1. Time View
That is, Bergson's philosophy of time, to explain these out of the literature:
a. to stretch. He believes that time itself is an impulse and creation of life, the nature of the universe itself. Humans are created in time and space, the two are opposite. The feeling we have is done in the material of the space, the space constructs the object of the feeling, we present ourselves in the space, it is the product of the stage after the creation of life, the result of the closure. The way of creating life is the spouting of time again and again. Although this kind of moment is flowing objectively, there is a qualitative change in this kind of duration. The creation of life is the creation of quality and continuous leap. In short, Bergson believes that the world is the result of a closure, which forms a shadow over the duration, but it is precisely this obstruction that gives birth to entities, and the creation of all things benefits from such obstructions, but after all, it is a kind of Obstacles, we need the life we experience in ourselves. This is similar to Nietzsche's will to power and Schopenhauer's desire to survive, an impulse that produces all things.
b. Mental time. The "psychological time" that Bergson talks about is relative to what is called "objective time" or "spatial time" in philosophy. From a psychological point of view, both Austrian psychologist Freud's psychoanalysis and French philosopher Henri Bergson's "intuition" theory actively advocate viewing time as a product of consciousness and getting rid of the objective world Binding on the concept of time. Psychological time or subjective time is characterized by subjectivity and invisibility. It exists in people's subjective consciousness and can only be experienced and recognized through people's consciousness. Psychological time, which shows the trajectory and scope of a character's inner activities, is opposite to the physical time in real life. Although before the 19th century, modern Western scholars were more inclined to discuss the objective time that existed in nature, but in the French intuitionist Henry ·After Bergson put forward the philosophical concept of "mental state intensity" in "Time and Free Will" in 1887, the philosophy of time gradually turned to the research with human time and psychological time as the main research objects. .
Reflected in the movie:
As for the nonlinear time structure, it is not unusual, and the time view it has is influenced by Bergson's "psychological time", that is, the occurrence of events is not linear, a one-way forward axis, time The selection is based on human perception and conscious activities. This is of great significance to the film. In the narrative of the film, Renai arranges time and space according to the ideology and dialogue content of the protagonists. In fact, the love process of the hero and heroine in Hiroshima is only a part, and more than half of them are pictures of other time and space.
2. Things and me
Since the screenwriter of this film is Marguerite Duras, a French "new novelist" writer, the ideas and concepts of this film are greatly affected in my opinion. Therefore, we must first understand what the "New Fiction School" is and their fundamental viewpoints.
The "New Fiction School" is an important school in Western postmodernist literature. It first emerged in France and became popular in the 1950s and 1960s. Its influence spread to Britain, Germany, the United States, Japan, Poland, the Czech Republic and other countries, becoming an international literary phenomenon.
They believe that realist writers often induce readers to enter the fictional realm prearranged by the author by means of character shaping, plot arrangement, inner analysis, situation description, emotional language, etc. As a result, people can only be shaped by the author or the author. The eyes of the characters look at external things, which actually makes the reader enter a "world of lies" and forget the reality they face. The New Fiction School opposes that traditional novels take characters as the core, and the main task is to write "stories in which characters move and survive"; take people as the center of the world, start everything from characters, make things subordinate to people, and endow things with people Therefore, everything in the objective world is colored with the color of people's subjective feelings. As a result, the boundaries between things and people are confused, the status of things is obliterated, and the function and influence of things are ignored. Secondly, they focus on the objective depiction of things, not on shaping characters and conceiving plots, to create a more substantial and intuitive world to replace the existing psychological, social, and meaningful world, so they use a kind of surprise full of surprises. The "surface fiction" depicted by the earth and material to dissolve the artificial meaning of the world. In their works, figures are considered nothing more than "temporary props" to express a certain psychological factor or state of mind. The characters in their novels are often blurred, sometimes without names. For example, characters in Kafka's novels are sometimes represented only by the first-person "I" or the second-person "you".
Reflected in the movie:
The camera lens stares at the parts of seemingly meaningless objects, and uses the lens to show objective things that are not closely related to the film. Seeing is closely related, just as the audience follows the protagonist, gradually finding themselves involved in the scene and discovering the relationship between objects and themselves. This kind of prying is partly done by the protagonist in the film, and the other part is completed by the audience. (It is recalled here that "The Lover" was also edited by Duras, and the narration of the film is also full of objective descriptions of objects.)
3. Summary
In this film, the lens uses uniform panning and sudden turns (including up and down and left and right), which is full of personal characteristics. The use of seemingly irrelevant and objectively cruel scenes to describe the war can feel the director's deep "anti-war", and the center of the film is the fraternity for mankind that transcends all limitations.
In the search for information, I have learned a lot, and I hope to give more advice and learn together.
References and data sources: Baidu Encyclopedia, Internet-related materials, etc.
View more about Hiroshima Mon Amour reviews
