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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