A woman is seen swimming naked. Her breasts and buttocks are seen.
In the opening scene, there is much overt sexual dialogue.
Paul caresses Camille’s thighs in a sexual manner.
A book is shown containing many sexually explicit works of ancient art.
Brigitte Bardot is shown fully nude from the back several times.


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


Film and money are inseparable, and the problem of creation is the problem of production – Jean Luc Godard

Shang Lu Jean Luc Godard (December 3, 1930 -) has opened up another boundary in film creation (since classical Hollywood and contemporary art films) and theoretical thinking. He is ambitious to expose his creative ideas and dialectically differentiates them with amazing creative output. So far, he continues to create and enters an undefined “XX period” after 2000 years, In 1985, Golda co edited with Alain bergala his anthology “Godard on Godard”, which divided his film creation career into “notes age” (50-59 years), “Karina age” (60-67 years), “Maoist age” (68-74 years), “video age” (75-80 years), “eighties age” (80-89 years) “The period of film history” (89-98), however, in a few of Gundam’s works that can be viewed, Gundam, who is good at playing language games, has increased difficulties in subtitle translation, or directly refers to writing in word cards and in the film background. In addition, Gundam’s film criticizes French culture, political and economic issues and ideology, What’s more, it has caused a cognitive gap among illegal audiences. The above makes it difficult for a rigorous author to study. Colin maccabe, Laura Mulvey and Mick Eaton try to start from several themes: money, politics, women and sex, technology and television, but the works discussed are only in the early 1980s.

Golda’s films are not only completely opposed to Hollywood film commodities, but also run counter to contemporary art film creation. Film theorist Peter wollen was greatly influenced by Brecht’s idea of “anti film”. In an article entitled “Golda and counter Cinema: vent d’Est”, It depicts seven characteristics of “anti film” as opposed to mainstream film. Peter woolen’s interpretation of “anti film” is an important feature consistent in many stages of Gundam’s films, especially the “Karina period” and “80 period”, which are easy to see in Gundam’s works, practice the spirit of anti film to a considerable extent. However, in addition to the interpretation of style / narrative structure in the text, on the other hand, Golder’s thinking of the consciousness of “film as a film” has never been separated from his creative stem. “What is a movie?” “What did the film create?” “How to create?” “How to perceive?”, Golder has been thinking about the essence of film through film creation, whether it is Le m é pris (1963), tout VA bien (1972), passion (1982) in the 1960s, SC é nario du film ‘passion’ in the following year The film series histoire (s) Du CIN é MA (1985-1998), Notre musique (2004) and moments choisis des histoire (s) Du CIN é MA (2004) created over the past ten years are GAODA’s “obvious” reflection and Transcendence of film, creation and history, However, in most other works, the same reflexive traces are hidden from time to time, deliberately or implicitly mentioned.

As for Gundam and its reflexive strategy, among the limited Gundam works that can be seen at present, it is very difficult to see trees and woodlands one by one. It seems that “seeing a little” is not suitable for Gundam films, but it is still quite fun to study “a small part” of his works. Gundam seems to jump Disorganized (which insults the high structure in the film), but a possible context can still be found through text analysis. The following will try to analyze his two works with the theme of film creation: contempt (LEM é pris, 1963) and passion (1982) after the radical Maoist era and the video era, and use the two most important systems affecting Gundam’s film: literature and painting to confirm Gundam’s “Reflexivity”.

“Contempt” – film is an invention without a future

“Disdain” describes a playwright Paul (Michel Piccoli) and his wife Camille (Brigitte Bardot) who had a perfect marriage life. Because of the shooting of the film Odyssey, they met Jerry, an American producer. However, Paul intentionally or unintentionally wanted to push his wife to film production to make work achievements. Camille despised Paul’s behavior, which destroyed their relationship, Finally, Camille and Jerry were killed in a car accident, and Paul left the shooting scene of Odyssey. When Ulysses looked at a large blue ocean, Odyssey continued to shoot, and contempt ended with Paul’s departure.

The Odyssey is a famous epic of ancient Greece. It is said that it was written by the blind Homer. It mainly connects the plot of the Iliad. After the Trojan War, when the Greek army returned home, it was shipwrecked and destroyed because the hero Ulysses angered nepton, the sea god. Odyssey escaped because of his wit and courage, but he still couldn’t find his way home and drifted in the sea; His wife Penelope did not know the life and death of Ulysses. Facing the rude suitors, she had to wait for her husband to return. Finally, with the help of the gods, after ten years of drifting, Ulysses finally returned home to reunite with his wife and killed the suitor.

Looking back at the moment when “contempt” was created: in the 1960s, when the reflection on classical films was of great significance, there were two outstanding works with the title of film shooting process in 63 years. One is GAODA’s “contempt” and Fellini’s “eight and a half”. The film core of “eight” intertwined an unfinished film with the anxiety and imagination generated by the exhaustion of the creator’s inspiration. The title of eight and a half has nothing to do with the film content. It only marks the stagnation of a film author in his creative process; From beginning to end, contempt focuses on the crossing of intertextuality, the conflict / mediation of constituent forces, and the criticism of the film industry. It corresponds to the psychological conflict of modern couples in contempt with the historical poetry of Odyssey, making it a real m é tafilm [2]

In the first scene of contempt, an important self referentiality narrative begins. The shooting team is taking the technical position before the official shooting; Gao Da’s voice over next narrated the cast list of “contempt” and replaced the name (text) with sound. After reading “the film was made into a Cinemascope wide screen stereo film”, Gao Da enlisted Michelle Michel mourlet – not Andre Bazin, who was wrongly planted – a refined famous sentence in an article entitled “about a neglected art” in the late 1950s: the film is a “view to replace people” and a “world consistent with desire”. Through the emergence of the production team, it points out that the film is an illusory and constructed essence; Another anti illusory attempt is that photographer Raoul Coutard turns a camera equipped with a wide screen size lens to the audience. At this moment, the creator is connected with the audience. The direct looking camera seems to know that the audience is watching. At this moment, the audience becomes the subject, and the camera is between the film and the author. The film becomes an object waiting to be seen and examined by each other, It is also a reactionary subject who begins to reflect on its composition (history, story, scene scheduling, sound, scene frame and position, etc.) [3].

Raoul Coutard’s wide screen camera marked the beginning of a new spectacle film: in the 1960s, wide screen became popular. The film industry offered very wide large screen (2.75:1) and special color film (Technicolor), trying to compete with the emerging media TV at that time. Here, it was as high as a return to silent film shooting: single lens, And a fixed camera to mourn a passing film tradition. Fritz Lang in contempt also lamented that “wide screen movies are suitable for people like snakes and terrible actors”. The commercial nature of film (Hollywood) makes it an extremely eager entertainment product. The original novelty, interest, life records (Lumi è re brothers, etitne Jules marey) and experimental art (Fernand L é Ger / Dudley Murphy) in silent films gradually abdicated.

The second scene is an indoor scene unrelated to the first scene. In this group of scenes, Paul and Camille lie naked in bed and have a strong flirting atmosphere. When she asks Paul what part he loves her, in the uninterrupted continuous lens in time, the filter is used to separate the lens head into three different visual breaks: red, white and blue, This throws a question mark to the audience: what is splicing? The image is continuous, but the vision is discontinuous (filter conversion). Is this one lens or three lenses?

“Contempt” is GAODA’s second work using “red, white and blue” (the first was “women are women” in 61, and later used in “crazy Piero” in 65). Shu Qi, a Hong Kong film critic, believes that this is a rather “prank” technique. It is a small trick that destroys men’s desire to peep. Through the sudden change of color, it reduces the provocation caused by Brigitte Badu’s nudity to the audience, temporarily returns to the normal photography color after the red full of desire, and then reduces the “provocation” to a low point with blue [1]. Brigitte bardu is a popular star in France. The producer once asked GAODA to make up for her lack of naked lens, but GAODA thought about Bardot’s naked lens, which transformed the possibility of simple peeping. The “secret destruction” of this monochrome lens can be described as GAODA’s anti commercialization.

The third scene is a meeting in the movie city. Because Paul and Jerry don’t speak the same language, they have to translate fercisca (giorgia Moll) to communicate. However, when fosiscca translated English into French / Italian / German, it was “misinterpreted”, which may be similar to the original meaning or completely misinterpreted. For example, “I didn’t become the king here until yesterday” was translated into “he made a lot of good movies” or “there are some wonderful things you don’t know” into “he found that the joint performance is very suitable for your script”, Producer Jerry also appeared in a rather theatrical performance with a strange composition: Jerry was on the stage, while Bohr and fersiska were at the lower edge of the screen, suggesting that the huge power from capitalists was one of the crises of independent creation. Here, Golder emphasizes the paradox of language communication with “false translation”, and may also question the film production of transnational investment. Communication is only a vision, and a top-down power relationship is the real operation mode of film production.

After the audience entered the test room, they began to show the first cut of Odyssey. Odyssey contains rich mutual referential meaning, and the allusions and statues have become important symbols throughout contempt. Gouda especially found the greatest German director since the silent film period, frizran, to play himself in contempt: a creator who has gone through the silent film, sound film and color film period. The problem of prototype and reproduction is dialectical from frizran, where the real identity is consistent with the fictional role (a director) but not completely true (frizran stopped writing in the 1960s and never filmed Odyssey); The next statue also brought out the problem that the original / model could not be separated.

In the process of watching MAO film, Gunda made a positive and negative tangent between the viewing of the role and the lens in the Odyssey, and the seven statues at the beginning also introduced the main characters of the epic of the Odyssey: the first lens was Ulysses, the owner of the Odyssey, followed by Minerva, the protector. The next lens was Bohr’s interpretation, followed by Neptune, Ulysses’s mortal enemy. After showing the seven Statues (the last one is Homer, the author of the Odyssey), we saw the part played by real people: the picture of a naked woman swimming in the sea. She is Penelope, Ulysses’s wife. The camera cut Jerry’s happy expression and said that he loved the scene very much, The film ends with a set of scenes shot in the studio: Ulysses shoots an arrow standing in front of a red background, the arrow passes through Penelope smiling in front of a yellow background, and finally Ulysses shoots his arrow into his throat on a blue background.

In this MAO film, we can see two interpretations of the original Odyssey: one is statue and the other is live performance. Odyssey is the representative of travel literature. After the end of the Trojan War, Ulysses spent ten years of adventure and hesitation to return home. On the one hand, it was because of the obstruction of the sea god, and on the other hand, he suspected that his wife was unfaithful. However, in fact, Penelope has been waiting for her husband for ten years. This arrow may be interpreted as Ulysses’ punishment. Compared with “contempt”, the two finally broke up in the film, but caused Camille’s death. Which is not a punishment?

After the film, Jerry was furious and threw the film all over the floor, questioning that “it’s different from the script.” Fritzlang replied, “because the script is written in words, and the screen appears in pictures”, the atmosphere in the screening room is tense, and the characters and roles they represent: German director fritzlang in exile in the United States against Jerry, playwright Paul and beautiful wife Camille, who represent the hegemonic side of capitalism, breathe in their creation and life, And they keep arguing about “film”, which is business, art, self realization, capital accumulation, belonging to the author and returning to industry… In the test room with the famous words of the Lumiere brothers engraved in Italian: “film is an invention without future”, Jerry’s throwing and writing checks seem vulgar and ironic. Finally, Lang took the poem of Friedrich Holderlin (1770-1843) the poet’s call: “until God no longer helps him, he can really face fear and loneliness” as the end of the screening room, and fersiska was completely correct in translating the poem (is poetry regarded as the common language of mankind?), Taking the extended interpretation of poetry as the view of the author as God, this paper puts forward the reflection of “the author is not here, so…”.

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