The Real's Terror : Image, Time, Space and People in "Being Realism"
1.notes
Do you want to question the necessary connection between new technology and new aesthetics & new ethics? Are you to believe that those adjectives marked by 120 FPS (such as gaming, smooth, TV series, and immersion) only mean an upgrade of simple visual entertainment/illusion? Stopping at the 24 frames of Abbas, has it become a double-headed forceps-layering the form and expression of the movement of film? And if the long shot as a technology has indeed opened up a complete flow of coherent time and space beyond the text of the image, and if it is affirmed that this new technology is indeed related to the fundamental properties of the image, how can we reverse/imagine a difference? time and space? - even if we haven't "seen" it yet.
2. From "Intermission" to "Gemini": The Symptoms of the Image
Maybe it's just pure coincidence - a symptom of PTSD, with the new technology marked by high frame rates reappearing in Ang Lee's video texts: especially when we notice that from "Intermission" to "Gemini" , this symptom seems to change from explicit to implicit, such as a suggestive internalization.
It is the first event that becomes the symbol: a high frame rate train galloping down the tracks-ground; spectators/passengers presumably sitting bored in their chairs and playing with their phones (some kind of hallucinatory projector); a The sniper, crouching on the heights like a director, aimed the camera at a "disguised" terrorist - and tried to stop the train; and inside the window, a little girl seemed to have a mysterious premonition of this The qualitative change of the speed field: the vector of space is critical to the threshold, some kind of horror atmosphere in the Middle East flashes at the speed of light, and with a command, the carriage is immediately transformed into a slaughterhouse or a press room - both of which are famous for their speed. .
What's even more remarkable is that this symptom is not just at the level of video text - it is contagious and has penetrated into the "movie sense" and even the "viewing structure": 24 frames seems to be a kind of trauma/pleasure Specific antibodies, once the "other" invades, will trigger stress disorders and even rejection... However, it is interesting that other images such as high frame rate games seem to stand on the opposite side of the movie: a high Frame gain effect instead of high frame fear - why?
3. Symbols of Different Time and Space: Towards Imagination and Reality
Try to make a rough comparison with high frame rate games: every frame of a video game originates from the current production of the graphics card, every frame is a clear creation, and the motion needs to be blurred - a kind of camouflage to generate motion, its time and space are still It is fake, because the moment when each frame is produced represents the "end": the end of the differential operation of infinite space and time; where the duration is cut off, there is even no duration at all, it is just a disguise, a kind of pure logic. movement-image;
And importantly, the high frame rate movie is the opposite - it still records reality, it still generates clear motion in reverse from each blurred fragment, in other words - the movie's differentiation of space and time never ends, it will always be There will be no end... and here it means that the original information of space and time will be preserved and the density will increase - and this density is life, even super-life, micro-life... It is innately moving -Additional information is added to the image, so we have reason to expect the difference in the nature of the image body of the game and the movie.
In this sense, the camera is regarded as a symbolic structure: it starts from the horror of unobservable reality at one end, and connects to the stage of imagination at the other end, so it can be said that the upgrading of imaging technology implies the compressing of the gap between the two (while the actual , games may also converge on this in the opposite way) - here we may guess that high frame rate movies will be more than some kind of human instinct in Bazin's description of the eternal commemoration of "living mummies", It's about another, perhaps diametrically opposite, instinct, akin to the eternal fear of the Uncanny Valley effect: from mummies to clones.
4. "Realism": Are New Ethical & New Aesthetic Values Possible?
Therefore, if we trust the so-called sensitivity and intuition, we will find that from "Intermission" to "Gemini", image and video technology are more and more deeply connected with "Terror"; Questions such as "unreal", "seem not for appearance but for spirit", "game feel" are indeed reasonable - so do we need to seek a new value to make a decision?
"Being Realism" - let's just say that it is born from cold technology and is born with inhumanity; a technology-centric ethics: reality changes from the "pretender" of the naked eye to the high-frame lens The "exposed person": it (reality) turns into a differentiable function, and the machine will see a higher order than humans; a kind of inhuman aesthetics: see what we can't see, see whether those parameters beyond the visual threshold are Enough to cause fusion at the molecular level...
At this point, being realism is by no means a warm popular value. It has to admit the physical limits of human beings, and use the mechanical standards of the other side to imbue an ordinary audience (including directors and actors, of course) wrapped in flesh. Shock - so, perhaps precisely, a high-frame film would be "invisible" (as in unobservable reality), even though it does exist.
5. For a new audience?
Perhaps the embarrassment of "Gemini" is that, although it captures fear acutely, it also dispels it - the best symbol is the decisive moment when an "id" kid meets Henry (a superego) in a fire. ), Xiao Ke (an ego), and the wise heroine (superego lover, a gatekeeper, who devoted herself to the country) serial culling; weapon, a dementia patient; and the terrifying endorsement godfather, slaughtered by Henry (superego) without any power to bind the chicken - the world finally returns to peace and harmony, not to mention a happy and hopeful bug ending at the end . The NSA is hidden in the shadows.
Nonetheless, we still think it deserves recognition. Because in fact, isn't being as a human being also isomorphic with the symbolic structure of the camera? The horror of the real is always in the process of continuous decoding and encoding, even if it is directly transmitted to our eyes (such as a living fake face), it will be dissolved in the inevitable secondary processing - because we always Would rather (and always have the opportunity) identify myself in the imagination/mirror than have to face a clone of myself (although it is possible).
In other words, no matter how impeccable the story and the acting are - it's hard to really appreciate so-called high-frame movies: the new audience doesn't exist yet. But there is hope that molecular emotions will not simply touch our bodies in pixels, so perhaps those scenes of landscapes and close-ups of people's faces are more interesting - as Ang Lee's idol Bergman That's how it's done - it's like fertile ground where the difference in intensity in another dimension is created.
Another hope might be that the consequences of this increased intensity seem to have some meta-cinematic properties: a shift from looking at the screen to looking at the camera—because the camera is latent in the image above the threshold of the naked eye—from As far as the inner structure of viewing is concerned, the camera as a symbol and the person as a symbol seem to be truly connected by this: the spectator can no longer pretend to be on the stage of imagination, or imagine himself to be the same as the camera; in other words, the camera-eye is not. Then there are two eyes to become the third eye - the screen is transparent - the sense of immersion does not mean being there, but directly happening on the spot.
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