one. Restoration of Ghost Voice
At the opening of "Annette," we hear a vague song that lasts about 10 seconds. It's from 1860, and it's far older than Muybridge's horses and Lumiere's "A Train in a Station," but Compared to the black-and-white image that has become a cinephile symbol—the only art form with a definite date of birth—the voice on the tin foil breaks the accepted birthdate of the recording: Edison's 1877 recording of "Mary and the Little Sheep" .
The limitation of recording equipment makes the ontology information - the 18th century French folk song "To the Moonlight" - unrecognizable, and its floating in the film brings a kind of strangeness; in "Annette", we can always find The ghostly ontological tendency of a sound. In other words, the sound that cannot be fully synchronized with the image breaks the contractual value added by the sound to the vision, and reiterates the fact that the vision and hearing of the film come from different installations.
Metz, Baudry see cinema as an ideological machine in the mirror stage, imitating the visual process of people, but what about hearing? Film theory and creation, from classic to contemporary, seems to follow a certain assumption: hearing is absent, or at least repressed.
two. So may we start?
"Annette" sound is the source of the image, not a derivative. The first scene of the film shows the noise invading the streets of Los Angeles with a red waveform. The sound (music) not only controls the scale of the synthesizer, but also cuts, The reverb plays with the looming presence of visual elements. Turn images into visual concrete music.
In this passage, Henry's "So may we start?" is far from an imperative sentence on the surface, but in fact repeats the command at the beginning of the film: Now, please be quiet and hold your breath until the end of the show, during the show , breathing will not be allowed.
Fundamentalist classical viewing requires that all sounds that are different from the picture—whether from the speakers or the audience’s body—are replaced by harsh picture logic and closed-loop narrative. "Annette" most of the time imitated the musical films of the big studios of the Hollywood period, and the time when the sound entered the film was basically the same as the heyday of the Hollywood model. Mainstream types of capital and technology. In terms of sound, synchronization and on-film vocalization expand the scale and weight of the recording in the film, but anchor it as speech, the overarching visual order, the actor's body, the set, and the motivation-driven hallucinatory narrative that dominates, classic Hollywood The psychology behind the machine ensures that we can't notice the presence of certain elements in the film, be it editing or sound.
Amid recent revivals of classical genres like Damien Chazelle’s La La Land, the retrospective fascination with Los Angeles comes from a certain media landscape stacked with Hollywood films. The parody of Calax's Annette is the opposite of this kind of virtual nostalgia, where the ghostly voice doesn't really leave, but becomes a dark waveform that drives song and dance and narrative, emitting intensity, perhaps even perhaps, to the narrative as well as to the viewer's perception. Tear it into two films, possibly at any moment during a weird night in the unhappy married life of Henry and Ann, and crystallize into a freak—whose birth is accompanied by talk-show canned laughter, It's Annette's history.
three. time quake in hollywood
The restoration of sound itself is ultimately only a metaphor, reaching the deep time of the film medium through another perception. Since his last film, Sacred Car Dealers, in 2012, Karax is trying to retool the film as some kind of humanoid/non-human machine, and in doing so return to the baroque imagination of early modern science or attraction cinema, in In "Holy Car Dealer", actor Oscar rides a limo through the urban area of Paris (reconstructed by the video type) and becomes a variety of characters. The future of CGI and digital cinema evokes a certain tradition of historical avant-garde; and In Annette, Annette's arrival and survival are a time-quake in Hollywood, Los Angeles, the center of the cultural industry. In a contemporary age where the imagination of the future cannot be generated and can only be maintained by hyperreal nostalgia, the time of the past begins to replay.
The wrong marriage was buried in a storm. This disaster seems familiar, but it doesn't seem to have any convincing today. We have every reason to doubt that this part of the collage is from the studio set of the silent film era, pointing to "Sunrise" and other Hollywood In the classic scene of the silent film period, Ann did not have the unnamed heroine in "Sunrise" who was resurrected at the last moment with a happy reunion, but Annette survived. Etymologically, she is a scaled-down version of Ann, Ann's trauma. For the audience, "she" is a silent and rigid puppet, and it is also the most bizarre expression about the film medium.
Annette is the intersexuality born between the two tendencies between the humanoid/nonhuman in the film. The lack of frame rate prevents her from being truly human, as we saw in early silent films, which tend to use 16 frames instead of 24 due to film limitations, and the lack of motion affects the aesthetics of the film. Burlesque, stick comedy became one of the main genres of the silent film period, the hilariousness of these films is that the characters are stripped of their spirits and become mechanical devices. With the introduction of sound and color, film is more and more qualified to present a tragic or dramatic narrative, and the human/inhumanity of film as a mechanical device is obscured, but not lost.
She is a "contemporary" wonder, a morbid fascination with her linked to the delirium of capital proliferation and the obsessive subculture of global unity. In the second half of the film, the transmediation, commercialization ("exploitation") of the silent wooden doll throws Henry into a process of globalization-homogenization. Whether it's Paris, Arabia, India or Beijing, "We Love Annette" always appears in a variety of languages. Henry's sense of time was immediately deconstructed by the airport hall, high-flying flight and the chaotic jet lag. The world becomes a non-place. Prompted Henry to continue to devote himself to the schizophrenia of capitalism. In the second half of the film, he remains in a morbid high and worldwide hedonism, chanting the names of the world's places like a mantra, "All the girls I see, in France and Italy, or in Roppongi, they are What do I see in my eyes?"
Whether it is a movie or Annette as a doll, her infatuation with ta is often negative. For Annette's fans, her attraction is that she cannot be a real child, "Baby" Annette hints A dead time that no longer flows. In reality, movies seem to be gradually falling into this period. Behind the mourning of "movie is dead" is the urge to maintain the stagnation of movies. Therefore, creators and movie fans often have a negative attitude towards the emergence of new media. From this point of view, it seems that we have never left the era of Einham, however, on the other hand, new viewing methods have embedded and reshaped our viewing habits, and movies can be received by screens of various media , but the viewer has to imagine the "real" way of seeing it - the theater.
The film itself is always haunted by the tension between positive and negative assertions. From "Sacred Motorsport" to "Annette," Karax attempts to tell a technical Pinocchio narrative. At the end of these films, both the vehicle and the puppet, the metaphors of the film, will finally acquire an inhuman vitality. With Annette's final performance in the Super Bowl, she used a childish voice to announce her father's crimes to audiences around the world, and then became a real child. The dark truth behind the evolutionary view of film is that the inhuman existence of this medium will also accuse the creator and the viewer's gaze in its individuation.
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