Hitchcock's love for long shots may have been a challenge to the technology at that time. The long shot of the ghost perspective was opened and pushed through the iron door to the room, and the atmosphere was very good. Rear projection and background, the mandoli is tall and majestic in space, and the details are complicated, reflecting the humbleness of the heroine. Black and white photography is keen on the shaping of characters and atmosphere by light and shadow.
Rebecca does not appear in the whole film, but through the conversations of the people around her, the expressions of the male protagonists, the legend of Mandori, the obsession of Mrs. Danvers and the magnificent furnishings, she follows her closely. Finally, when the male protagonist recalls an empty pan shot of Rebecca before her death, there is no character, but moves according to the route of the character, which increases the psychological tension.
A Butterfly Dream (1938 novel, 1940 film) and Jane Eyre (1847) have many similarities. The same gothic atmosphere, similar character relationships and conflicting settings. The heroine of the film also has both deceased parents (she doesn't even have a name, she has been called Mrs. Derwent after marriage), and she has no social relationship and is alone in her husband's manor, facing the deceased wife Rebecca's faithful servant Danvers Mrs. By comparison, The Sound of Music (1965) was a "Mary Poppins" version. Zhang Ailing's "No Love" (1947) and Qiong Yao's "Moon and Birds" (1977) also have plots in which the romance between the female teacher and the male employer is influenced by the shadow of the original partner. After women can receive education, although it is not enough to maintain a long-term worry-free life, it at least gives them the possibility of independence for a period of time. Unless women can participate more widely, deeply and comprehensively in social life, entering the family is a fate sooner or later. Their education is not so that they can achieve their own careers, but from a well-educated environment to meet future husbands of more status, and to have an advantage in parenting. There is a need for a teacher only when there are children. The male protagonist with the child adds to the urgency of a family's need for the hostess. The governess has become a particularly desirable female identity in this type of story. In addition to being well educated, it is best to maintain the advantage of being unworldly, being both a "female teacher" and a "female student". The heroine in "Butterfly Dreams" wishes she was a 36-year-old woman in a black satin dress (a desire for sophistication), but the hero's friend tells her that her "humility" is more to her husband than "beauty and wit" valuable.
What's interesting is that when Rebecca's shipwreck was salvaged together with the body, and Maxim was worried that he was hiding the cause of Rebecca's death was discovered, the heroine suddenly showed a completely different composure from being at a loss in the manor. She figured out an excuse for the hero, and she became an encouragement and supporter. Since then, the heroine's costume has also changed, from being virtuous at first to a more mature hostess.
In these stories, the source of the man's heartbreak/fear all comes from the uncontrollable (madness or infidelity) of the ex-wife. From this, we can see the shadow of the fairy tale "Bluebeard": Bluebeard's wife opened the forbidden door with a key, which means that the wife went against her husband's will, and the indelible blood on the key has always been regarded as a metaphor for infidelity. A Butterfly Dream spends a good chunk of Laurence Oliver's performance on Rebecca's debauchery and contempt for him. But he does not have the sole right to interpret the conclusion in the film. From Mandori's orderliness, and from the mouths of others and Mrs. Danvers, Rebecca has the talent for reasoning, she is bold, confident, presumptuous, and knows what she wants. Finally, the doctor revealed the secret, and everyone discovered that even her death was carefully designed by herself.
The story of a betrayed/heartbroken husband being "saved" by his new love is widely circulated, but the portrayal of the original spouse represents a different value judgment. "Jane Eyre" and "The Butterfly Dream" are exciting gothic adaptations of the popular "President Falls in Love with Me." They put a suspenseful question mark on Cinderella's story, the thrilling and depressing setting hints at the oppression of a decent, powerful male host, and the "mad woman in the attic" mirrors the heroine's relationship. The existence of the "mad woman" is part of the instinctual struggle of the female protagonist to be suppressed by social demands, and it is a provocation and threat to the authority of the male protagonist. At this point, the "reunion" nature of the ending cannot be used to deny its role in the situation of women. think. Rochester's favor in "Jane Eyre" is not enough to bridge the gap between him and Jane in terms of class and dignity, only a fire burns down the manor, the first wife dies, Rochester is disabled, and at the same time Jane gains A legacy, the author reunites them. The novel spares no effort to destroy the dominant position of men in the plot, trying to make the status of the male and female protagonists more "equal" and bring about emotional equality. This is an adaptation of the unshakable inequality between men and women in the 19th century, and the other On the one hand, it reflects women's desire for equality of wealth and status, as well as the spiritual "nobility" of male partners. In "Butterfly Dream", the heroine is worried that people around her will compare her to Rebecca, which is just recognition of Rebecca. Mrs. Danvers is the continuation of Rebecca, in charge of the daily operation of this mandolin. Although she is a servant, she has a strong possessive desire for the unchangeable order of the manor. The heroine's request to discard Rebecca's relics is a huge challenge for her, and she responds quietly. Use the heroine's subconscious identification with Rebecca to lure her to copy Rebecca's dress at the masquerade. She doesn't have the "Mad Woman" hysteria, but her coldness, rigor, and even her devotion are chilling.
In "Moon Hazy Bird Hazy", when the ex-wife who eloped with someone reappeared, the heroine made no secret of her admiration and yearning for her. See it from a woman's own point of view. There is no confrontation that strengthens this kind of female consciousness in "No Love", but a new way to portray the father (male member of the family) using female marriage as a means of profit. The heroine is not only afraid of her father's extortion of her sweetheart, but also hates her father's infidelity to her mother, and gives up the love of intervening in other people's families.
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