First of all, this is a very boring film review. I have never liked films with too strong political intentions, even if the theme of this film is about communication. However, I cannot avoid politics. Politics generate national conditions, national conditions generate cultural background, and cultural background tells stories. So if you only look at the movie, this movie is good, but if you like it, it can only reach the standard of three stars. Next, let me take the film narrative structure as the starting point and talk about it. To be honest, "Tong Tian Pagoda" is the first three-stage movie I watched, so it is very fresh. After that, I deliberately found some three-stage movies such as "The Dead Girl" Or "Crash", etc., have given me a great impact. At the same time, after understanding the narrative style of these films, I inevitably came into contact with some brand-new terms, namely "group image film" and "multi-line film". After that, I saw some movies like "The Essence of Sex", that is, some standard "group image movies". I think "Tongtian Tower" is also very similar to "group image movies", but then I found another term, It is the "hyperlink group image movie". This time, I can confirm that "Tongtian Tower" is a "hyperlink group image movie", and at the same time, it is a "multi-line movie". I have not found the exact definition of "hyperlink group movie" and "multi-line movie" on the Internet, because this classification is not a conventional type classification. It should be said that this one is from the film narrative method, and the other is from the film structure. In the topic of this semester film appreciation course, the films mentioned can be counted as "multi-line films", such as Richard Kelly's "Death Illusion" and Kim Kidd's "Unknown Recipient", etc. "Hyperlink group portrait movie" should be Gonzalez’s housekeeping skills. Whether it’s "21 Grams" or "Tongtian Tower", it is mostly a typical multi-line film, except for its "three-stage narrative structure." Briefly describe my views from these two characteristics. Hyperlink Group Image Movies Let me first talk about group image movies. I searched through many dictionaries to find out what the group image means, and there is no definite definition of “group image movie” on the Internet, but I think it should be readable literally. Solve it. "Groups" are the masses, sentient beings. "Like" is the image, the appearance. The "group image" is the "image of all beings". I really like movies with this model, because not only do they feel novel, but more importantly, I feel that the amount of "information" obtained in this type of movie is more than that of ordinary movies, because even if they are just telling a story together, it is in the plot. There are also more "intercepts" in the movie than in ordinary movies. Moreover, I think group portrait movies have a lot of things other than movies, because the audience themselves are also members of this society and belong to the "people of all living beings", so although they are not telling their own stories, they are easy to have a lot of things. A strong sense of substitution, so that you can experience a lot of things outside of the movie, is a kind of emotion, a kind of emotion, and at the same time a kind of reflection. I think it’s easier to have this kind of function in group portrait movies than ordinary drama movies. It is precisely because of the richer life aspects of group portrait movies than ordinary movies, that it has a unique narrative charm, and another point is the narrative mode of the plot. The visual focus of a group portrait movie is not just on one or two protagonists, but on the same space or between characters in different spaces, and they are narrating the same event or the same theme together, which can greatly Strengthen the narrative power of the story, this effect is incomparable to the ordinary narrative mode. Just like a propositional discussion, the more arguments you have, the more you can convince people. Everyone in a group image movie is like an argument, and of course it has a greater narrative power than ordinary drama movies. In a group portrait movie, every protagonist has a certain connection in it, no matter whether the connection is through events or space, it is precisely because of this connection that the authenticity of the group portrait movie is greatly increased. In fact, this effect is very similar. The role of the "mirror system" created by Fassbinder. And if the event that plays a role in connection spans space, or the characters involved in time span a space platform, we can’t call it a mere group image movie, but it does have the same effect as a group image movie. So we can add a word to define it, that is, "hyperlink group image movie", which is why I think "Tongtian Tower" can be called a group image movie. The group image in "Treading the Sky" has a large span, which is largely separated from the constraints of space and time itself. At the same time, this also increases the "gravity of influence" of the film itself. A Preliminary Probe into the Content Significance of Group Portrait Movies After thinking about it for a while, a question naturally came to mind, that is, why does a director tell his story in the way of a group portrait movie? That narrows him down, that is, what problems does the director need so many people to talk about? Obviously, the answer is more specific. If there is a story of opposites between people, it is about estrangement, about the evil in human nature, and about the relativity of ideas. If there is a unified story between people, it is about unity, about the goodness in human nature, and about understanding consensus. Because these stories are all about people, a person and a family can certainly tell such a story, but there is absolutely no shock that comes from a group like movie. These are my thoughts. Looking at it on the Internet, most of the group image movies tell stories like this, which confirms my thoughts. These are my views and understanding of group image movies. Multi-line film Multi-line film I think it’s hard to say, so I add another definition: "a butterfly-effect-style one-main-line multi-line film". The butterfly effect actually refers to an event that is small and big. In fact, "Tong Tian Pagoda" It's a butterfly-effect story. I think Gonzalez has a strong ability to control multi-line films. The scattered clues to form a complete story often enhance the viewing of the film, just like a suspense movie, and the link to such a scattered thing is It takes a strong sense of film rhythm to handle it. In recent years, multi-line films have been classified as ambitious films by film critics. It is precisely because multi-line films are often surprisingly successful and attract people’s attention, because they don’t require a lot of attention. Detailed processing can have a strong effect. Multi-line, often makes the film more "multi-faceted", polyhedral films are often very rich in narrative, so a lot of difficulty is added in the structure, so Gonzalez's skill is still very strong. I think it’s hard to say multi-line films, so I add another definition: "butterfly effect-style one-line and multi-line films." The butterfly effect actually refers to events that are small and big, and "Tongtian Pagoda" actually talks about it. A butterfly-effect story. I think Gonzalez has a strong ability to control multi-line films. The scattered clues to form a complete story often enhance the viewing of the film, just like a suspense movie, and the link to such a scattered thing is It takes a strong sense of film rhythm to deal with it. In recent years, multi-line films have been classified as ambitious films by film critics. It is precisely because multi-line films are often surprisingly successful and attract people’s attention because they do not require a lot of attention. Detailed processing can have a strong effect. Multi-line, often makes the film more "multi-faceted", polyhedral films are often very rich in narrative, so a lot of difficulty is added in the structure, so Gonzalez's skill is still very strong. I think it’s hard to say multi-line films, so I add another definition: "butterfly effect-style one-line and multi-line films." The butterfly effect actually refers to events that are small and big, and "Tongtian Pagoda" actually talks about it. A butterfly-effect story. I think Gonzalez has a strong ability to control multi-line films. The scattered clues to form a complete story often enhance the viewing of the film, just like a suspense movie, and the link to such a scattered thing is It takes a strong sense of film rhythm to deal with it. In recent years, multi-line films have been classified as ambitious films by film critics. It is precisely because multi-line films are often surprisingly successful and attract people’s attention because they do not require a lot of attention. Detailed processing can have a strong effect. Multi-line, often makes the film more "multi-faceted", polyhedral films are often very rich in narrative, so a lot of difficulty is added in the structure, so Gonzalez's skill is still very strong.
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