A man touches a woman’s breast while she refuses him.


Film review:Translated by www.rabudo-ru.com


When talking about Schoenberg’s “atonal” music revolution, Adorno said that the significance of this revolution is that once it happens, it is impossible to look back. Of course, composers can continue to write “tonal” music, but it has lost the directness without reflection before: this kind of composition that returns to “tonality” can only be regarded as dissatisfaction with “atonality”, and can no longer be itself. Therefore, any composer who pretends that the revolution has not happened (such as Rachmaninov) inevitably gives people a false sense of nostalgia.

This is also the revolutionary significance of Rob Greer and the “new fiction school” to Balzac’s novels. Even if you write as well as Balzac, ignoring the existing revolution, you still sink into the writing method of “story” novels in the 18th century, which is a hypocritical and insincere rotten novel. This is what Gu bin meant by his criticism of Mo Yan. This is just like the antique buildings on the streets in China. They can only be understood as dissatisfaction with the Communist architectural style of the Soviet Union since 49 years. As buildings themselves, they can only be bad and clumsy imitations.

If there are many similarities between the new novel school and Schoenberg’s music, it should not be unreasonable. In fact, the soundtrack of last year in Marion bard is atonal in itself. The film is also made up of a large number of fragments, and the lens and performance have a strong sense of form. The reality is no longer evolved from the concept into an inevitable whole as Hegel asserted, but presented in the way of Adorno: the reality can only appear as a “fragmented” and “fragment” overall form.

As a famous “sleepy film”, this film can be said to be hostile to the audience. I think its purpose is to make the audience “unable to understand”, because the audience itself is treated here as the “other” in the sense of Lacan. Fragmented, irrational and dreamy performance is to be integrated and woven into the narrative of the other. Each fragment has no beginning or end. The dialogue is unintelligible and illogical, just to not satisfy the sense of security that the audience can get in a complete story: this sense of security has been contained in the story since the era of human mythology.

Political factors can not be ignored. The 20th century has experienced the devastation of Nazism and communism, two special “storytellers”. Philosophy and art are also reasonable, especially against identity and rationality. The Nazis liked Wagner with a strong sense of theater and story, so Picasso threw them a fragmented Guernica. Somniloquy and madness have become personal shelters that cannot and cannot be arranged in totalitarian stories.

LEAVE A REPLY

Please enter your comment!
Please enter your name here