Once this triggered a reflection on the film itself

Antonette 2021-12-09 08:01:21

In 1940, on the eve of Disney's golden age, the collision of classical music with painting and film seemed to herald its coming glory. In this movie, especially "Toccata and Fugue in D Minor" and 5 "Intermission", we can flash in the color of the inner panel and the collision and distortion of the line board, which is delicate and dynamic under the rhythm of the music. The mysterious and unpredictable, a kind of visual fluidity emerges, just like the motif of "movie itself is rhythm" explored by abstract movies. Presents a kind of dream and hallucination. What's more interesting is that it breaks the boundaries between people and animation. There is no sense of disharmony from symphony orchestra to animation. This lies in the use of light and the psychedelic caused by light and shadow of the plate. The film not only responded to the development of Dadaism and abstraction in the previous film, but also played a leading role in the exploration and development of later films. It even has a kind of fable. For example, the last piece is a combination of "Ode to the Barren Mountains" and Schubert's "Ode to Our Lady". It is a fusion of drama and music, revealing death and faith. This dark style has broken through children's animation and is moving towards adult animation. You can even see many animation sources of "Masked Wall" inside. The presentation of Soul, Demon Castle and Hell are all very similar. The fun and imagination in other films are also amazing. Combining the brilliance and integration of Disney in the 1940s, it is a feast of artistic conversation between great animators and a discussion of the film itself. As frank, lively and passionate as a group of children, and as deep and wise as a wise man. In fact, after watching this film, I was thinking, where should the animation or the movie go? The rapid development of new technologies has never stopped, just like a young person who is constantly chasing new technologies. Compared with other arts, film is a latecomer, and film cannot be separated from technology. In history, technology almost destroyed film and saved film again and again. Film itself has a rather ambiguous relationship with technology. In the 21st century, when we are thinking about how to face technology, we look back at such a two-dimensional animation, which is full of the softness and vitality of the animation lines and colors. In fact, just like painting, the appearance of impressionism is also to counter the impact of realism and the impact of photography that is more realistic than realism. As the Impressionists believed, if we pursue the ultimate reality, why not use the camera directly. In the face of new technology, today, when we are trying our best to maximize the visual reality of movies, and facing the situation that the masters call "the movie is dead", we look back at the past exploration of movies and become more enlightening. Sex, what is the movie?

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Extended Reading
  • Aracely 2021-12-09 08:01:21

    Disney can't do this kind of thing now. Does the finer hair effects and more amazing spectacles help the animation itself? No, and on the contrary, it is a manifestation of lack of imagination

  • Treva 2022-04-20 09:01:41

    This... almost fell asleep too...

Fantasia quotes

  • [longer introduction to "Dance of the Hours"]

    Deems Taylor: Now we're going to do one of the most famous and popular ballets ever written: the "Dance of the Hours" from Ponchielli's opera "La Gioconda". It's a pageant of the hours of the day. We see first a group of dancers in costumes to suggest the delicate light of dawn. Then a second group enters dressed to represent the brilliant light of noon day. As these withdraw, a third group enters in costumes that suggest the delicate tones of early evening. Then a last group, all in black, the somber hours of the night. Suddenly, the orchestra bursts into a brilliant finale in which the hours of darkness are overcome by the hours of light. All this takes place in the great hall, with its garden beyond, of the palace of Duke Alvise, a Venetian nobleman.

  • [longer introduction to "Night On Bald Mountain" and "Ave Maria"; last spoken lines]

    Deems Taylor: The last number on our Fantasia program is a combination of two pieces of music so utterly different in construction and mood that they set each other off perfectly. The first is "A Night On Bald Mountain" by one of Russia's greatest composers, Modest Mussorgsky. The second is Franz Schubert's world-famous "Ave Maria". Musically and dramatically, we have here a picture of the struggle between the profane and the sacred. "Bald Mountain", according to tradition, is the gathering place of Satan and his followers. Here, on Walpurgnisnacht, which is the equivalent of our own Halloween, the creatures of evil gather to worship their master. Under his spell, they dance furiously until the coming of dawn and the sounds of church bells send the infernal army slinking back into their abodes of darkness. And then we hear the "Ave Maria", with its message of the triumph of hope and life over the powers of despair and death.