In the past few days, I felt I had no time to write a lot of things, but after discussing and discussing my feelings, let’s write about it! However, I was disappointed when I finished writing, because in the end I did not fully demonstrate where the technology was integrated, and fell back into the comfort zone of the previous text analysis. Of course, I still hope to use this "over-interpretation" to provide a perspective, and make changes if you have time! #Drag to ddl's job limit operation to write a movie is really happy#
This article can be found on the WeChat public account "Gyro Movie"
The script criticism of "Gemini Killer" may have been repeated too much. From another point of view, when the audience outside the film is faced with an "outdated" genre script and can judge straightforwardly, the subtle distortions in the traditional model may be easily overlooked.
For example, how is the standard supporting actress in this special agent film different from the past?
She is still powerful, still able to do well in the system, and still serves as the object of desire to a certain extent-but these are more trivial details that are repeated. When she encounters no longer a suave male agent, but a "twin" collided by technological inventions, her position may no longer be an extension of a male unitary central structure.
The split of the core role seems to have created a free space, so that she can not be caught at all times. And to become the "audience" of the split of "watching"-the film may not have sophisticated dramas, but it cannot be without a unique structure for "watching". This forms a hierarchical nested role with the "audience" outside the play, perhaps it is our entrance into the film.
In the prologue, the film seemed to make a secret joke with the audience-"The train leaves the station". It does not drive towards the eyes with a slow and solemn solemnity, but in a fisheye lens divided by a four-sided black frame, it whizzes by in a high-speed motion with only a little blur.
If the "Train Into the Station" more than a hundred years ago brought the "real" video world to the audience, Henry's initial mission more than a hundred years later was to snipe this high-speed "video" train.
After the audience witnessed the instant tremor of this space contraction, Henry will complete the interception of the object of fear and establish a miniature "trauma-repair" model.
In fact, a side-piercing gaze has been built into this Mercedes-Benz train. The assistant Marino, who was subsequently murdered, was already in the position of a "watcher": he was in a close range but not really involved in the whole process, and even faced the horror of death and shot a video.
This dazzling testimony of his presence marks a kind of false "immersion", a traditional illusion of onlookers and contemplation.
Henry ordered the deletion of the video, which is the professionalism of the agent, and it is also the "shooter"/"photographer"'s alertness to the horrors of reality-this stems from Henry's recognition of his own "authenticity". This seemingly light and actually scornful viewing mode of "reality" itself has been questioned in this behavior.
The identity of the "audience" in the film will then be assumed by Danny.
Danny's original identity was a worker at the ticket office of the dock. At this time, she lives in this stable house with bright colors but not really noticed. She is a seemingly stable watcher. The room is the externalization of her highly skilled and hidden "watching" technology after repeated training by DIA. ——She peeped at the tourists outside the window, they rushed and didn't pay much attention to her, because she was just a transit point in a series of processes. It is precisely because of this "Island of Rivers"-like nature that she can generally observe the outside world cautiously or recklessly in a dark box.
However, for someone like Henry who has the same keen vision technology, the location of this surveillance can be disrupted. He is very familiar with the previous staff, and he has a full perception of the habits of ordinary people-he has a full "reflection" on this position. After discovering that he was being monitored, he immediately arrogated this "audience" space. Even if Danny had excellent cover-up skills, he could lead her out of the room in a roundabout way—and then pierce her.
This process shook the "watching" system that Danny had been trained by secret agents. On the surface, this system needs various identities as a cover, and inside is the "Henry file" passed down according to the secret service system, which makes a simple and one-sided judgment of his true existence from a long distance. When she walked out of the seaside restaurant to say goodbye to Henry, the film cut off the character’s possible "femme beauty" traditional trend on the one hand, and on the other hand, it also made her a voyeur's perspective with the identity of "senior agent" and "monitoring object" as the label collapse.
The conceptual expulsion of this visual pleasure from the film reached its peak at the end of the first act. The box office where Danny was guarded was completely shattered in a fight, and she was even more unable to find a stable position in the system that had previously given her the viewing mode —she could only escape, with a "real" Henry. Pi Xing Daiyue sailed from the river bay to the ocean, starting this journey to rediscover the identity of the "audience".
When did Danny discover a new "viewing" position? Perhaps in that thrilling car chase.
After Henry and Junior interacted several times through mirrors, sights, and even grenades, the camera suddenly moved from the river bank to the street, which was continuously receding, and pulled to the balcony next to the street. This is Danny and Baron New territory-but not an actively occupied "viewpoint". With Henry's lure to Junior's firepower, they could hide here and witness the wrestling process from a height.
At this time, the "real" Henry completed the imaginary asylum for the two "audiences". But in fact, Junior’s goal was Henry himself from beginning to end. The two “audiences” retreated from it but tried to break through the stronghold, in fact, it was only Henry’s fictional protective layer. It reversely induces the "audience" to find more favorable viewpoints and new viewing modes.
Danny has found a new point of attention—determining the relationship between Henry and Junior. If Henry is a self-evident "real" body, a living person; then as a replica of Henry, Junior seems to be a kind of "fiction", but in fact it is already a "super-real" thing with its own vitality.
Danny was full of fear but was attracted to watch them: this "super-real" body was so impenetrable, and his super-smooth motion was so condensed with speed and power that the intuitive horror made the audience unable to use it immediately. The gaze pulls it away; and this interaction between "real" and "super-real" makes the film conceptually chaotic.
After a terrorist attack that directly pressured the body, Junior died suddenly , and Danny could only pick up the dropped black hat-it was like a strange and charming remnant of a nightmare, a living trace of a ghost sneaking into the real world. , It broke the boundary between true and false, was squeezed into the perceptible world, and tore out a new thread of time and space.
Danny also broke away from the "observation" that had just been immersed in the trance, and took a calm look again. But she failed again, and the filters of common sense and habit prevented her from confirming the scientific results. Rather than saying that she was hesitating about the relationship between Junior and Henry, it was better to say that she could not confirm the "realism" that filled Henry's body, and even had to confuse the two roughly.
This inexplicable chaos still has a fatal attraction for Danny. She began to gradually abandon the external ways of alienation in the past, and decided to observe this character chain in depth. She is not only a bait for Junior, but also a target seduced and captured by Junior's relationship with Henry.
In the empty square, Danny changed from an audience to a figure in the center of the stage, and was only watched by Junior and Henry. Junior stood behind the iron fence, and the shadow outlined his stiff movements, like a clown trying to invite Danny to join. She was originally a "watcher" who only needs to see with her eyes, but in Junior's examination of her, she must expose her body, not just her "eyes".
In the pool on the patio, she saw her body and Junior being mirrored on the same plane- two bodies that seemed to be the same "real" were collectively contained in this flickering mirror. The "audience" and the "super-real" ghost who withdrew at any time, witnessed this precious and real "illusory" moment together.
Junior's reverse restraint on the observer has quietly shattered her protective layer. She must join the fight physically instead of just eyes; and once joined, "watching" is no longer a full-time job of "eyes", but a part of "body".
The next battle scene of historic sites can be called the climax of the change in Danny's way of viewing.
As he gradually entered the underground space, Danny pretended to worry that Junior would not be able to complete the ambush in the dark. Then she was deprived of the qualification to watch in the light by the Junior who had been prepared for a long time, and became a bound and banned audience - she even almost actively chose this falsely abused position, which seemed to retreat. The action became the foreshadowing of the sudden advance.
After a conversation that revealed the identity, the identity of Junior was also disintegrated. This is an explosion after the identity of Henry and Junior have been shattered. They fell into the darkness of the ground, surrounded by piles of bones—everything seems to have to be redefined in the frenzy of dying. .
When the two started fighting hand-to-hand, Danny, who raised the gun and the light source, couldn't get close immediately, but she tried to take the lead in this game-through this gun. The dazzling white light fanned out from the background to the front, outlining the outlines of the two limbs. It turns the fight into a distorted dance, and it is like a judge making a difficult judgment on the two.
"I'm going to shoot!"-She kept declaring her own initiative, but actually lost her sight in the two bodies that were almost unrecognizable. The viewer at this time is no longer a bystander, she has truly experienced this deep entanglement between reality and super-realism. The light shot in the dark becomes a metaphor for a camera. She has become a person holding a camera when she raises the gun and screams "shoot"; the weightlessness of light has also become a sign of the extreme anxiety of the viewer/photographer/creator. This is such a difficult "watch" mode transition that it can't be done with that beam of light.
The space breakout at this time has become very intriguing. In the depressive underground space, the two dashing from left to right unexpectedly fell quickly after breaking through a wall and fell into a round pool-beginning the reenactment of the trauma of Henry's childhood drowning. From Danny's high angle of view, they seemed to be just two ants, jumping into the amber that was about to condense, performing the final struggle before the end.
As a viewer, Danny has entered a contradictory state where a high concentration of attention and a complete trance coexist, but he can only save this chaos to continue his "watching" and to suspend the fear of "shooting". She must dance with them in transparent but fluid water (or a more wandering "watching" movement), so that while distinguishing the identity of the two and re-identifying them as clear objects, she imaginatively emphasizes Constructing one's own "audience" personality -although this position can only be constructed with whole-body perception, it is no longer the same.
After this battle, she retained the onlooker in form, and in fact has truly intervened in this heavy contradiction, and has even been defined as a necessary condition for the continuation of the tension in this contradiction. In other words, on the one hand, her "watching" itself, like the object she is watching, possesses the characteristics of trance and suspension; on the other hand, she began to consciously use the two kinds of "real" tensions to maintain Henry and Junior. Interaction -she must save Henry from the nightmare of water, but can't let him die. The way to save is achieved by shooting/filming the "super-real" Junior. Perhaps only by getting close to the ghost that cannot be separated can we save the "real" and capture a new "real" picture with the collision of the two.
If the night play in the underground darkroom marks the disappearance of all solid "realness" and "gaze", then the crystal clear flow in the pool gives birth to a new vision of "viewing".
Danny had truly moved away from the peeping room.
After experiencing two "real" baptisms in succession, Danny, who joined the battlefield, will also experience the horror of watching the younger Henry with other characters. At this moment, the eyes of the audience, Danny and other characters seem to be truly integrated with the camera. Xiaoke opened a gap with Henry and Junior in a movement that was almost like a thief, and became a horror phantom even worse than Junior's first appearance.
It’s like seeing for the first time the clones in "Blade Runner" running and jumping in a highly linear fashion like a mechanical ballet. At this time, Henry, Junior, Danny, and the people in front of the screen, when facing Xiaoke, they all became together. A new hesitant "audience." Xiaoke's death is no longer the same as the death of the "terrorist" at the beginning, it can be simply recorded and joked. It leads to new dangers and temptations, and plunges us into the unknown desert after further opening the door to "reality".
Is he a cold, illegal copy or is he as "human" as we are? Where should we define and perceive its movement? How can we further explore our physical and mental perceptions to eliminate this fear? After changing the way of "watching" many times, can we easily return to the healing memory of "training into the station" at the beginning?
Danny's sweet dream as an "audience" was once again shattered. She had to temporarily return to the visual mechanism that saw Henry and Junior relatively clearly and separately-at least she could treat the "real" and "super real" in this level with peace. "The juxtaposition. Perhaps, she is faintly looking forward to the next horror, a horror that seems to be the fate of the "watcher" but has deep possibilities.
In summary, Danny's "viewer" position in the film can be linked together. From a voyeur to an intervener who has experienced the "inhuman" horror. Her stylized visual experience has disintegrated, her eyes merged into her body, and she participated in this wild dance of concepts concerning the survival of the "real". She has endured hundreds of thousands of hesitations and even lost control, and her trance has become a fable of the "audience" that is stuck in technological change. The viewer seems to always try to embrace the reality, but in the process of embracing as much as possible, they will inevitably discover the true aspect of the illusion; and the recognition of this partial reality cannot solve the problem of judging the "truth" of the image life once and for all.
"Gemini" does not seem to be a well-known "gemini", but more of an image that can be copied infinitely but is by no means just a "copy" attribute; and "Man" is not only a killer, but also a "viewer". People with fuzzy attributes such as "Photographer" and so on. What are the technological boundaries that have been copied and reshaped by "Gemini"? Where is the end of "Man"'s identity evolution? The film did not actually give a clear answer.
In this way, perhaps the "Ang Lee" projected in the movie is also a hesitant viewer. He is not trying to make technology the external carrier of "content", but trying to use the transformed technology to reflect on the technological change itself, and explore the "viewing" effect brought by this "upgrade" in a vertigo and mixed sports feast.
Under this assumed technical coordinate system, we were able to experience a "watching" change in just two hours. And return to the "watching" thinking in the movie from outside the movie:
Why did the "real" I chose become "real"
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