If interpersonal communication will inevitably lead to competition for power, leading to a situation where others are hell, then after setting up a family, one or both parties are unwilling to fulfill the obligations and responsibilities of childbirth, and the members' understanding of the nature of marriage is about to fall into trouble.
The focus of the question is whether there is any reason for a person to accept the domination and control of another person without kinship as support. The movie certainly gave a very dark answer: sexual stimulation, money security, and the child's consumption of time and energy.
In this discussion, romantic love is more like a backward biological trait that human beings have not adapted to the post-industrial society: people are instigated by lust to fall into love and conclude a marriage contract, but if marriage is regarded as a small organization, the existence of the contract and its The restrictive function is to unify the organization’s internal vision, in order to achieve the coordination of motives and actions, so that the organization can increase efficiency when participating in social activities and sustain itself more lasting; and in the so-called DINK family, when the mating partner has a relationship with each other The fading of lust can no longer produce fresh stimuli, but the understanding of life and the pursuit of career are different, and joint actions cannot be organized. Then the marriage contract only has the framework function of maintaining the existence of marriage. This makes some people think of it as a besieged city, or a prison, or a tomb. It conveys only one meaning: people can no longer see the meaning of maintaining the status quo, but they have to maintain the status quo and be restricted by it, because there is no other choice. .
In the movie, Nick accused Amy of trying to save their marriage with their children, and Amy replied that it was not about saving but looking for inspiration. In fact, they are all talking about the same thing: the essence of letting marriages revert and multiply, so that the organization will not disintegrate. When this proposal was rejected by Nick, Amy made another attempt. Since joint action has been impossible to achieve, it is better to create contradictions and suspense from the inside out, so that the family organization can regain its vitality and reorganize in the fierce struggle and resistance. In the seemingly lengthy ending of the movie, Nick’s disgust, horror, and entanglement and compromise, and even the Stockholm-like complex with Amy, all show the correctness of Amy’s strategy, as well as marriage and marriage. Like countless other social organization structures, its operation and development without exception require the internal unified concept as a guarantee of action and power struggle as the driving force for progress.
From the perspective of the extension of the marriage relationship, Vinci's blackness is more focused on the outside of the marriage relationship, and the middle-class elites are completely black. Where Vinci is great, it is often praised as narrative, but few people mention his secretive visual skills.
For example, Nick's failure in the power struggle with Amy was due to the lack of moral stance caused by derailment? Weak character? Economic weakness? These are all appearances. The connotation extracted from these appearances is the class gap between Nick and Amy that Vinci showed us. Nick is a golden phoenix man, Missouri potato, no power, no money, no power and no money, relying on a handsome face and little talent to go north to become a twister, Amy is a textbook-style middle-class American sweetheart, beautiful intellectual property reputation N all. Of course, not surprisingly, after a short period of infinite beauty, Nick's phoenix male quality exploded after losing his job, doing all the shameless things of the middle-class elite. And Amy, although she was ridiculed about her identity as a Missouri and a housewife, she insisted on the integrity and morality of the middle-class elite, and finally managed to save her husband's heart after going through hardships. Of course, this is the superb FoxNews female anchor in the film. The version in our eyes is also the mainline version carefully planned by Amy for outsiders to watch.
And some of the minutiae settings that leave the main line are the real focus of this film:
For example, in the parent-child relationship, if we think that Amy is due to the setting of the prototype of the children's book created by her parents, which makes her self-identity biased, often confuses fiction and reality, or equates the two, which leads to her madness , Then we have overlooked a basic fact, that is, life is like a play, and play is like life.
From the perspective of epistemology, people's self-awareness and behavior start from imitation and role-playing, and they are constantly rehearsing in life to become a set trend. Education and experience only provide people with a broader stage and more diverse scripts. Therefore, people who stand at the top of education and society must be excellent actors: the more diverse the roles in the repertoire, the more social people are, the more they can adapt to more challenges, and have more ways to deal with different problems.
From then on, Amy and his parents’ public identity, as well as the indifference and performance in the intimate relationship, are just a metaphor, and try to rationalize and remove the indifference and hypocrisy of this group of middle-class elites who should represent the "social conscience." Moralized analysis.
One of the manifestations is the excitement that Amy showed when he saw Nick's performance in an interview. Is it because she was ecstatic about Nick's hypocritical display of affection? Probably not all. After marriage, Amy's biggest disappointment is not that her love fades and she loses her attraction to her husband. It's that Nick, who is non-middle-born, gave up acting, gave up the spiritual pursuit of intellectual games by the middle-class elite, and entered the "self-destructive" life of ordinary people that he was familiar with. Nick can see his truth in his interactions with his sister and the police, but this truth makes it difficult for the middle-class elite represented by Amy and his parents to accept it because it is too simple and boring, too lacking in sculpting, too rough and lacking aesthetics. The performance on the show marked his re-entry into Amy's fictional game and regaining his middle-class role. Whether it is voluntary or forced, as a partner or an enemy, this excites Amy, because this is a battlefield she is familiar with.
This group of middle-class elites, who did not assume the social conscience, but mastered the social discourse and interpretation, were ignited by the emptiness and boredom of the production, and were inspired by creativity. I am trapped in the analytic quagmire, and my joy lies in the ups and downs in it. This is certainly a satire of every media carnival in the information age.
The audience's response to this is probably three: the business opportunities seen by the chicken sellers, the obsession with pregnant women in Missouri's neighbors, and the thoroughness and resistance of the girls who lost their feet in the rented house. In addition to the use of news stories by various characters to serve their own personal interests, another kind of promotion of media carnival starting in the United States has gradually spread to the world, and that is the fanaticism of the masses. Under the interpretation of the mainstream middle class value context in the United States and the manipulation and discourse guidance of the elites, Amy’s "tragic encounter" made the fanatics represented by pregnant women fall into the story of Amy and cannot extricate themselves from it. It is my responsibility, and the reporters are everywhere in the joint film to form a lamb-like audience map.
In contrast, the experience of misstepped girls at the bottom and the investigative experience of female criminals make them have sharp self-thinking and judgment capabilities. In the context of the absence of middle-class value orientation, the girl who stumbled several times pierced Amy’s addiction to her own fantasy, and even brutally broke through Amy’s camouflage line of defense, driving Amy into a real desperate situation, when Amy was married. The identity of the sympathetic victim also appears pale and weak. When the girl left, she said: There are people in this society who are much worse than us, we just need money more than you. This is undoubtedly the only truth in the whole movie.
In this structure, Vinci is not only driven by the main plot, but also uses the conflicts of creating images and narration to emphasize the fictional nature of the population narration. It is a structural metaphor: how much our awareness and perception of reality are. Under the control of others who have the right to speak, to what extent can human beings have the ability of independent thinking and self-consciousness. Why do we often ignore our own intuitive feelings and judgments, and choose to listen to and accept the interpretations of others, and where do these sounds come from? Finally, can one escape the control of these sounds.
Vinci certainly gave the answer: no. This was the fifteen minutes of entanglement and confusion at the end of the film. Nick still chose to be with Amy after experiencing everything, and gave up his position and decided to enter the state of fighting with Amy. Many people were puzzled, including Nick's twin sister.
But the truth is very simple, there is no need to over-interpret: the truth is boring, real life is like a female student’s breasts, and I don’t even want to take another look after my physical desires are satisfied. In order to escape this boredom people need excitement, which is why we need fiction, this is why we need movies, and this is why we still long for romantic love without the desire to multiply.
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