Organic fusion of ring structure and type elements

Doris 2022-06-27 23:57:41

The film is based on the fact that the protagonist Craig visits a country house and has a sense of deja vu in the house, so that the guests in the house narrate their own experiences to form a film that is both independent and not lacking in commonality. I don't know if it is the first film work with the awareness of building a ring structure. Looking at it today, these five independent stories have had a profound impact on the creators of later genre films and subconscious psychoanalysis. Granger's self-reported story is the simplest, but also the most visual aesthetic at the image level. When he looked at the clock in the middle of the night and had the idea of ​​peeking out the window, the simplest absolute concept of staring at spatial changes to verify the authenticity of time came into being. The fast zoom lens that then shot the close-up of the hearse driver was very neatly handled, accompanied by the eerie prophetic line "Sir, there is only one place left", which is reminiscent of the opening scene of Bergman's "Wild Strawberry". A scene where dreams and reality meet. Of course, in terms of reference, a more popular plot has been extended to the "Death is Coming" series. And then the racer escaped because of the foreshadowing of the former hearse driver, both the contingency of some dreams shining into reality, and the seriousness of the bewildering atmosphere of the "on-going" crowd in some country cottages. But within the logic of the play, it is more like using an accidental hallucination to refute the doubts that the protagonist Walter asked the five people in the room because of his own strange dreams. As for Granger's own puzzlement, the positive results did not arouse much scientific dialectics and reverie from others. The second story, "The Christmas Party" told by the only young girl in the house, Sally, was the most lovable, and I was the most fond of it. One unremarkable Christmas Eve, Sally and a group of friends are playing hide-and-seek in the villa. And as the hidden party, she was the first to be found by the boy who proposed to play this game. After that, the boy told Sally the story that this room might be cursed because of the murder case a hundred years ago, and made a slightly playful joke after setting off the atmosphere, but Sally refused decisively. After the two separated, the plot entered the next beat. Sally ran into a little boy in another room and took him to sleep, but in the end she learned that the little boy was the one who was murdered by her own sister in this cozy cottage. The level of surprise in this encounter must have been something the girl will never forget for the rest of her life. This story, like the first one, still cannot be verified as true or false, but more or less, it has made some meaningful descriptions and optimistic and positive affirmations for the goodwill in the depths of human nature. From being sought after the game starts, to the one who subconsciously wants to find, to inadvertently comforting the ghost's unsatisfied heart, if according to Flo According to the theory of subconscious psychoanalysis, all the plot trends that follow the rhythm of the short narrative are exploring the instinctive game between the active and passive. But to get out of this thinking and look at this story as a "memory" embedded in the dream environment, is there any evidence that the characters "while in progress" in the hut are not "static" thoughts in the dream state , but can the subjective "movement" in the dream in the protagonist's mind be carried out according to the differences in their personalities? The arrangement of the girl's first escape from the night of death seems to give us some kind of answer. Even if you are cruising in different dimensions, there is a small possibility of changing your destiny with the unwitting kindness. This is the spirit of optimism that lies beneath the veneer of warmth revealed in this short chapter. "Rashomon", "Inland Empire", "Death Illusion", "Groundhog Day" and other films should all have this meaning. The third "Ghost Mirror" story is the most solemn, but it also has a serious narrative tone. The story is told by a lady in the house, Ian. Ogilvy tells. One day, she bought an ancient mirror for her husband as a birthday present. But after that, weird things followed. Husband always sees the image of another room in the mirror. After telling his wife about this, although the situation was contained to a certain extent (inspired by his wife to face the mirror image and the strange image temporarily disappeared), it did not play a fundamental healing role. Then, the wife learned a story about an ancient mirror from the owner of an antique shop. The original owner of this mirror was an earl a hundred years ago. He was unable to move due to a leg injury. Facing the mirror's projection (inwardly) for a long time made him suspicious of his wife's loyalty in marriage, which eventually led to a conflict. The tragedy of wife murder. The same situation also played out between the couple, but the ending ended with the wife smashing the ancient mirror and successfully "saving" her husband. This story seems to have more interpretation value than the previous two, such as the confrontation between the consciousness of the ego and the id, the factual dialectics of the unequal relationship between the sexes, the subconscious projection of self-desire to break free from the established marriage relationship, and so on. And the chapter in the middle also more bluntly points out the extension hidden in the narrative structure of the film, that is, the existence of subtext. (The first two chapters are open-ended and do not provide space for the establishment of story B.) But the problem with this story with a neat sense of confrontation is that all interpretation spaces are based on the strong setting of the strange image in the mirror. It can be established, and if it is analyzed without the textual framework of metaphor of people, all ambiguity will cease to exist. As far as the open structure can be independent of the whole film, this chapter of "Ghost Mirror" can be said to be a little deliberate and conservative in creation. However, for the inspiration of later genre films, Hitchcock's "Rear Window" can be regarded as a relatively successful revision and extension of this chapter. The fourth "Golf Story" is really naughty. The two acquaintances who "duel" on the golf course because of their love for the same girl, both performed with a sense of joy, and both revealed some stubborn and cute postures, but it is hard to say that they stick to the value of the winner as king. What's the point in contemporary American film history? As a result, one person wins and brings the beauty back, and the other loses and walks into the water silently to end himself. The plot after that has some sci-fi elements, but it is also a little interesting. After marriage, the ghost who meets the one who entered the water again will not disperse, but will not disperse. After reaching a certain surface non-aggression consensus, it is ironic that you have me and I have you in life together. . I don't know if the director who created this chapter has worries about the immediate after the end of World War II, so that the structure and type of this chapter are related to the previous and subsequent words. The irrelevant jokes are brought to the fore in order to dispel some potential unease among those who listen inside and outside the play. And when the story is over, our thoughts should be the same as what another lady in the film said with a smile, "Your story is neither credible nor impossible." It seems that it can only be borrowed from someone's oral expression. A smile, because while we experience the absurd plot, we can also realize that in this story, the sound and picture are not so synchronized and harmonious. The fifth and final story is the most subtle in the play. Unveiling the finale is a psychiatrist in the cabin, who tells the story of a confrontation between Maxwell, a well-known ventriloquist performer, and another ventriloquist expert, Sylvester Key. During one of Maxwell's performances, Sylvester was embarrassed by his untimely joining the fight to "manipulate" the puppet Hugo. To the surprise of the two of them, the doll Hugo seemed to have an independent consciousness, using words to lure Sylvester to replace his old friend, while inducing Maxwell's future to be regarded as hostile. Under the provocation of the puppet Hugo, Maxwell shot and wounded Sylvester, who was also put in prison for this behavior, and eventually evolved into Maxwell and another "attached" to the puppet. A spiritual battle for the dominance of consciousness between the independent personalities of Hugo. This ventriloquist performer dominated by subconscious desires eventually smashed the doll Hugo in prison, releasing his resentment over the fact that his skills were declining, but also depriving the superego of the symbiosis of the two sides of the one. , and completely let the latter's instinctive impulse desire destroy the normative barrier of the former's pan-moralization. He ended up lying on the hospital bed and muttering to himself, very much like Anthony Bryant in Psycho. Perkins plays the psychopath who allows himself to roam freely in his body. It can be seen that Hitchcock should also be deeply influenced by the conceptualization of this chapter. In other words, all the video works of later generations that want to visualize the psychoanalytic theory are inseparable from the three major parts of the individual id, superego, and ego spirit in the psychodynamic theory discussed in this chapter. Towards the concept of energy-driven works), the process of implementation is concretized. After the end of the fifth story, Craig finally couldn't bear the pressure of gradually transforming the dream into reality because of the actions of the five narrators after the narration was finished, and strangled the psychiatrist to death. . But this subconscious satisfaction didn't last long, and the hallucinations followed. Then the characters in the five stories came on stage with various images, torturing Craig's nerves in turn. Sally, the girl who has a good heart, invites Craig to join hide and seek, but it fails to exchange for the happy ending in "The Christmas Party". Then the appearance of the ancient mirror became an escape channel that Craig wanted to hide in, but the tragic situation of the psychiatrist in the mirror decisively dispelled his thoughts. Ventriloquist Sylvester's interrogation makes Craig's guilt invisible to the audience and leads it into jail, facing the hearse driver who saved a life in the first story, but now it's much more Justified warning lines: There is only one place left. In the end, the doll Hugo grabbed him by the neck under the watchful eyes of the audience outside the prison gate, and said goodnight to him, which ended Craig's nightmare. (The atmosphere of this scene can be seen in Hitchcock's grievance plan.) And interestingly, the zoomed dissolve transitions to "real" Craig's waking up, just to tell you that the next Dreams are ready for you, and the cycle of fate can also be expected. The surreal treatment of the last chapter is not only interesting, but also plays a necessary role in the realization of the unity of various types at the thematic level of psychoanalytic exploration. Throughout the history of film, although there are many imitators who want to build a circular narrative structure and at the same time be compatible with the unity of genre elements and the author’s expression, most of them have slipped to the point of lack of the ability to effectively dismantle genre branches and the awareness of organically integrating the two. Conceptualize the void after landing. Horror Cruises is an example. Kobayashi Masaki's "Strange Talk" is very good, but I personally think that the revelatory film is even better. The driver's warning line that saved a life in the first story, but is now ambiguous: There is only one place left. In the end, the doll Hugo grabbed him by the neck under the watchful eyes of the audience outside the prison gate, and said goodnight to him, which ended Craig's nightmare. (The atmosphere of this scene can be seen in Hitchcock's grievance plan.) And interestingly, the zoomed dissolve transitions to "real" Craig's waking up, just to tell you that the next Dreams are ready for you, and the cycle of fate can also be expected. The surreal treatment of the last chapter is not only interesting, but also plays a necessary role in the realization of the unity of various types at the thematic level of psychoanalytic exploration. Throughout the history of film, although there are many imitators who want to build a circular narrative structure and at the same time be compatible with the unity of genre elements and the author’s expression, most of them have slipped to the point of lack of the ability to effectively dismantle genre branches and the awareness of organically integrating the two. Conceptualize the void after landing. Horror Cruises is an example. Kobayashi Masaki's "Strange Talk" is very good, but I personally think that the revelatory film is even better. The driver's warning line that saved a life in the first story, but is now ambiguous: There is only one place left. In the end, the doll Hugo grabbed him by the neck under the watchful eyes of the audience outside the prison gate, and said goodnight to him, which ended Craig's nightmare. (The atmosphere of this scene can be seen in Hitchcock's grievance plan.) And interestingly, the zoomed dissolve transitions to "real" Craig's waking up, just to tell you that the next Dreams are ready for you, and the cycle of fate can also be expected. The surreal treatment of the last chapter is not only interesting, but also plays a necessary role in the realization of the unity of various types at the thematic level of psychoanalytic exploration. Throughout the history of film, although there are many imitators who want to build a circular narrative structure and at the same time be compatible with the unity of genre elements and the author’s expression, most of them have slipped to the point of lack of the ability to effectively dismantle genre branches and the awareness of organically integrating the two. Conceptualize the void after landing. Horror Cruises is an example. Kobayashi Masaki's "Strange Talk" is very good, but I personally think that the revelatory film is even better.

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Extended Reading

Dead of Night quotes

  • Dr. van Straaten: Of course! Dr. van Straaten. You're a psychiatrist. You always treat me. You'll treat me now, won't you?

    Walter Craig: You must forgive me; I don't quite understand the joke.

    Walter Craig: It isn't a joke. I only wish it were. I've seen you in my dreams. Sounds like a sentimental song, doesn't it? I've dreamt about you over and over again, Doctor.

    Dr. van Straaten: That hardly turns you into a mental case. After all, recurring dreams are quite common.

    Walter Craig: But how did I come to dream about you? I've never set eyes on you in my life.

    Dr. van Straaten: It's very likely you've seen my photograph in the papers. That's why my face seems familiar to you.

    Walter Craig: I don't think so. And even if it were, is that any reason why I should keep on dreaming about you? After all, you don't mean anything to me.

    Dr. van Straaten: Huh. Well, maybe an association of ideas. I may be linked with something that means a great deal to you.

    Walter Craig: Such as?

    Dr. van Straaten: I should have to psychoanalyze you to find that out.

    Walter Craig: But it doesn't end there. You see, everybody in this room is part of my dream. Everybody.

    [the guests burst into exclamations]

  • Dr. van Straaten: Mr. Craig, can you describe what happens in your dream?

    Walter Craig: Well, not in detail. But it always starts exactly the same as when I arrived, just now. I turn off the main road into the lane. At the bend in the lane, the house comes into view, and I stop as I recognize it. Then I drive on again. And Foley meets me at the front door. I recognize him, too. And then, while I'm taking off my coat, I have the most extraordinary feeling. I nearly turn and run for it, because I know I'm going to come face-to-face with the six...

    Sally O'Hara: Well, you've only come face-to-face with five of us so far, not counting Eliot.

    Walter Craig: That's right, five of you. There is a sixth person who comes in later.

    Dr. van Straaten: Can you describe this late arrival?

    Walter Craig: It's an attractive girl with dark hair.

    Dr. van Straaten: [laughing] Is that all you can tell us about her?

    Walter Craig: She comes in quite unexpectedly and says something about not having any money.

    Eliot Foley: A penniless brunette, eh?

    Sally O'Hara: How romantic! Do you fall madly in love with her, Mr. Craig?