From the dream-chasing showbiz to remake bad films

Chapter 88 The First Situation of Film Aesthetics

"Hey, brat." After a few moments of silence, Feng Yuanzheng still spoke, "This modern poem is called the name of the claw."

Pei Yang immediately felt [-]% pleasantly surprised and [-]% happy.

"The modern poem is called "The Mountain is High and the Road is Far". I wrote it in response to Teacher Feng's teaching." Pei Yanglue said with some young people begging their elders for new year's money.

"Oh, that's it." Feng Yuanzheng gave Pei Yang a deep look. "Your kid's brains are destined to have a bright future, so telling you about "one yuan and two transformations" can be regarded as a great honor for me."

Feng Yuanzheng said again: "After that?"

Pei Yang took over Feng Yuanzheng's step, "You will also be my teacher from now on."

Feng Yuanzheng laughed: "You, you~"

Pei Yang scratched his scalp, pretending to be "honest", "Then let's talk about it now?"

Of course Feng Yuanzheng knew that Pei Yang's tone and demeanor was speaking in the way of "Let the Bullets Fly", so Feng Yuanzheng also responded with the tone of "Let the Bullets Fly" with his hands spread out: "Then talk about it."

"Okay, you, I'm listening." Pei Yang handed over the cigarette, took the melon seeds and the bench, and waited for it.

"In fact, "one yuan and two transformations" is not strictly my own product, but it is my own product. This technique was born out of Chinese opera. After 20 years of practice and research, I gradually formed this An aesthetic structure in which "one yuan" is the core and the two are supplementary."

"You know, film aesthetics is an analysis method for people to appreciate and analyze the form of the film itself. In other words, film aesthetics studies the form of the film itself. The form here does not mean that the film is a genre film, and the surface of French films. form, but a deep form of it." Feng Yuanzheng said bit by bit, wringing his fingers.

"Film aesthetics usually has five analysis directions: first, psychoanalysis. This is an analysis method supported by Freud's psychoanalysis theory. The most classic example is "The Silence of the Lambs". And in psychoanalysis Creating dramas or movies from an angle is actually the externalization and display of a spiritual form, and the unity here is the extremely spiritual product you want to show, that is, your most subjective consciousness as a director." Feng Yuanzheng After talking a lot, Pei Yang nodded frequently. Although Feng Yuanzheng's theory seems a little too spiritual, it seems to be the truth when he thinks about it carefully.

"And psychoanalysis is a theoretical school that uses the basic principles and thinking methods of psychoanalysis to study film phenomena. Before the 70s, psychoanalysis was always on the fringes of film theory research. After the 70s, it entered the center and tried to understand A complete re-description of the film field." Feng Yuanzheng said again.

Pei Yang has already taken out his small notebook at this time. He has been focusing on practical film creation before, and his research on film aesthetics is actually just on the surface. If you want him to brag from an unfamiliar angle, he can tell you He is clear and logical, but if you really ask him to come up with some research results, he actually doesn't have the ability.

"As early as May 1975, the theme of the 5rd issue of the French comprehensive theoretical journal "Communication" was "Film Psychoanalysis", which marked that the psychoanalytic research in the French film theory circle entered a new era: structuralism and spirituality. The period of in-depth psychological research of movies combined with analysis." Seeing that Pei Yang seemed to be taking notes, Feng Yuanzheng slowed down his speech thoughtfully.

"Spiritual Snow School's representatives are often scholars with semiotics research background, for example, Baudry, Kristeva, Metz, Barthes and others. The issues they care about go deep into almost all aspects of film phenomena. : The unconscious life of the film creator; the unconscious fantasy in the film content; the unconscious fantasy in the film form itself; the audience’s recognition of the film’s unconscious fantasy; the unconscious fantasy in the general culture.” After Feng Yuanzheng made a broad generalization , and began to define in a narrow sense.

"Andrew argues that psychoanalytic film theory arose out of a concern with the problem of desire in the field of film; while earlier film theory research could not have been blind to this problem, it could not have been to the degree of self-consciousness; only psychoanalytic film theory It is only through research that it is possible to systematically study the issues of "desire in the text" and "desire in the text" of the film." Feng Yuanzheng paused for a while.

Pei Yang also appropriately showed a trace of doubts. After all, he is only a sophomore, so he doesn't know the difference between "the desire in this article" and "the desire in this article".

And Feng Yuanzheng finally had the pleasure of being a teacher because of Pei Yang's confusion. Although it is a good thing to have a genius student, but if a genius student knows everything, the teacher will be very upset.

Feng Yuanzheng smiled cheerfully: "It's quite simple, Xiao Pei, listen carefully."

"Anyone who wants to do psychoanalysis with film must study not the author, nor the audience, but the film itself."

"But if you want to have a deep understanding of these two aspects, the first I suggest you read Raymond Bellore's "The Consolidation of Symbols", which is a reflection of Hitchcock's film "Northwest "Northside" has been carefully studied. He believes that Hitchcock's film is a kind of reprint of the Oedipus complex."

"As for the latter kind of research I recommend that you read Thierry Konzel's essay on The Most Dangerous Game, The Workings of Cinema, Heath's essay on Touch of Evil, and three other essays : Narrative Space, On Screen, In Frame, and Gender, and Mulvey's essay "Visual Pleasure and Narrative Cinema."

Hearing this kind of papers with the direction of research literature, Pei Yang thought that he would read them again, and Pei Yang couldn't help feeling dizzy.

Feng Yuanzheng glanced at Pei Yang with a bitter face: "Go back and watch carefully, and study hard." Then, Feng Yuanzheng continued: "The third aspect of the study of psychoanalytic film theory is the study of "the technology of film media and the role of media in media." Functions in culture" such as Jean-Louis Baudry's "The Ideological Effects of the Fundamental Cinematic Machine" and Metz's "The Signifier of the Imagination."

"And the second feminism after aesthetics. This is an analysis method with the female image as the core of appreciation. For example, "Thelma and Louise". The third is the ideological field. This has some zz tendencies. For example, "It Looks Too It’s Beautiful”. The fourth post-colonialism. This is mainly aimed at the relationship between colonial people, colonists and independent colonies. For example, “A Passage to India”. Fifth, post-modernism. My understanding of this is a kind of rebellion, Challenges to authority, flatness and integration of popular culture. For example, the interesting Korean movie "The Gas Station Attack." Feng Yuanzheng introduced the last four situations of aesthetics.

When Pei Yang heard these things, he felt that it had nothing to do with him.

Of course Feng Yuanzheng also knew it, so he said: "Although I have done some research on these things, they are not very suitable for your current situation. If you are interested, you can come to Kyoto to find me after you finish shooting the current film in your hand." , I’ll tell you more about it when the time comes.”

(End of this chapter)