What is very fascinating in Anzhe's movies is that he is similar to the heavy history of the fables written by bystanders, and the epics of ancient Greece become his metaphors and narratives. He once said: "Greece is not only a geographical location, but also a spirit and a culture." He said: "My personal film language is based on the extension of the time dimension. An Zhe has used the time and space narrative created by the medium of film to the extreme.
In "Time-Images", Deleuze mentioned:
As long as we can separate it from its own presentity, just as we distinguish the past from the memory-image that realizes it. If the present is different from the future and the past, it is because it is the appearance of something. When it is replaced by something else, it is no longer the present. When the past and the future talk about something, they will always be related to other things. Of now.
Therefore, we can track the development of different events following a certain obvious time or a certain continuous form (such as the family changes in the video of the dance party). Because of this obvious time or this continuous form, different things occupy the present one by one. (This is now the moment that appears on the screen)
If we are in the same event, if we dive into the events that are brewing, happening and disappearing, if we replace the vertical pragmatic perspective with some kind of vertical and deep pure visual examination, then the situation will be very different.
(An Zhe’s lens serves as this kind of intervention)
The event is not equal to the space serving as its location, nor is it equal to the lost reality now: "The end of the event moment precedes the end of the event. This finished event continues in another moment...
It can be said that the time of any event is the time when nothing happens. "We are transcending memories in empty time, decomposing things that belong to the present and storing memories that have been formed...
In this picture, history is the vertical axis c, and events are the horizontal axis ab. History is basically designed to run through events, and the purpose of history is to stay in events and memories, and use this to trace events from within.
(Take country history as an example, there are restrictions on location when narrating history)
An Zhe tries to penetrate the world with his historical perspective in a fixed space.
According to St. Augustine’s brilliant statement: there is a future present, a present present and a past present. They are all covered in the incident, buried by the incident, because they are synchronic and inexplicable.
An Zhe’s narrative method is more similar to the narrative method of an epic. He replaces the perspective of an epic author with a lens that most of the time looks at the character from a distance. In the epic, there is an established destiny, whether it is a god or a person. Fate is inevitable, and this fate is embodied in An Zhe as a manipulator outside the movie with a known historical process, and the protagonist is the symbol of the "now" by which An Zhe jumps into the event and stays in the event to narrate and trace the event.
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