Everyone in Tsai Ming-liang's movie is lonely. Finally, I had an intersection with a woman in my life, and I ignited the fire in my heart. At this time, he began to adjust the table.
It is difficult for the author to draw a conclusion on what the behavior of adjusting the watch means. I hope to try to interpret this behavior and the consequences caused by this behavior from a different perspective.
There are two groups of sexual objects in the film, Xiaokang and Xiangqi, mother and father. The two groups, like Tsai Ming-liang's films, experienced brutal sexual repression. Xiaokang and Xiangqi straddled half the world, and mother and father were separated from yin and yang. It is this distance that makes the adjustment of the meter meaningful. A careful spectator, or an imaginative spectator, will know that Xiaokang has adjusted his watch to the Paris time where Xiangqi is located. From the perspective of Benedict Anderson's "imagined community", this is a gift for himself. Build a bridge with Xiangqi. After spending some time together, Xiaokang and Xiangqi are in a social group. What is the principle of this? Dear spectators, you can ask a few questions first. What do everyone in a country have in common? Why is there a concept of a country? One of the important reasons for Anderson is that everyone shares the same working hours, and everyone goes to get off work, leaves work at the same time, and reads the same newspaper and the same content. These give everyone a temporal synchronization that creates a chain between them that holds everyone together.
This imaginary connection also occurs in the separation of mom and dad. When my mother sees the time change, she thinks that her father is back, so she even replaces the meal with the time of "Dad". in a society.
Conversely, this has engraved a virtual label on all relationships between people. Society is imaginary, national boundaries can be transcended through imagination, time is subjective, and space can be compressed. This ultimately leads to the biggest ditch in human society - life and death.
At the end of the film, the dead father appears in Paris and walks to the Ferris wheel. It's a very magical scene, and if you use traditional linear time analysis (past-now-future), it's standard haunting. But what if you change the angle?
Ferris wheel, wheel. When it comes to the wheel, don't think about it. Taking the wheel as an analogy, here I quote a verse from the Heart-Earth Viewing Sutra, which says: "Samsara reincarnates into six realms, just like a wheel without an end." How does this wheel compare to a Ferris wheel? Reincarnation, like a big wheel, keeps turning without end, and at the same time there is no front and back. For example, the two spokes of the wheel, how to say which one is in the front and which one is in the back? In this way, the director put into the Buddhist thought, everything is between emptiness and form, form is emptiness, and emptiness is form. The distance between people is actually an illusion.
Of course, I am by no means a mess here. Considering the director's religious beliefs, I am absolutely right to say this.
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