If a movie lends its power to mass production to create falsehoods, create clichés, political simplifications, high-tech hedonism, and ideological distortions, and thus lose its own record or even reveal its true meaning, the movie may be sold. Own soul.
---- Michelangelo Antonioni
London, conservative London, 1966, Chinese people's minds a red 1966, trade winds, with red, cross the ocean, in a capitalist society has set off a storm of red.
Young people always hope to change. New things are as urgent as air to them. For the essence, they are often ignored by young people. Right or wrong. This is the business of historians. What young people need is the practice guided by passion. What is needed is the brave and wild spirit to
smash the old world, and the new world in creative ideas is the yearning of young people...
In their shouts, we also saw the tired faces of the homeless people in the Camberville Asylum, director Comparing the painted youth with the real lonely face of the tramp, it is a metaphor for everything that is true in this world. When we zoom in on a part, what we can see will always be the tears of human bitterness.
He, Thomas came out, and there, did he intervene in the truth or just to find the subject of photography. Humanistic attention is a term worth testing, just like how much suffering in the annual news awards is used as a prop, contradicting society The mainstream
youths of China wander around the streets in the early morning unscrupulously. The film uses a pair of nuns and a sentinel to correspond with them to imply their disdain for religion and authority.
This is a film worthy of deconstruction. Every shot contains your insights and inquiries about existence. Although it is impossible to predict who the end of the thinking is, the thinking connects us to the event itself. We It also entered the world of pictures based on the phantom of things.
The socialized life is the sum of a series of price symbols. When Thomas is driving Rolls-Royce leisurely, when the Model in the Studio is posing, and her front is a precious mink, Antonioni has completed a sociological study. Authentication, in a fundamentally different situation, each other is just the world in the eyes of myopia, trance and unable to penetrate into it. The motif of "BLOW-UP" has slowly appeared in front of us. When things are infinitely close to the essence, the truth will be submerged in the urgency of cumbersomeness and desire. The approach of technology is not the same as the approach of mentality. In the era of big industry, people often believe that the powerful force instills the framework. everything of. The widespread use of photography has made the public a slave to "seeing is believing". They gave up the inquiry during the time of the image.
The modeling of the model in front of the mirror in Studio is not only the state of affairs itself, but also the director's view of the state of things, a metaphysical inquiry into the essence of the phenomenon. How many things are in the light and shadow is the certainty of our perception.
When Thomas told the model to close his eyes and quit the Studio by himself, there was a child beside the fence outside. These small details travel through intentionally or unintentionally, withdrawing and intervening at the same time.
At his painter friend Bill, we heard Bill’s explanation of abstract painting. We think about contemporary art. Too many things are artificially sought after and interpreted. This not only increases the artist’s worth, but also feeds them. We tend to be superstitious of commentators who are slanderous, so that we no longer have judgment.
In "Zoom In", the director is not virtual in the character, he constantly intervenes in the story itself to speak with the lens and details.
In the era when people talk about it, interpretation even surpasses the role of the work itself. "I don't know" has become a characteristic of modern art. I discussed this with some abstract painters on the East Gallery. After all, it is not the era of Raphael. , It is indeed an era when no one can become Raphael. When art looked like the arms of a paint dealer, independence finally disappeared.
We no longer say that art has been raped, but some are just the creeping and bowing of art.
William Allosmith described "Magnification" in this way: their inner world is projected on the outer world of phenomena, and they are like us for the first time to realize that their inner world is colossalized or restricted.
Starting from photographing couples in the park, Thomas entered a void of facts. He tried to discover the truth but was swallowed by the "truth" and fell into the anguish of exploration. Reality agnosticism in Western philosophy has become the keynote of this film. The original empirical photography has been evaporated for no reason in the methodology of inquiry. Then, what is seen and known, "I think, therefore I am", then whether it will We have long been covered by mental illusions, and the original self is modified by imagination, just like happening in a black hole, without truth or fictitiousness.
I personally think that Thomas' play with the two girls in Studio represents a kind of indifferent and unconsciousness towards himself after the collapse of the value system in the 1960s. The behavior itself is just happening without the need for explanation.
The film seems to be discussing the philosophical nature of the world of phenomena and the unpredictability of human behavior, such as propellers bought by Thomas in the antique shop. As for the rock music scene, Antonioni’s thoughts on this cultural phenomenon are just a matter of fact. When Thomas walks out of the rock music scene, the fragments of the guitar no longer have any meaning. , Ignoring the changes of things, and getting farther and farther away from the essence of things.
As for the final game, it was just the director's reinterpretation of the meaning of the title. I think it was a snake foot, because such a deconstruction is somewhat deliberate. At least not Godard's sound and picture opposition in "Famous Carmen" is easy to do!
Someone asks what is real, and then I said: The life we perceive is the reality, and the interpretation of others is just the way others entertain themselves and dispel loneliness, which has nothing to do with us.
[Appendix: Film Information]
"Zoom: Blow-up" 1966 British MGM
Director: Antonioni
Starring: David Hemings, Winnesa Redgrave
Length: 111 minutes
Award: 1967 No. The Palme d’Or for Best Picture at the 20th Cannes Film Festival
Saturday, March 6, 2004 at 23:51
Independent film critic: Osama kavkalu at Midnight at Jackdaw’s Abode
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