poem at the beginning of the film: Because I know time is always just time. Space is always just space.
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