Viewing Movies from the Perspective of Surrealist Poetry

Brennan 2022-03-26 09:01:10

40:48 ——The metaphor of the scene, the metaphor of the scene is realized with the help of the repetition of actions between the "garden" and the "hotel", the replacement of characters, and the sharing of vocabulary, the overlapping of "hotel" and "garden". Images concretize words, that is to concretize imagination. Fiction and reality coexist. In daily dialogue, fiction and reality are separated static and dynamic. There are two levels of confusion - actual confusion and representational confusion. Mixing of expressions is cleavage, recombination, insertion, fusion. 51:22 Non-Speaking To The Other Side - Drama & Dialogue 54:08 Narrative & Fiction - Image does what words can't do well, perfect deception. 57:38 Common writing 59:17 The coming of the climax comes from several main factors: 1. The repeated emphasis on “fear” 2. The veiled appearance of “derailment” 3. The suppression of male words Screaming (voice) 5. The serious gaze of passers-by (in daily life, this often means an accident) 6. Sudden body movements full of nervous cues 7. Broken glass, gun 8. Female escape/dangerous metaphor 10 , multiple repetitions of escape and wall - metaphor of "despair" IX, metaphor of statue / consciously connecting two sets of images together 60:01 Repeated scene / fear caused by alienation of scene - the same thing cannot happen twice Second, the basic logic of life is destroyed 60:06 The betrayal of the text - the narrator himself falls asleep, a sign before orgasm or madness before starvation is about to pass out Overlapping – images again handle this crisis better than words 75:35 Not three but one / Not one but three – one, feminine means beauty, frailty, hazy hope and desire Object and extinction / Male means pursuit, walking, control, all kinds of physical coercion, thinking and writing / Husband means shadow, the backlash of desire, rules, prison, control, abuse, the death experience of pressing The three people of oppression and freshness - fiction and reality / real world experience / addiction, confrontation, compromise and spelling 81:21 Subject to the logic of the narrative - had to push the climax forward, with the help of the last overlap of light and shadow, the strongest The stimulation 84:32 The black feather clothes - again borrowing the everyday metaphor 85:40 Inserting the daily dialogue - a person, waking up from the climax, returning to the daily loneliness, silence, tiredness 88:32 A person - pain, sadness , trying to commit suicide, swapping personalities, or in other words, some personalities fall into a hypocritical hibernation state, ready to wake up three people at any time - metaphor, figurative processing, self-expression with the help of the texture of the image

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Extended Reading
  • Rigoberto 2022-03-22 09:02:28

    It also belongs to the most pioneering echelon in the group portrait of the new wave works. After reading it, I feel that "Hiroshima Love" is really easy to understand by comparison. Stream-of-consciousness movies, with non-stop narration, cut space and time in an absolutely unconventional way, expressing the alienation of modern people's minds. Whether it is the solidification of the performance, or the extremely fast flashback or repetition of the camera lens, the lingering entanglement of that affection is vividly expressed. In the world of ideas, time is not only non-linear, but also viscous and broken, compressible and stretchable. What impressed me the most was the game theory game in the film, and I will play it with my friends at the next party. #BJIFF9#

  • Martine 2022-03-20 09:02:23

    The characters are stiff like statues, and the dramatic walking positions are reminiscent of Dreyer's "Ge Chu". Godard's "Contempt" borrowed a lot from the multi-angle moving camera shooting around the statue. Between the lens and the lens, time and space are misaligned, and this misalignment is also intensively expressed in a long lens. Repeated monologues or the same actions become the only way to connect.

Last Year at Marienbad quotes

  • X: I must have you alive. Alive, as you have already been every evening, for weeks, for months.

    A: I have never stayed so long anywhere.

    X: Yes, I know. I don't care. For days and days. Why don't you still want to remember anything?

    A: You're raving! I'm tired, leave me alone!

  • X: [Last Lines] The grounds of the hotel were symmetrically arranged, without trees or flowers, or plants of any kind. The gravel, the stone, and the marble were spread in strict array in unmysterious shapes. At first sight, it seemed impossible to lose your way. At first sight... Along these stone paths and amidst these statues, where you were already losing your way forever in the still night, alone with me.