Here's a rundown of the thriller about the pervert murderer. After watching "Moonlight 2018", I stood on the subway heading for Zhongda University, my thoughts were flying, and I wrote the following notes on my mobile phone:
Darkness: The killings take place during the day as well as at night. But the night allows viewers to see less information. Fear exists in imagination, and fear exists in consensus. Therefore, the movie should guide the audience's imagination to develop in the direction of fear, but if there is too much disclosure, and even all the information is revealed with certainty, it will be as if the case has been solved, and the resolution is the resolution, not the suspension. . The fear lies in the unresolved.
Masks: Masks work similarly. Face is the most reliant way of identifying individuals, and face occupies the highest level of identification/aesthetic hierarchy in the description of character characteristics. The mask delays the identification of the identity and blocks the audience from the truth. And once the killer wears the mask, the camera will close it up, and at this moment, the fictional mask replaces the real identity of the killer. For a curious audience who wants to know the truth, the close-up itself is a provocation - even if you can see the mask in front of you with your eyes, you still have no way of knowing the face hidden behind the mask. From this point of view, "Scream" pushes the dimension of the same type of horror film a step - it not only uses a mask to visually cover up the murderer's face, thereby provoking the audience, but also uses a voice changer to provoke the audience. Audible confuses the audience. Poor audience, even though the movie has revealed so much information visually and auditorily, even if you seem to be at the first scene and helplessly experience the murder, the information you have is still of no help in solving the case. Masks and voice changers not only isolate the audience, but also reserve enough stage space for the murderer to arrange a positive scene, which is really standard in horror movies. So from this level, Michael has no way to speak, it is a waste of a dimension of terror that can make a difference.
Stupid stuff: The stupid stuff in Halloween — where characters leave safety, go into the unknown, and get killed — feels like they’re designed to speed up the narrative and make conflict happen sooner. Is the fear lessened by the stupidity of the characters? I feel yes. Going into danger because of stupidity is actually making a choice, choosing to face the danger with a greater probability—that is to say, choosing a greater probability of certainty, choosing to make the danger more likely to happen—and This certainty undoubtedly reduces the suspense in horror works. So the obvious stupidity can be regarded as the screenwriter's incompetence/lazy, and it is simply self-mutilation to create an atmosphere of fear. But in terms of narrative rhythm, the stupid behavior of the characters will directly lead to the acceleration of the rhythm of conflict. In the one-and-a-half hour movie screening time, it was because of the abrupt and stupid behavior of a few fools that the audience could see more bloody excitement.
Thriller, horror, ghost, or going to the cinema: Going to the cinema? Thriller is the first choice! Tension with everyone, let the fears spread to each other, even scream together, and then smile, this special movie viewing experience can only be given by horror movies. Watching a horror movie in the cinema: an artistic experience that makes people forget themselves, go to the virtual world, and realize that they are in the real world.
(Viewed at APM, Kwun Tong, Hong Kong on October 27, 2018)
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