The daughter of the sea is also a complete idiot, because besides she likes the bright red flowers like the sun, she only loves a handsome marble statue that sinks to the bottom of the sea with a distressed ship, and she is willing to endure the dull voice for it. And endless physical pain.
As for the little girl who danced in red dancing shoes and died of collapse, giving her life for the stupid ideal of a tendon, this is really not worth it.
-Fairy tales are too non-dialectical materialism. The characters in the fairy tale are full of silly hats.
Someone seems to have sang "All fairy tales are deceptive", it seems that someone said to him crying.
But there are still people who are willing to put themselves in fairy tales. So later, the good guys invented the movie. One of the characteristics of the movie is that it allows people to only notice on the projection screen-because other places are black, some viewers with a rib will think stupidly. They are in the world on the screen—they forget that their buttocks are firmly pressed into the seat instead of shaking in the movie world. This unique condition makes the cinema a breeding ground and training place for fairy tales.
From the moment "Train Into the Station" scared the audience to run around, the movie intervened in the normal world and affected life. The audience can easily satisfy their wishes in the cinema, and scholars call it obscenity. During the tragic German occupation, Parisians seemed to live in Paradise Cinema. Truffaut’s machine gun-like narration in "The Last Subway" said: "The prohibition of the Shaw began at 11 o'clock in the evening, so people rushed to board the last subway and flooded into the theater to keep warm. The cinema was also full of people. It was full." "In June 44, the Allied forces landed in Normandy. Despite the hard days, the Parisians were still crowded in the theater."
Later Nabokov wrote the novel "Laughter in the Dark" to satirize these audiences. He teased the hero and heroine in his novel who were addicted to movies: Obinas "chewed like people in silent movies" when he ate; Margot "Always want to be a movie star, a decent hotel attendant holding a big umbrella to help her out of a decent car"; after she was desperate, she ran to the ballroom, "like the abandoned girl in the movie"; When she flirted, she made her eyes "gradually dimmed like the lights in a theater", but she often dwarfed her because of poor imitation. This is normal, because there is no NG in life, and no one calls ACTION or CUT. In the end, Obinas ruined his life. Nabokov made the love triangle in the novel fail awkwardly and awkwardly. The author unceremoniously sentenced this fantasy life to death.
He just wanted to tell us that even if you like YY art works like Emma Bovary, even if you have a boring other half like Charlie Bovary, you should stop at it, and your Bovary The husband leads a peaceful and dilute life. - The rising sun shines on Scarlett smiling face, when she changed his tune: "In any case, tomorrow is the same day -_- |||!"
Woody Allen also has a movie to life with The mixed story "Purple Roses in Cairo", he preached: Once (in the United States in the 1930s), there was a restaurant handyman named Cecilia, who was uneasy to wash the dishes and pans, but indulged in the fairytale romance in the movie. The bizarre Romance, in order to escape the mess around and the boring husband who has nothing to do, she immersed herself in the cinema and watched "The Purple Rose of Cairo" over and over again, fantasizing about "all strange and romantic places in the world", and believed in the pharaoh. Put a purple-painted rose beside the queen's tomb so that Yanyu Yingge is now covered with purple roses. ... Finally, it is incredible that when she saw that movie for the fifth time, the protagonist of the film, Tom Buster (here is a tribute to Buster Keaton, because Keaton also walked out of the film in "Little Sherlock Holmes") actually I saw her in and outside the theater, walked out of the movie, and started a romantic adventure with Cecilia that had nothing to do with love.
Of course, Tom Buster, who has been accustomed to the world of two-dimensional movies, has a straight-line simple mind and cannot adapt to the chaotic, three-dimensional world with shameful thickness. He hits a wall in the real world and does not know the "life in the real world." It’s not easy, people will get old, get sick, and never reach true love.” After kissing Cecilia, he stupidly waited for the surrounding background to fade out-because in the movie there is always a fading out before making love. ; He used his usual gentleman manner in the illusory world to treat people in this world, but in exchange for a series of hypocrisy and calculations. He heroically brought Cecilia into the "Purple Rose of Cairo". In the movie, they drank champagne in a high-end nightclub. The people in it were always witty and their love ended happily. But in the end, Cecilia needs to make a choice: whether to continue living in the movie fantasy or return to reality? As a result, her instinct told her that she must say goodbye to Tom Buster and return to the real world, because living in fantasy is a manifestation of mental abnormality. In the end she chose reality—that is, the United States during the Great Depression. Then, as it always appears in real life, she was overwhelmed by reality. At the end of the film, we saw Cecilia, who was running away from home, dragging the house, sitting in the theater with tears in her eyes watching the movie. The people in the movie were dancing, and some people sang in the background music: "Heaven, I'm in heaven~ A smile gradually appeared on Cecilia's pale face-she believed in fairy tales again.
According to this development, this movie does not seem to be over. Cecilia still did not escape from the predicament of life in the end, maybe she will walk into the next movie, maybe not today, maybe not tomorrow, but that is the near future, and the rest of her life. (~I am very happy to apply the lines of "Casablanca"~).
For Americans during the Great Depression, movies were the best way to escape. The economic environment of the Great Depression gave birth to low-cost, small-produced B-level films, and the emergence of sound films made movie audiences soar. With the audience’s tendency to watch movies, the studio has produced a large number of fairy tale-like movies about talented men and women and cowboy gangster movies. For a small amount of money, you can get a 90-minute escape from the dark. The two evils are the lesser one, and people flock to the cinema to seek to forget. Cecilia is just one of them.
Escape is not a permanent solution, let alone escape into the illusory world of fairy tales. One day, when the lights in the theater are on, the audience will inevitably wake up from their dreams. The soap bubble shining with rainbow halo burst, and the curved image it reflected suddenly disappeared, and what was left was just a little itchy damp rushing to the face.
Lu Xun said that the most painful thing for people is that they have nowhere to go after waking up from a dream. So some people prefer to let the dream never wake up. So Li Bai said, "I am drunk now if I have wine, I hope I will never wake up after being drunk." Zimei also "goes back to the river with drunkenness every day." This is a low-cost escape. When faced with the reality of flying sand and rocks, they did not make any choices, but followed the flow, followed the chaos and did not distinguish between right and wrong. Zhuangzi commented on the magicians of the world in the "Tian Xia Pian". He mentioned that Peng Meng, Tian Pian and others, who "want to change with things, give up right and wrong... Opinion, so cautious that you don’t really understand what Tao is. As for the disciples of Mozi who dared to act, although they had a fairy tale-like pure plan for the future that Zhuangzi did not like, Zhuangzi also sighed with regret: "Talents and husbands!" Because they made a choice, and Do it steadily.
So-are
fairy tales bad? Is it just because the fairy tale is too non-dialectical materialism, because the characters in the fairy tale are full of foolish hats? ——That's just what an outsider sees. The logic of fairy tales is not like this. Like Tom Buster, the person in the fairy tale lives stubbornly in the moral world that he believes in and abides by him. To outsiders, he is stubborn and naive, and he is so simple and even a little ridiculous. Mencius said: "Adults are those who do not lose their innocence."-This is the logic of fairy tales. The people in the fairy tale include the idealistic and self-willed Pushkin and Byron, and there are Mencius and Han Yu who are already unwilling to lose. The logic of fairy tales is not to lose the heart of innocence, that is, to make a choice, not to change, not to give up. They are like Cinderella's Cinderella and Hai's daughter.
Yan Gengwang lamented that Chen Yinke did not have a large academic monograph, and said that Chen Butuo was not a scientific worker in the style of a talented scholar and scribe: Chen was so indignation and regret in his later years that he “lost his reason to do this useless thing (referring to "The Biography of Liu Rushi")". In Yan Gengwang's view, scientists should abandon all feelings or knots and concentrate on the materials. But everyone does not know that this "genius and scribe style" is the logic of Chen Yinke's fairy tales, and this moral world needs him to guard with indignation.
Truffaut's logic is the logic of the movie-his logic is purely movie, without any montage and scene scheduling. He said that film is a game to prolong childhood: "In life, I am often criticized or attacked because I always love movies more than life."
I want to be a person in a fairy tale, because I am a complete fool. But that is too difficult, because not all dumb hats are in fairy tales. More fools are fools in the real world.
But I still want to be a silly hat in a fairy tale.
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