The content has nothing to do with the title. Just say a few points in an unsystematic way.
1. Towards the end of the movie, during the whole process of Casper sexually assaulting Jennie, the status and relationship of the two in the frame changed several times.
Throughout this period of sexual intercourse, Jennie stayed drowsy and Casper's consciousness was not sober. The confusion of the two during the sexual intercourse implied the superficiality and ignorance of the sexual consciousness of the immature teenagers. In fact, they were very conscious of themselves. There is no clear understanding of what is being done (the sentence "Jesus Christ, what happened" at the end). And Casper’s initiative and compulsion and the possessive and aggressive posture of his body in the camera (Casper’s body in the picture completely covers Jennie most of the time) implies the strong possessiveness of the male image in the process of sexual maturity. Passive female images are manifested as being objectified. Of course, the performance of this relationship between the sexes is more based on the premise that neither party has sufficient sexual knowledge. At the same time, the face of the character stripped off the screen is intended to conceal the character’s emotions, and even to remove the character’s individual identity. The sex within the lens is shown as a pure “action” (without the release of emotion, or even not aware of it). The pleasure of desire release), sex is no longer a way to express love, or even to satisfy sexual desire. For Casper (and all "half-mature teenagers") at this time, the meaning of sex is only possession.
2. "Semi-Mature Boy" has a very outstanding image of the author, especially the description of the "environment". The film takes a lot of time outdoors, narrating characters walking in an outdoor environment. Take the opening outdoor scene as an example.
After Telly walked out of the house, the rock music that was originally a voice-over quickly disappeared, replaced by noisy ambient sounds, and the meaning of the environment immediately appeared. The first shot first shows Casper who just appeared on the scene, and then shakes up the relationship between Telly and Casper. The scene is a small scene. The distance between the two and the camera is relatively close, and the characters still dominate the picture.
Then editing occurs. The camera moves from the environment next to the character to the two people until it becomes the focus of the picture and starts to follow the movement of the character. At this time, the scene changes to a big scene, and the camera begins to show the characters walking in the environment. At the same time, it is surrounded by the environment, and at the same time uses different methods to strengthen the leading role of the environment: the environment of the object lies between the character and the camera, and the scenery sometimes occludes the character or even covers it; the intensity of the environmental sound sometimes reaches the dialogue The sound is almost equal; the telephoto lens is often used for shooting, and there is a large and difficult-to-visualize distance between the person and the camera; the environment spreads before the person.
At the same time, in the second half of this set of shots, the shots appear to be stagnant with irrelevant characters and their actions (the characters have been drawn but the shots did not immediately follow them). The irrelevant characters here are also part of the narrative environment, the environment The lag of the paragraph is symmetrical with the environment at the beginning of the paragraph before the characters' techniques, emphasizing that people are the people in the environment and are dominated by the environment.
The corner characters (including later instrument players, disabled beggars, homosexual couples, gang-beaten blacks) themselves are also used as symbols or symbols to construct and metaphorically abstract rather than concrete, physical environments.
3. When the girl image appeared on the stage, parallel editing became the core driving force of the film's narrative. The original one-way sprawling environment was divided into two into two-way pushing spaces, and two spatial fields related to people (male-female) and the environment existed. The differences are closely related. Take this scene where the girls first appeared as an example.
The differences that are almost visible to the naked eye, the time and space that arrives along the telephone line is completely different from the previous ones only in color. The color system dominated by yellow and brown has changed into a more gentle cyan and blue tones. And the audible changes visible to the naked eye do not stop there. Except for the soundtrack used in the boy's space, the soundtrack is immediately "cut", and the environmental sound has also undergone subtle changes. Outdoor sounds can still be faintly heard in the boy’s space, while the outdoor ambient sound is basically not heard in the girl’s space. The movement of the camera is also more stable, and there seems to be more close-ups, the camera and the character’s face The distance is closer. Although boys and girls are talking about sex in the two spaces, the completely different ways of describing the environment have also shown their attitudes, one is reckless and rude, and the other is calmer and more harmonious.
The editing not only alienates the two time-space environments, but sometimes also uses the partial synonymy of the environment to extend the context in the two time-spaces, such as the following clip.
The same method still appeared afterwards.
For example, in the middle of the film, the scenes of the boys and Jennie walking separately are edited together. The music and its intensity have not changed, and the "walking" consistency is emphasized in the movement of the characters.
For another example, in the second half, Jennie’s sad monologue in the car and Telly’s dialogue that lures the girl to go to bed are edited together. The scene and color are highly consistent before and after the editing point, and only ambient sound is used instead of the soundtrack.
4. The image focuses on the environment, while the narrative framework emphasizes time while reflecting the compression and circulation of time. This may be very few movies that tell stories in a specific time span. Starting from the morning, they follow the linear passage of real time, go through the afternoon and evening, and finally stop in the morning of the next day. This time structure It not only compresses the time itself, but also implies the cycle of time in the unit of "day". The meaning of the latter cannot be clearer. However, if you cut into the film from the former, you will inevitably find the peculiarities of the narrative. "Semi-Mature Boy" is a film with no narrative "rhythm". Even though the middle section relied on AIDS to give birth to Jennie's textual driving force to find Telly, this driving force still acts more on the image rhythm generated by parallel editing. Its greatest role in the text is to give a final foothold and ending direction, in conjunction with the clear time structure of the beginning and the beginning, and the sexual passages that echo the beginning and the end, giving the movie a plot-like coat. And the core arrangement of the so-called "story" is still documentary, plotless material organization, then the problem is that the real time is compressed into a "story", and the material organization is only a part selected from the overall time, but it seems But it seems to have experienced all the time. When the life of the local time can fully show the life of the global time, where does the time in the blank go? What is the use of this time? Perhaps each of us should ask the once young self this question.
2021.03.25
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