Silent answer

Maybelle 2022-09-02 02:28:03

Modernity and the Will of Director

Nietzsche once stated in "On Romanticism": "When looking at all aesthetic values, I now use this main scale: I ask on every occasion, "Is it hunger or surplus that is engaged in creation here." Another scale. From the beginning, it seemed to be self-recommendation-it is much more eye-catching-this is to focus on whether the motivation of creation is the desire for solidification and permanence, the desire for survival, or the destruction, change, renewal, future, The desire to be generated."

Just as a standard for measuring aesthetics should be outside of things before it can become an "objective" consensus, the ruler of aesthetic value should undoubtedly be outside of aesthetics. The story of "How Green Was My Valley" tells the overall changes of the family from the perspective of the smallest child within the family and its voice-over. It seems that there is more internal "subjective" and a little less external "objective", and it is also hidden. The author Ford originally came from an Irish immigrant family with many brothers and sisters. It can be said that he used the youngest member of the same position as himself to draw a line for the whole family story, or rather, not for the family story, but for the family story. Delineate a boundary for the narrative of family stories: because to delimit, we must be able to touch both sides of this boundary, that is, within the family on one side, and outside the family where there is no ink at all on the other side, and even extend to every situation. The personal relationship between the middle man and each viewer even extends to the nation, country, society, and history and culture.

It is true that the narrative of "Green Hills and Green Valley"—classical narrative or more specific classic Hollywood narrative, focuses on the story itself, and avoids the appearance of formalism and extreme realism in images, and adopts many expressionist styles. But on the surface, a very believable softening is adopted. The choice between the picture and the picture is mostly determined by the dominance between the story and the characters, and then a certain practicality is not obvious. Style: The characters in action become the main visual and narrative elements. In the end, it reaches the identity of the characters and the identity story, to the identity expression. Regardless of whether it is Dunn’s script or Ford’s final film, what they can see is the scope of their knowledge. A family, a miner’s family, a worker’s family, a Welsh family-Irish family... The three in-depth classical theoretical systems, namely, aesthetics and ontology, have exhausted the core of its concept-imitation. The imitation is not only the change of the family, but also the dramatic change. The realistic boundary conveyed by the realistic pressure encountered by the family in the story It is the boundary of the narrator in the story world. It can also be said that the horizon boundary of Xio's "self" is the boundary of movie reality. The combination of self and reality seems so irrefutable and definite. Therefore, if we say that the deep-rooted problems of {the destiny of the expresser is to be misunderstood} and {the sorrow and joy of human beings are not interlinked} are fundamentally resolved in "Green Hills and Green Valley", then from Aristotle The end of the goal of "Katasis" from the origin of "Poetics" to this point shows how little has been done when these problems are finally resolved.

Significant and Ford’s boundaries of knowledge have become the boundaries of the story world. However, this special solipsism always summarizes the feelings outside the transcendental with the words of personal experience. This not only shows the impulse to break the story structure at all times, but also because of the " "Green Hills and Green Valley" depicts the second type of desire for aesthetic value-it is Nietzsche's comment on the pessimistic self: the desire for destruction, change, and generation can be an expression of over-abundant power that breeds the future (As everyone knows, the term I use for this is the word "Bacchus spirit"), but it can also be the hatred of the losers, the lacking, and the backwards. Such people destroy, and must destroy the resident and even everything. Live, and all existence irritates him, stimulates him.

The pessimistic self not only occupies and leads the meaning of the word romanticism, but also contains two polarized interpretations in its pursuit of solidified will. On the one hand, it can be motivated by gratitude and love. The art of this kind of origin is always the art of deification. Maybe it is passionate and unrestrained like Rubens, happy and mocking like Hafez, and clear and loving like Goethe, so that everything is covered in Homeric style. Brilliance and glory. On the other hand, it can also be the sadistic will of the suffering person, the struggling person, the tortured person, this kind of wanting to take his most personal, special, and narrowest thing, and make him allergic to the actual pain. Turning into a binding law and coercion, he imprinted, squeezed, and burned his image and his tortured image on all things, as if to retaliate against all things. ("One Family in the Four Seas" and "Hamlet")

But this kind of self has obvious jumps and breaks of understanding in the judgment. Looking back at another aspect of pursuing permanent will, its fullest manifestation is not only the suffering and catastrophe in the suffering of life, but also the pessimism of romanticism. The family affair in "Green Hills and Green Valley" is transformed from Ford’s incarnation-like protagonist and the youngest person in the family. In the construction of fragments of narrative, gradually from understanding and observing to practice, it is implemented to more and more recognition of "suffering". "The truth", step by step to purify the people and things around you, the basic yardstick of the narrative practice of "Catharsis"-style ancient Greek tragedy, summarized in the film as the old, smooth and sleek of the word "classic" in classical pessimism. Beyond recognition. Romanticism, as if it is inherently suitable to be interpreted as "tragic", is more pessimistic in the balance between joy and sorrow. The departure and death of brothers and sisters, the unwilling or unsatisfactory lives of sisters and sisters-in-law, the final death of father, the joy of family is no longer possible...

In the great changes of these families, Ford restored the pale and inhuman sufferings to a real and delicate life through rich details, and tried his best to interpret the epilogue at the end of the movie, a kind of immortality: "Some people don’t They will not die, they are still alive among us, their memories are still fresh, loving and being loved forever, just like my green hills and verdant valleys." In the story of change in the unchanging valley, look for a fixed anchor point. It is the mother, and the mother is the same as the indispensable image of the home and foundation in the Ford drama. The mother is the unchanging land. , Is the more important emotional certainty....... {sure} reference, and also conveys the most important support for the whole film expression-time.

A descendant of an Irish immigrant uses his family concept to describe the changes in a Welsh family. Time not only reflects the changes in the environment and the people in it, but also a witness to the growth of the narrator. It is also the main axis of the author’s image in a loose structure. The transition between joys and joys of life and changes in hardships and sorrows and joys surpasses the romantic "inborn pessimism" that can only effectively explain the struggles of fate, and then forms a kind of transcendence and becomes the emotion that transcends the sorrow and joy itself. A more subtle, far-reaching, and more touchable existence-sadness.

The sadness of "Green Hills and Green Valley", or Ford's sadness, includes the true suffering and passing away of two hours in slow cinema, and the new and epic possibility of Benjamin's vicissitudes of life in just two hours. ". The truth of the former story and the truth of the latter's narrative seem to be delimited by sadness. The two sides of the boundary again appear because of the delimitation. We can discuss the relationship between the narrative "truth" of the narrative and the historical "truth": the narrative "truth" is embodied in the hypothetical, subjective and reasonable "truth" ", but the "truth" of the story is the prerequisite for the "truth" of the narrative, and the "truth" of the narrative is the dialectical spiral of "eggs coexisting" such as the transcendence and improvement of the "truth" of the story, and the so-called " Human sorrows and joys are not interlinked" always has its true rationality and scope of application. The suspicion that your sadness and their sadness may not be the same kind of sadness can never be dispelled, but as Wittgenstein said: "Doubt this This kind of game itself presupposes certainty." If you don’t have a certain belief, you can’t know your doubts or even what you’re doubting, so you have to ask again the purpose of the story-sadness, and find the basis for its reality. .

Looking back at the movie, from the green hills and green valleys where the family is happy and happy to the green hills and green valleys where all kinds of accidents are difficult to make a family, the movie always repeats the phrase "How Green Was My Valley". Death, departure, separation, and ruin are obviously unpleasant. The valleys and green hills have not changed, and the happiness and good life of people may not really come, but they can be judged after people’s reflection, and they can still be judged. Say the sadness of How Green Was My Valley...Obviously, people can freely control their emotions, and they will not necessarily be sad when they encounter pain and shock, but they must be happy when they receive sweetness and joy..... Therefore, human judgment also has a transcendental element that transcends experience, that is, the purposefulness of the natural form (the purposelessness of purposefulness). That is, there is a form of beauty that precedes experience. It also does not serve any utilitarian trade-offs in experience, or any economic considerations. When Hugh says "green hills and green valleys" again, it is a judgment full of emotions. The sense of grandeur and sublime can not be helped by Hume's happiness. It comes from the impression of the concept of, and from the unanticipated suffering produced by people’s reflection and judgment, Hugh can subjectively legislate for himself, telling himself that this is the meaning of suffering.

Therefore, people’s happiness and good life are not the purpose of nature, and the purpose of nature will not be human well-being and goodness, but culture, just like the education, traditions and beliefs brought by Ford’s own descendants of Irish immigrants. Endow the Welsh family in the story with the changes and eternity. The relationship between culture and good life may be like beauty and sublime, which requires reflection and judgment to achieve, and the nature of this is, of course, the classical narrative inherited from Aristotle: the reasonable ingenuity of the narrative time. Layout, continuous editing skills are not revealed, drama and reality coexist in scheduling, implicit narrator settings, and so on.

The purposefulness of the beauty of sentimentality does not actually mean the truthfulness of the story or Ford as a master and the poetic meaning of "Green Mountain and Green Valley". The purposefulness of the sentimental beauty for people and stories does not need to be true, perhaps just people want to see it. Everything is done in one thing, or for a movie simply, all the "elements"-scheduling, performance, setting, composition... the emotions, infections, emotions that follow are all for one purpose, Under a certain angle of view, for our knowledge and actions, a unified harmony is formed, which is a pleasant sense of beauty. Although this is not the truth, it is very likely to be a normative true understanding close to the truth. Therefore, an aesthetic judgment may be the normative condition of slow cinema (film truth-seeking knowledge), and it may also be the normative condition of aura montage (Benjamin-style practice), and then reconcile Both.

But the truth-seeking of a movie is like an explanation of things, and there is always an end (Wittgenstein). In the story, from the helplessness of observers watching family changes, to participating in family affairs step by step, to taking the initiative to become a practitioner of family responsibilities and the future, judgment does not always influence the progress of reality. The generation of rhyme requires people to actually realize it before counting. In fact, the camera lens itself is in the triple relationship of {subject-camera (narrator)-viewer}, especially in the classical system of classic Hollywood narrative, because the middle ring is hidden and the narrator is hidden. The transcendental nature of the camera, the unknowability of the camera (thing-in-itself), the reality-seeking appearance and the practice of aura are both transcendental, and the strong initiative of judgment is more than the former that is "imagined" by the camera. Fitting directly appears as the latter transcendent, so Xio took the initiative to say “How Green Was My Valley then” after his father died unexpectedly. If this expression of reality can be endowed with a characteristic or authorship, it is Ford’s observation of reality, derived from his family and educational experience, and practiced with judgments more in line with his beliefs and ideals, and endowed the film The role and his own identity as a moral creator.

Therefore, judgment can also be said to be a kind of complete freedom, a kind of self-discipline. The judgment is saying: I should regard this as beautiful; I should regard this as noble; I should regard this as sublime; I should be happy when dealing with such a thing; I should be sad when dealing with such a thing... Therefore, the freedom of judgment requires people to have a special emotion towards nature, and the a priori condition and foundation of judgment is purposeless purpose (compatibility of natural forms). What is the purpose, we will What should be beautiful. So what is the purpose of man?

Man’s purpose-is himself, because man is not a means, but an end.

Therefore, nature, the environment, the world, and the universe are all unfolding around people. The real core of the movie will always be people. People should regard humane things as beautiful and have emotions for humane things. This is what Ford can be called. For the foundation of film masters: the beauty of humanity .

The immortality achieved by "Green Hills and Green Valley" ends with death, that is, only the ultimate lack of death can make life meaningful, and that the art form needs a limited and immortal after all. Achievement means that we feel that even if all possible questions are answered sadly, the problems of life are still not touched. Of course, sadness is the boundary drawn, and all the so-called questions have been answered in the part that can be said. At this time , There are no more questions left, and this happens to be the best answer.

How Green Was My Valley

View more about How Green Was My Valley reviews

Extended Reading

How Green Was My Valley quotes

  • Mr. Gruffydd: Who is for Gwilym Morgan and the others?

    Dai Bando: I, for one. He is the blood of my heart. Come, Cyfartha.

    Cyfartha: ...'Tis a coward I am. But I will hold your coat.

  • Huw Morgan: [Narrating] Everything I ever learnt as a small boy came from my father, and I never found anything he ever told me to be wrong or worthless. The simple lessons he taught me are as sharp and clear in my mind as if I had heard them only yesterday.