(The title is a kind of rewriting, as if Jane is in the movie but not in the movie, showing traces of the director's reading and re-creation.) I start with Tom's intrusion. Similarly, I might think of Jane playing the piano at home, after all, he was very abrupt about the surrounding environment. However, it is worth thinking and paying attention to. From the perspective of rhythm and rhythm, Jane's piano playing is still a stretch and an explicit reveal to Jane, while Tom's intrusion constitutes an arrogance and an implicit truncation. Our Jane obviously has a familiar, at least familiar feeling for this young man. But he was too disappointing and annoying. First, I dozed off while Jane was reading aloud, and then arrogantly commented that Jane's writing was nothing more than a feminine sadness. At this point, Tom's arrogance is a bit sharp, although it can't be said in a sentence. The femininity and talent that Jane maintains within herself is cut off by arrogance. If it’s not clear from the scene that Tom breaks in and Jane burns his own manuscript, it’s not clear what this cutoff means for Jane to “become Jane”, then look at the next two, playing cricket and going to the river. Scenes. In the scene of playing cricket, Jane came up to catch Tom’s ball. First, Jane responded to Tom’s arrogance. Second, by participating in this sport, Jane was considered to be like a boy. This is what his brother said, Tom asked Did she play before? Her brother replied to Tom that Jane grew up playing with boys. With the director’s classical space, many shifts have taken place in the cricket scene, such as Warren, Wesley, and so on. When necessary, these transfers were re-exposed by the director to talk about matters. Then, taking advantage of the fun, just ran to the river. Jane and Countess Fryd followed behind their brother and Tom until they saw that brother and Tom were naked and jumped into the river, and they both returned in disappointment. This scene is more obscure than Tom's intrusion and arrogance, but this is precisely the second cut in the film I want to talk about.
Let us compare these two truncations. The first cut, including the subsequent conversation between Jane and Tom in the library, Jane’s femininity was reset by Tom into a kind of ignorance, but this ignorance not only means ignorance, more importantly, Tom recommends "Tom· "Jones" is shown to Jane, telling her that for writing novels, openness is more important than femininity. In the second cut, they experienced a twist and turn from joy to depression. The female sex was blocked by the river by something invisible, and they had to return. In the following text, we will also go back to these two truncations, and I try to point out that the first truncation is associated with the elopement in the following paragraphs, and the second truncation is associated with the return in the elopement.
2. Repeating and getting lost;
Tom really enters Jane’s rhythm-entry in the sense of flow, not in the sense of encounter or collision. Although encounter or collision is always accompanied by always, I emphasize a kind of flow. Convergence-Yu Jane started to read the book that Tom recommended to her like a babble. In this passage, the director made Tom’s reading sounds appear one after another, echoing in Jane’s reading, forming a rhythmic repetition effect. With the interplay brought by the repetition, a kind of female loss caused by truncation (first truncation) is exaggerated (starting with Jane graffiti of a paragraph, including clipping, to vent her dissatisfaction with Tom, as her sister said What does she want to say? Obviously, she herself does not fully understand.) So, when the interlaced emotions of the texture (body) are guided by arrogance, dissatisfaction, and prejudice, the emotions will not be able to communicate with each other. At the second prom, as soon as Jane appeared, the camera moved away with her one by one. The surroundings were blurred, as if entering a noisy and disturbed maze. Then she met Wesley and danced with Wesley until an inadvertent stagger, Tom In front of her again, her state changed suddenly. The previously lost time and space was occupied by Tom, and we can think of this as gain. The highlight of this scene lies in the interlacing of the textures (body) between Jane and Tom, whispering to each other. When the dance music ended, Wesley realized that he was no longer in the center, and unknowingly went to the edge, which made Wesley and his aunt quite uncomfortable.
3. Symbol: letterhead;
The reflection of the writing in the film, in addition to the two abbreviated letters and the novel, is another two very turning letter papers, one of which was written by Warren to the justices, which caused the justices to be furious, and Jane was lost to Tom. Yu had to return home; the other was a letterhead sent to Jane's father and learned of his death. It may be said that letterhead served as the most direct bearing of the male words of the time, because not all words can be officially said. Just like the conversation between Tom’s uncle and Tom at the beginning, the uncle said to Tom that the true essence of the law is not to maintain fairness, but to protect the property carried by the status and status. The status and status require Tom to make value. In order to inherit the uncle's estate. Including later, Jane asked Tom, isn’t the law just for justice? Tom said, no. Jane was surprised. Male discourse is intertwined vertically and horizontally in a kind of paradox. This is related to the meaning of Jane and Tom talking about the book "Tom Jones". Jane said that she felt that the novel should not only show the facts, but also show the thinking behind the facts. But if the fact is just a blank slogan, how can the thinking behind the fact be revealed? An equally important scene is that Tom takes Jane to see a female writer. Jane asked female writers, it should be feasible to be both a wife and a writer, right? The female writer disagrees. Jane still had hope. Therefore, Tom's hesitation in front of his uncle later caused Jane to suffer a third interception. This truncation became a bridge between the first truncation and the second truncation.
4. Truncate all kinds of things;
If the first cut off belongs to a new world in love, then the second cut off is undoubtedly Daxizhou in the personality consciousness. The broad panoramic narrative and vision included in the book "Tom Jones" is indeed what Jane thinks is lacking. On the morning of the elopement, everything was covered by such a wide panoramic view, because the sun was too good and the surroundings were too quiet. At this time, the director's camera was also intentionally shaken a little, uncertain and emotionally excited, carrying a pair of young people to create his own future. If there is no that letter, maybe Jane still has doubts and concerns, but it is difficult to look back. But the letter gave Jane a chance to hesitate. Taking advantage of this occasion, the third truncation wandered back, and its wonderful thing was that it was actually connected with the second truncation. So it is no longer in the simple sense that reason defeats emotions or reality defeats ideals, but "becomes Jane" in the writing of the title. In the second truncation, female sex was invisibly rejected. What Jane has been thinking about is the freedom coupled with literature, not the freedom of reality. If she loses this association and coupling, then the meaning of reality will become difficult to predict and obtain. However, she can't rely on anything and can only turn back in the end. When she returned home, the pointer of the clock was still at the beginning of the film. It seemed that nothing happened, just like a short-lived creative experience in literature. The kind of Jane in the sense of "becoming" is the Jane coupled with literature. But if you don't experience such a truncation, this meaning is very unclear and difficult to establish.
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