剧的第一集以“消失(vanish)”为开篇,消失的不仅是卡米尔的妹妹玛丽安,镇上其他两位女孩也随之消失:安和娜塔莉。这也和第一集最后卡米尔手上刻的“vanish”形成前呼后应的效果。
剧的第一集以“消失(vanish)”为开篇,消失的不仅是卡米尔的妹妹玛丽安,镇上其他两位女孩也随之消失:安和娜塔莉。这也和第一集最后卡米尔手上刻的“vanish”形成前呼后应的效果。
如题,本片烂到家了,一星已经是抬举了,为了节省大家宝贵的休闲时间,还是请不要看了!!!!!!
1,片中所有人都是傻逼,被略强于傻逼的男主玩的团团转。
2,当然了,我毫无侮辱女主相貌的意思,如果大家都说这女的漂亮,那我只能说,东西方的审美,真的差距太大了。
3,这个片子的逻辑,我不断刷新了我对毫无逻辑这个词的理解。
4,我一直不相信
如题,本片烂到家了,一星已经是抬举了,为了节省大家宝贵的休闲时间,还是请不要看了!!!!!!
1,片中所有人都是傻逼,被略强于傻逼的男主玩的团团转。
2,当然了,我毫无侮辱女主相貌的意思,如果大家都说这女的漂亮,那我只能说,东西方的审美,真的差距太大了。
3,这个片子的逻辑,我不断刷新了我对毫无逻辑这个词的理解。
4,我一直不相信这样的事:我对一个终极邪恶的大boss说:傻逼,请你相信我!大boss说:我为什么要相信你?!我说:因为你必须相信我!于是,这个大boss就相信了我。而且我最后利用了大boss对我的信任 ,干掉了大boss。看完这个片子后,我信了。
如题。
简直笑死人。
尽管本片有我的同学出演,但我一样要骂。
创作者对该片到底抱有怎么样的定位呢?
是宣传昆曲文化?是说明昆曲艺术在现代文化的夹击之下的艰难?是讲一个昆曲文化人的爱情故事?还是颂扬老一辈昆曲文化工作者的无私奉献?
不确定,好像都有,又好像哪个都没讲好。
另外槽点实在太多令人吐槽无力:1既然是昆曲发扬的江浙
如题。
简直笑死人。
尽管本片有我的同学出演,但我一样要骂。
创作者对该片到底抱有怎么样的定位呢?
是宣传昆曲文化?是说明昆曲艺术在现代文化的夹击之下的艰难?是讲一个昆曲文化人的爱情故事?还是颂扬老一辈昆曲文化工作者的无私奉献?
不确定,好像都有,又好像哪个都没讲好。
另外槽点实在太多令人吐槽无力:1既然是昆曲发扬的江浙一带(源头应该是苏州),为什么主要演员都一口浓浓的京腔呢?
2无论是从昆曲的哪一角度描述描述该故事,这个故事是不是得多出现一点昆曲呢?然而除了开头两句,和剧中半截的一句,我完全不知道这个片子把昆曲的元素放到哪里了。
3最最搞笑的是,该作配乐和身段竟然使用北方戏曲比如京剧的一些元素…………这……醉了。
说回主题,面对昆曲文化在今日所受到的挑战,我没有看出丝毫创作者的深度思考,完全可以理解成该片只是创作者面对昆曲式微所发出的一声幼稚而无用的狂躁呐喊。
我们需要你这样的无用的呐喊么?我觉得是不需要的。昆曲要留住观众,就必须在自身的文化特征上下功夫,以进行自我的变革。无论是内容还是形式,别的艺术形态和昆曲的自身文化发展历史都证明了这一点。
片中多次出现现代文化和昆曲对立的情境(比如杰克逊的模仿者的表演霸占了舞台,几个主要人物放弃唱戏改去开酒吧之类),这些都是极端的,昆曲艺术远有昆山腔,近有沪上张军,都不会把现代文化与昆曲置于对立的两面。
写到这里的时候,影片也进入了结尾,片子的最后以建立“昆曲民宿园”“能赚钱了”作为结尾,感觉这个结尾还是没说到点上。
毕竟,创作者还是把昆曲和现代文化做了一个对立,下的功夫太少了。
因为昆曲,不是不能变化的。
《听见你的声音》:我男女主角李钟硕和李宝英有演技。
《下一站是幸福》:我甜啊!
《听见你的声音》:我感情戏有暧昧有铺垫。
《下一站是幸福》:我甜啊!
《听见你的声音》:我才18集不拖沓。
《下一站是幸福》:我甜啊!
好吧,甜就是“王道”。
《听见你的声音》:我男女主角李钟硕和李宝英有演技。
《下一站是幸福》:我甜啊!
《听见你的声音》:我感情戏有暧昧有铺垫。
《下一站是幸福》:我甜啊!
《听见你的声音》:我才18集不拖沓。
《下一站是幸福》:我甜啊!
好吧,甜就是“王道”。
母亲20221.预测一下,应该又是个女儿将母亲从过去的黑暗中拯救的故事吧,然后母亲和过去和解啥啥最后要么是妈没了姑娘迎接新人生,要么母女相拥走向阳光?2.卧槽…老太太虚影坐摇椅…上来就这么淦…3.啊…女儿被大学录取,想学化妆…老套的剧情…4.面具呼吸你妈的!啊!身边忽然闪现的人影!啊!你妈的!还看不看!啊!你妈的!5.踩没小鸡儿我明明预告片都看过了为什么还是吓到了
母亲20221.预测一下,应该又是个女儿将母亲从过去的黑暗中拯救的故事吧,然后母亲和过去和解啥啥最后要么是妈没了姑娘迎接新人生,要么母女相拥走向阳光?2.卧槽…老太太虚影坐摇椅…上来就这么淦…3.啊…女儿被大学录取,想学化妆…老套的剧情…4.面具呼吸你妈的!啊!身边忽然闪现的人影!啊!你妈的!还看不看!啊!你妈的!5.踩没小鸡儿我明明预告片都看过了为什么还是吓到了!啊!6.两次白天搞出动静就是为了女主发现她女儿要申请大学?7.这大闺女怎么能这么欠咱也是不理解…8.女主状态不对劲啊…9.好家伙母女对扇是我没想到的!!这不是恐怖片来着?10.啊…你要非说后20分钟有点拉胯吧…它确实有点…多少个尾巴的狐狸建模它也是建的差点意思…不是你不该恐怖片里整个这…老母亲的脸出来了,说实在点就不恐怖了…但是吴珊卓的演技在这撑着也没有拉倒哪去…就是这…最后讲了个啥…
跟我预测的…没区别?母亲在女儿的帮助(?)下勇敢面对过去和自己母亲带来的痛苦和解然后送女儿迎接新人生?
不得不说后半段…有点子…拉胯…但是前面配乐和啥的确实吓到我两次,给两星不嫌少吧?吴珊卓给一星,这人…说温柔温柔说吓人是挺吓人的…就这个长相就能在这两个区间反复横跳我是没想到的,男主(算是吧)也好眼熟….(男主是shameless大姐的吸毒老公…)
最后总体给三星吧,其实是不够格三星的…
但是我已经很久没看亚洲元素的恐怖片了,还是应该鼓励的!
嗯很棒!
我太瞧得起自己了我也配看无字幕的版本…
万物不以人的意志为转移,冬天又要来了。
“人也不是非要活的有意义。”
“不,我就是要有一盏灯是为我而亮的,有一个人是为我而来的。”
每天都在其中反复横跳着,沉默不语,严寒似乎可以为一切罪恶开脱。
万物不以人的意志为转移,冬天又要来了。
“人也不是非要活的有意义。”
“不,我就是要有一盏灯是为我而亮的,有一个人是为我而来的。”
每天都在其中反复横跳着,沉默不语,严寒似乎可以为一切罪恶开脱。
如果说最近还有好消息,那就是《风吹半夏》的定档吧!想过很多种描述它的方式,搞笑的深沉的、盛夏的深秋的,最终还是觉得用自己舒适的最好。
注意到它是官宣赵丽颖要出演之后,我去看了原著《不得往生》,很极端的一个名字,和我以往见过的都不一样,“投以裁纸刀,许之生半夏”当即就记在了我的备忘录里。
100多章,一个女性在男性主导的商界绿林开出一条血路。或许,从出生开始,因母亲难产而死被父亲取下带有恶毒意味的名字“半夏”时,就注定了她的不平凡。资本的原始积累往往伴随着90度灰,道德和利益的对抗,借助肥胖模糊性别才能向前的无奈,时代洪流中,一段商海沉浮的故事展现在我眼前。
很庆幸我打开了这本书,看到精明勇敢的许半夏,雄才大略的赵垒,耿直刚烈的童骁骑,阴险狡诈的伍建设……无论好与不好,我都喜欢他们,书中年代场景虽离我相去甚远,但我永远对敢于拓宽国内影视内容和人设边界的作品怀有敬意。
我想,我会一直记得半夏,过于深邃的孤僻,过于阴郁的无畏,过于算计的精明,野心勃勃于商海里叱咤风云。
如果有时间,就去看看吧,还不错!
2022.12.2
又过去了几天,眼花缭乱的评论纷至沓来,我很遗憾为什么会有人通过对演员的好恶去关联一部剧,渴望弄死一切不同意见。
我一直觉得,因为一部作品而相遇在一方网络里,是非常有趣的一件事情,我们可以去思考为什么喜欢或者是为什么不喜欢,由之而来的讨论显然更有意义。
我也会有很生气的时候,看到一部好的作品因为这样那样的外在原因而沉寂,甚至会去想要不要以其人之道还治其人之身,但转瞬便放弃了这个念头,我极其讨厌这样的人更不屑于成为这样的人,我唯一能做的,尽我所能让更多的人去看一看,我永远会是《风吹半夏》的排头兵,不为别的,只因为它独树一帜扣人心弦的剧情!
如果有这样想法的人看到这篇文章,首先,我很荣幸;其次,也希望您三思而行,因为追星把自己变得面目可憎,置于这样的境地真的会开心吗?那么好的时光可以去做更多有意义的事情!不要困在故意恶意虚假评论的低洼里,去看山看海看世界吧!
(转载标明出处即可)??.
在飞机上看的这部电影。看之前从来没听说过,然后从小图看到海报,以为孙博是陈佩斯就点开看了。
但是一看就看进去了。
蚱蜢的作文,猪太郎的吉他,最后的长跑比赛,都让我感动得一边看一边流泪。
很意外豆瓣评分竟然只有6分,我不知道评分那些人都多大。如果还是学生的话可能无法体会这部电影的优秀和感人,无法体会那种人处在社会上的种种无可奈何,身不由己的情境。
在飞机上看的这部电影。看之前从来没听说过,然后从小图看到海报,以为孙博是陈佩斯就点开看了。
但是一看就看进去了。
蚱蜢的作文,猪太郎的吉他,最后的长跑比赛,都让我感动得一边看一边流泪。
很意外豆瓣评分竟然只有6分,我不知道评分那些人都多大。如果还是学生的话可能无法体会这部电影的优秀和感人,无法体会那种人处在社会上的种种无可奈何,身不由己的情境。
已经很久没看到这么好的国产片了,所有人都说人话,场景也都是普通人的生活场景。没有刻意的煽情,点到即止,无言之处反而意味深长。
不知道这部电影的主创会不会看到我在这里的留言,希望你们不气馁,继续多拍这样讲述真正老百姓的故事。
杂草袁的??观后感Day77:
选择太多也不好,哪个都想看纠结半天就会那个也看不了。
我是你妈这部电影评分虽然好低,但母爱的伟大不容忽视。
人到中年的单身妈妈,费尽心力与青春期的女儿斗智斗勇。就像昨天的佛罗里达乐园一样,母亲们爱孩子的心都是一样的,或许有时候她们的表达方式会有所不同。但她们经常得到的,却是都怨你,我才成为了这样的我。
但是这样的
杂草袁的??观后感Day77:
选择太多也不好,哪个都想看纠结半天就会那个也看不了。
我是你妈这部电影评分虽然好低,但母爱的伟大不容忽视。
人到中年的单身妈妈,费尽心力与青春期的女儿斗智斗勇。就像昨天的佛罗里达乐园一样,母亲们爱孩子的心都是一样的,或许有时候她们的表达方式会有所不同。但她们经常得到的,却是都怨你,我才成为了这样的我。
但是这样的你,又有什么呢?
她们带我们来到这个世界,不是让我们抱怨的,而是陪我们一起体验这丰富多彩的世界。
想起之前有人跟我说过一句话:天下没有不是的父母。
一个明星,谁都不能保证每个剧都是5分,总会有好有差,这很正常,为啥不好的剧不能打低分?看出问题才能有进步,期待下一个剧会更好吧。
开播后一片叫好,他们说耗子上亿,制作精良,大制作,演技牛??,有灵气,少女少年感,甜,吧啦吧啦~可是我看了一下,就纠结了,我审美歪了么?这个写出来,估计会被骂,但是呢你们都是对的,毕竟每人眼光不一样么,允许不一样的存在,也许我就是那个不一样的呢~各花入各眼吧。就酱。
一、布景好似舞台剧
如果不说这是电视剧,只是看着“外景”,我以为这是一出舞台剧,请问这么假的布景是认真的么?本来也不是很么很难的布景,为啥非要做的这么假?哪哪都是假的,还面积不大,果然是小成本么?钱都用哪了?
二、人物年龄层次不分明总混淆
先不说男女主的姐弟感,男女主相差10岁,男主还要叫女主小妹妹。。。尬
就说82年的车晓和87年的赵丽颖,演母女?感觉没啥年龄差别,看不出母女,说姐妹还是可以的呀。赵丽颖已经30+了,本就结婚生娃,实话实说她的少女感只能存在于精修图了吧,再牛逼的滤镜也遮不住眼中的疲惫和沧桑,更别说还要演12岁的小萝莉?这样不好。看着女主一家三口,嗯,如果不交代清楚,谁能看出是女儿和父母?
再说男主,嗯,男主可以少年,男主可以帅,但是么灵气不足,是硬伤。不是说王一博没灵气,而是说他这个人不是男主的那个类型的人,硬去演就很尬,你说让他去演个清冷的,演个沙雕的都可以,但是他不属于古灵精怪那一卦的,嗯,让一个没太多演戏经验的人非要演出自己身上没有的,确实难了点。
三、配音贴不贴脸
其实这点我是觉得还好,真的是还好,只要看进去了,自然带入了,这个声音可以接受。只是么,男女主这个状态么看进去这个事儿有些难,嗯,有点违和吧。反观不重要的情节,这个配音其实没违和是不是?或者不看画面,只听,其实还行,只能说明,配音不是问题,问题是,人没到点上,而配音到点上了,就合不上。
四、化妆
女主是个侠女,但是12岁有啥可侠的?为了“侠”而侠?黑眼线都快成黑眼圈了吧?也不知道这个化妆的怎么画的,只有女主黑眼线,看着非常违和,也显得脸色沧桑感更甚,少女感更少,再深的磨皮也生就不来这个生硬的眼线啊。虽然有人说女主不是12岁,那么是十几岁?也不能这样的妆容吧?眼线黑出天际,眼睛满是疲惫?
最后说个题外话,赵丽颖就是不说演技,这个结婚生娃后,也不知道为啥,可就是看着么很凌厉,整个人都不温柔,也不知道是造型师问题还是怎样的,就是个坚强的女性,这个感觉,嗯,所以演个天真无邪机灵可爱的小萝莉,不太合适了。
??若是真正感受过TVB的烂尾文化,那么《金宵大厦2》便算不上什么烂尾。??整个故事(包括第一季)都是在循坏里的故事,设计师和女医生是开始,Joey和Lydia是结束。EP19/20神之收尾,将所有看似割裂的单元故事串联起来,而且补全了每个单元留下的悬疑点(比如《吃播》单元吃薯片的Ella,《嫁衣》单元最后出现的皮鞋是阿Lam)。??在闭环里每一个时空都有变数和命
??若是真正感受过TVB的烂尾文化,那么《金宵大厦2》便算不上什么烂尾。??整个故事(包括第一季)都是在循坏里的故事,设计师和女医生是开始,Joey和Lydia是结束。EP19/20神之收尾,将所有看似割裂的单元故事串联起来,而且补全了每个单元留下的悬疑点(比如《吃播》单元吃薯片的Ella,《嫁衣》单元最后出现的皮鞋是阿Lam)。??在闭环里每一个时空都有变数和命运,感觉就像是用了两季作为铺垫,用《原点》篇交代男主作为时空穿梭者不断找寻女主的故事。复盘的时候发现逻辑清晰细节顶绝,是TVB近几年来难能可贵的圆得好的续集结局[失望R]虽然作为每一个时空的邪恶组织MIA以及徐小姐都没有得到交代,但私以为他们并不是主线逻辑的坑,没有填到也并不是烂尾所在。??夹带林哥仔阿Lam[笑哭R]唯一泪目。等两季几世也找不到他的Coco,只有15分钟的黄粱美梦。??最后还是感叹一下男女主(虽然线比较杂主线描写不多,情感感染力没有第一部强)宿命感?怎么都改不了的命中注定。今宵多珍重|陈山聪—设计师/刘旭辉/萧伟明/飞行员/Maurice/Joey李施嬅—女医生/Coco/Alex/Ella/Lydia
clit2014, jan 2, 晚交了20天,我再也不想上gender studies了我要吐了,写这篇paper不知道经历了多少mental breakdown
Women’s Experience Matters: Redefining Feminist Cinema through Claire’s Ca clit2014, jan 2, 晚交了20天,我再也不想上gender studies了我要吐了,写这篇paper不知道经历了多少mental breakdown Women’s Experience Matters: Redefining Feminist Cinema through Claire’s Camera As Laura Mulvey points out in “Visual Pleasure and Narrative Cinema”, traditional narrative cinema largely relies upon the practice of a gendered “gaze”, specifically, male’s unconscious objectification of female as erotic spectacle from which visual pleasure is derived. Her account draws attention to the prevailing feminist-unfriendly phenomena in contemporary cinema, one that resides in the language of patriarchy, privileging man’s experience while making woman the passive object deprived of autonomy. Many feminist filmmakers and theorists including Mulvey herself urge a radical strategy that dismantles patriarchal practice and frees woman from the state of being suppressed by the male-centered cinematic language.To conceptualize a mode of cinema that speakswoman’s language, or authentic feminist cinema, this essay interrogates the validity of Mulvey’s destruction approach in pursuing a feminist aesthetic. By making reference to Hong Sang-soo’s film, Claire’s Camera, I argue that feminist cinema needs to be redefined by neither the immediate rejection of gender hierarchy nor the postmodern notion of fluidity, but by perspectives that transcend the gendered metanarrative of subject vs. object, and that primarily represent and serve woman’s experience on both sides of the Camera. Earlier waves of feminism strived to call attention to, if not, eliminate the unbalanced power relation between men and women in the society, namely the dichotomy between domination and submission, superiority and inferiority, and self and other (Lauretis 115). Feminists such as Mary Wollstonecraft and Simone de Beauvoir radically interrogated women’s rights in the political arena as well as women’s relative position to men in the society at large. However, the approaches of the earlier waves cannot prove themselves sufficient in pursuit of a female autonomy, owing to the fact that they are constantly caught in the power-oriented metalanguage which inherently privileges one over another. While it is argued that the objectification of the “second sex” is oppressive in nature, for example, the assertion already marks the subject-object dynamics between men and women by default. It fails to propose non-power based gender narratives, while obliquely acknowledging that the language spoken in this context is inevitably characterized by phallocentric symbols, ones that prioritize self over other, subject over object, male over female. In thisregard, rather than rendering a perspective that exposes and dismantles patriarchy, the outcome of earlier feminist approaches inclines towards “replicating male ideology” (Mackinnon 59), reifying the omnipresence of the patriarchal language and reproducing the effects of patriarchy. A similar notion applies to defining feminist cinema. In terms of visual representation, feminist idealists encourage women to present their bodily spectacles, inviting interpretations free of erotic objectification. Despite the favorable receptions from the sex-positive side of the discourse, it is indiscernible as to whether these attempts truly free women from the dome of sex-negativism or reinforce the effect of the patriarchal language even more. This polarized debate, I believe, is due to the fact that the discourse is held captive by the language of patriarchy too powerful for one to extricate from, and that any rebellious gesture would appear to be an insufficient, passive rejection of the predominant ideology. To illustrate this point, Lauretis notes that Mulvey’s and other avant-garde filmmakers’ conceptualization of women’s cinema often associates with the prefix of “de-” with regards to “the destruction… of the very thing to be represented, …the deaestheticization of the female body, the desexualization of violence, the deoedipalization of narrative, and so forth” (175). The “de-” act does not necessarily configure a new set of attributes for feminist representation, but merely displays a negative reaction to a preexisting entity. It is important to be skeptical of its effectiveness in defining feminist cinema, as it implies certain extent of negotiation instead of spot-on confrontation with the previous value. A destructive feminist cinema can never provide a distinctive set of aesthetic attributes without having to seek to problematize and obscure the reality of a patriarchal cinema. In that regard, it is passive, dependent and depressed. More importantly, the question – how the destruction of visual and narrative pleasure immediately benefits women within the narrative and directly addresses female spectators – remains unanswered. TakingClaire’s Cameraas an example, the film destructs the notion of a gendered visual pleasure by presenting the camera as a reinvented gazing apparatus, one that differs from the gendered gaze, and instead brings novel perception into being. Normally, when characters are being photographed, mainstream filmmakers tend to introduce a viewpoint in alignment with the photographer’s position, enabling spectator’s identification; that is, the shot usually shifts to a first-person perspective so that spectators identify with the photographer gazing at the object who is in front of the camera. Claire’s Camera, however, abandons this first-person perspective while generating new meanings of the gaze. Claire ambiguously explains to So and Yanghye the abstract idea that taking photographs of people changes the photographer’s perception of the photographed object, and that the object is not the same person before their photograph was taken. The spectacle, although objectifiable in nature, is not so passive as being the object constructed upon, but rather constructs new signification upon the subject. The notion of the gaze is therefore re-presented with alternative insights. That being said, as I argued earlier, the destructive approach is not so sufficient an attempt at defining feminist cinema, because the way it functions nevertheless indulges feminist ideology in the role of passivity, deprived of autonomy and always a discourse dependent on and relative to the prepotency of patriarchy. In the conversation scene between So and Manhee, So, who is almost the age of Manhee’s father, criticizes her for wearing revealing shorts and heavy makeup. In a typically phallocentric manner, he insists that she has insulted her beautiful face and soul by self-sexualizing and turning into men’s erotic object. Despite the fact that the preceding scenes have no intention to eroticize the female body or sexualize her acts such that the visual pleasure is deliberately unfulfilled and almost completely excluded from the diegesis, So inevitably finds Manhee’s physical features provocative and without a second thought, naturally assumes that her bodily spectacle primarily serves man’s interest. This scene demonstrates that regardless of feminists’ radical destruction of visual pleasure, practitioners of patriarchal beliefs will not be affected at all; if any, the femininity enunciation only intensifies the social effects of patriarchy. The conversation between the two characters embodies the self-reflexive style of Hong Sang-soo’s filmmaking, in a sense that it fosters debates within the theoretical framework upon which it is constructed, and constantly counters itself in search of a deeper meaning, contemplating questions such as do we believe in what we practice, whether it is patriarchy or its opposite? And is anti-patriarchy feminism determined enough to prove itself a destructive force against patriarchy rather than a sub-deviant of a predominant ideology? The scene proves the drawback of a destructive strategy, that the way it operates nonetheless subscribes to a patriarchal manner, and that in order to escape the secondary position with respect to the phallocentric subject, more needs to be done other than problematizing the subject. To supplement the insufficiency of destruction, postmodern feminists such as Judith Butler proposes theoretical alternative to approach the discourse. Butler argues that gender is performative and fluid instead of a set of essential attributes. The notion of performativity indeed precludes the social effects of essentialism by introducing the idea of an identity continuum into gender politics, in ways that empower the socially perceived non-normative. On top of that, Butler believes that the categorization of sex “maintain[s] reproductive sexuality as a compulsory order”, and that the category of woman is an exclusive and oppressive “material violence” (17). Acknowledging the harms that essentialist perception of gender and sexuality entails, Butler bluntly negates the very categorization of woman. This radical negation, however, evades the reality that our whole understanding of the human race is based on gender categories, despite the corresponding inequalities generated from the instinctual categorization. In fact, it is when women as a collective community have come to the realization that the female gender is socially suppressed, that they start to strive for equality through the apparatus of feminism. Butler’s rejection of the gender categorization withdraws the sense of collectivism in the feminist community, which is “an important source of unity” for the marginalized (Digeser 668). Moreover, it deprives the feminist cinema of the necessity of delineating an authentic female representation, because within the notion of performativity there is no such thing as a fixed set of female representations but only distinctive individuals that conform to gender fluidity. Since identifying with a certain form of representation means to live up to a socially perceived norm from which one deviates, a performative cinema does not encourage spectator’s identification. The failed identification will not only drastically shift the spectator’s self-understanding but also cause more identity crises. Therefore, performativity is too ideal a theoretical concept to have actual real-life applications. Whether it is her body or her social function, woman has become the commodity of patriarchy. As Lauretis puts it, “she is the economic machine that reproduces the human species, and she is the Mother, an equivalent more universal than money, the most abstract measure ever invented by patriarchal ideology” (158). Woman’s experience has been portrayed in the cinematic realm nothing more than being the (m)other and the provocative body. Historical debates have proved that articulating the problematic tendencies within gender differences only results in skepticism rather than new solutions. Thus, in order to negotiate a feminist cinema, filmmakers need to abandon the patriarchal meta-language completely, and reconstruct new texts that represent and treasure woman’s experience more than just being the other, that “[address] its spectator as a woman, regardless of the gender of the viewers” (Lauretis 161). Similarly, what needs to be done in feminist cinema is more than just interrogating the gender difference between woman and man, but interpreting such difference in unconventional ways that liberate women from being compared to men and invite them to possibilities of having narratives dedicated to themselves. One of the ways, Lauretis suggests, is to regard woman as the site of differences (168). This signifies that the cinema needs to stop generalizing woman’s role based on her universal functions; rather, it needs to articulate her unique features, what makes her herself but not other women, from the way she looks to the trivial details of her daily life. In Claire’s Camera, the function of the camera conveniently transcends the diegetic space. In the narrative, it demarcatesthe “site of differences”, that is, how someone changes right after their photograph is taken, as well as how Manhee is presented differently each of the three times being photographed. The camera also magnifies her experience as a woman for spectator’s identification, mundane as it could be. In the last scene, the camera smoothly tracks Manhee organizing her belongings, packing box after box, casually talking to a colleague passing by, and so forth. Long takes like this fulfill what Lauretis would call “the ‘pre-aesthetic’ [that] isaestheticrather than aestheticized” in feminist cinema (159). Without commodifying or fetishizing woman and her acts, the film authentically represents a woman’s vision, her perception, her routines, and all the insignificant daily events which female spectators can immediately relate to. When a film no longer solely portrays woman as the “economic machine” that labors, entices men, and commits to social roles, it has confidently overwritten the patriarchal narrative with a female language. It fully addresses its spectator as a woman, appreciating and celebrating the female sex, not for what she does as a woman but for what she experiences. In conclusion, the essay first challenges the destructive approach in feminist cinema regarding its sufficiency in pursuit of woman’s autonomy and its indestructible destiny to fall back into patriarchy. The essay then argues that the rejection of gender categorization in performativity theory frustrates the mission of defining a female representation. Hong Sang-soo’s self-reflexive film, Claire’s Camera, offers an apparatus to delve into the drawbacks of destructive feminist cinema and simultaneously renders a new feminist code, abandoning the patriarchal metanarrative and constructing a new narrative that truly prioritizes woman’s experience. Works Cited Butler, Judith. “Contingent Foundations: Feminist and the Questions of ‘Postmodernism.’”Feminists Theorize the Political, edited by Judith Butler and Joan W. Scott, Routledge, 1992, pp. 3–21. Digeser, Peter. “Performativity Trouble: Postmodern Feminism and Essential Subjects.” Political Research Quarterly, vol. 47, no. 3, 1994, pp. 655-673. Lauretis, Teresa de. “Aesthetic and Feminist Theory: Rethinking Women's Cinema.”New German Critique, no. 34, 1985, pp. 154–175. Lauretis, Teresa de. “Eccentric Subjects: Feminist Theory and Historical Consciousness.”Feminist Studies, vol. 16, no. 1, 1990, pp. 115–150. Mackinnon, Catherine A. “Desire and Power.”Feminism Unmodified: Discourses on Life and Law, Harvard University Press, 1987, pp. 46–62. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.”The Norton Anthology and Theory and Criticism, edited by Vincent B Leitch, W. W. Norton, 2001, pp. 2181–2192.
老实说这节北影节我是很期待这部影片的,但是看过之后略失望。但是作为导演的处女作,还是有很大发展空间的。以下仅以非专业的个人角度聊一下感受。
首先这部电影的取景还是很漂亮的。英伦风,略带萧瑟,还有阴暗的城堡,很符合诡异故事。
音乐方面,有故意制造恐怖气氛之嫌。如果为了吓人而吓人那和国产鬼片差不多了 。
剧情上也有同样的问题。为了吓人而吓人。后面的反转可以看出
老实说这节北影节我是很期待这部影片的,但是看过之后略失望。但是作为导演的处女作,还是有很大发展空间的。以下仅以非专业的个人角度聊一下感受。
首先这部电影的取景还是很漂亮的。英伦风,略带萧瑟,还有阴暗的城堡,很符合诡异故事。
音乐方面,有故意制造恐怖气氛之嫌。如果为了吓人而吓人那和国产鬼片差不多了 。
剧情上也有同样的问题。为了吓人而吓人。后面的反转可以看出来创作者是想要讲一个很好的故事的,但是可惜还不具备这样的能力。创想很好,但是不合理的地方有很多。台词方面就显得很刻意。比如那句“神经性皮炎”。有些东西可以留作观众猜测去,不必要都点名。而且两个女孩吵架那段的台词和人物动机都非常牵强。不让人满意。
角色上,这些演员都还不错。女主角后半段演技很在线,那种惊恐的状态很逼真。但是我非常想吐槽几位中国演员的英语语音。并不是说嫌弃中国口音,而是她们本身作为英国留学生,作为一个嫁到英国的戏剧演员,英语不可能讲成那样,很出戏。
整体上来讲就感觉故事很混乱情节很不合理,观影的感受不佳。影片时间有点长。我觉得有点失望。希望导演之后的作品能更好。
扶贫路上的曙光和希望
覃玉洁
前几日,中共宜昌市文化和旅游市场综合执法支队支部委员会组织观看了扶贫攻坚电影《山路十八湾》,亲切的乡音、真实的故事,都让人动容。这样一部纪实扶贫,立足时代的影片,在影院灯光亮起的那一刹那,让笔者有种恍若隔世的感觉。
扶贫路上的曙光和希望
覃玉洁
前几日,中共宜昌市文化和旅游市场综合执法支队支部委员会组织观看了扶贫攻坚电影《山路十八湾》,亲切的乡音、真实的故事,都让人动容。这样一部纪实扶贫,立足时代的影片,在影院灯光亮起的那一刹那,让笔者有种恍若隔世的感觉。
故事主线不复杂,讲述了一位机关干部冯曙光主动请缨来到偏远山村十八湾来担任驻村第一书记,克服重重困难带动十八湾的群众脱贫致富的故事。影片一开头冯曙光就驾着车在弯弯曲曲地山路上行驶,被一些掉落的大石块拦住了路。碰上了第一位扶贫对象,也是一位关键人物刘希望,他帮助冯曙光一起移开了那些石块。在冯曙光的邀请下,两人一道回十八湾村。两人就如同他们的名字一样,给村子带来了曙光和希望。
此时镜头一转,一个裹着头巾的大妈背篓里的鸡四散跑丢,见到冯书记的车就势一滚,碰起瓷来,非说是车吓跑了她的鸡。“鸡”这一意象在这个影片里出现了三次,都承担了重要作用。第一次长社嫂丢鸡,冯书记买鸡,便是推动故事开始的第一个线索。长社嫂将此事宣扬出去,于是有了乡亲们找冯书记卖菜,正因为买下了这些菜送给了李总,才是打开销路的第一步。第二次出现鸡,是刘希望的儿子军军抱着鸡,冯书记问,干嘛呢?军军答,玩鸡呢。在娱乐设施相当落后,也没什么其他娱乐活动的乡村里,他的母亲离开,父亲教育缺失,他的玩伴就是这一只鸡,也是他的精神寄托。也就为后面军军为了找丢失的鸡而迷路走丢而做好了铺垫,这第三次出现鸡,促进了矛盾的化解。同时鸡也是推动十八湾村致富的商机之一,实在是巧妙。
这部片子的主人公冯曙光作为驻村第一书记,他毋庸置疑是一个优秀的国家公职人员。他离开自己原本的机关单位,自告奋勇来到十八湾村时可能想象到了很多困难情况。但是情况远比他想象的糟糕,来到十八湾村向书记直接给他吃了个闭门羹,正巧遇到陈贤惠,而这也成了村里谣言的起点。被人恶意揣测两者的关系,气的陈贤惠想要离开这里。冯曙光从未气馁,并告诉她:“身正不怕影子斜。”同时在丈夫的信任下,陈贤惠留了下来,成为了冯书记的左肩右臂。他的人格魅力不仅仅化解了此事,也推动了村子里红箭子、刘希望、捡宝子三家的矛盾化解,成了带动十八湾村致富的关键。冯曙光无时不刻在考虑着如何带动十八湾村致富,在陪刘希望挖金银花的时候意识到种植金银花也是一个商机;在花钱买下乡亲们送来的农副产品时也是第一时间送到了做投资的李总手里;三家做农家乐的村民各有所长却各自为政,他就想着如何将资源整合。正是有了这样的眼光,才能在贫困的十八湾村发掘出潜力,有时正是缺乏这种将资源变现的能力和足够敏感的认知能力,使得有些村子只能吃吃老本,难以脱贫致富。
影片刚开始时这群村民看起来好像“全员恶人”,上门就要打人的红箭子、懒政无为的向书记、让冯书记当众难堪的刘希望、背后嚼舌根的长社嫂等等,故事一点一点展开,也揭露了这个小村落的往事和伤疤,整个影片的高潮在全村人出动去寻找因为刘希望疏忽而走丢的军军,所有人都变得无比淳朴和善良,没有事不关己高高挂起的看客。就连这个村发展的最大阻力向书记,亦不过是个想要过上更好生活的贫困户。故事环环相扣 ,最终刘希望远远地看向远方,一个女人来到了十八湾村,给故事画上了句号,还给观众留下了一丝意犹未尽的感觉。
影片中还出现一些普通插曲一般的小故事,由于是真实故事改编,所以可能并不件件都有其因果,但是也有其存在的意义。比如那位和时间赛跑,最后还是没能看到自己新房的老兵,比如那个外婆感冒还要打电话问父亲的儿子,最后也走进乡村为孩子们做家教。其实是一种战斗精神的传承,老一辈如老兵为村子建言献策被冷遇,到冯书记带领大家克服困难脱贫攻坚,再到儿子为父亲竖起大拇指,给小孩当家教,这样一代又一代的传承,点燃了所有像十八湾一样贫困乡村的希望。
看完这部影片后,我感触颇深,正因为有冯书记这类人的存在,才使得中国脱贫攻坚事业稳步前进,在2021年这样一个特殊的年份里,中国将要全面脱贫,他们功不可没。冯曙光不是一个人,而是千千万万个在贫困乡村努力带动大家奋斗的驻村干部,他们的人格魅力也影响着身边的村民,他们的亲人,他们的下一代,正如愚公一般,“子子孙孙无穷匮也”,我们终将会移开贫困这座大山。
看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。
看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。看不明白,这样的惊悚片实在没啥意义。
野大豆(大豆的祖先)
茎紧紧缠绕在一起,趴在地上或者缠绕在粗壮植物的茎杆上,秋天种子在豆荚中成熟,用豆荚的爆裂将种子弹射2-5米,从而拓展家族生存空间,种子会进行休眠可能1年,2年或者数10年,以这种方式防止一时间由于外界环境而全部覆灭
野大豆(大豆的祖先)
茎紧紧缠绕在一起,趴在地上或者缠绕在粗壮植物的茎杆上,秋天种子在豆荚中成熟,用豆荚的爆裂将种子弹射2-5米,从而拓展家族生存空间,种子会进行休眠可能1年,2年或者数10年,以这种方式防止一时间由于外界环境而全部覆灭
其实说实话,剧情剪辑很差,中间漏洞很多,特别是悬疑部分,浪漫嫌疑穿插着很尬……而且也太无脑了感觉两集能破的案子,而且后来配角的戏太多了,虽然很搞笑也很有意思,但是有点本末倒置了。而且浪漫桥段实在是有些很熟悉,比如两个人躺在沙发上对望,特别像秘密花园里面那段但是却没有秘密花园里来的有深度和意义,只是重复着我爱你。而且郑恩地唱的那首ost真的有点秘密花园的感觉??总是有点出戏,可能是导演想要搞浪
其实说实话,剧情剪辑很差,中间漏洞很多,特别是悬疑部分,浪漫嫌疑穿插着很尬……而且也太无脑了感觉两集能破的案子,而且后来配角的戏太多了,虽然很搞笑也很有意思,但是有点本末倒置了。而且浪漫桥段实在是有些很熟悉,比如两个人躺在沙发上对望,特别像秘密花园里面那段但是却没有秘密花园里来的有深度和意义,只是重复着我爱你。而且郑恩地唱的那首ost真的有点秘密花园的感觉??总是有点出戏,可能是导演想要搞浪漫却没有新意了吧。悬疑的配乐很赞,如果悬疑和浪漫能融合好就很棒了,现在就是杂糅在一起,但是为我朴炯植疯狂打call!贵公子演本部长就是有气质!就算无脑也少女心满满啊啊啊啊!
剧是好剧,但是网飞的翻译真的气死我了。
尤其开头那一段。
英文原版:
“Shields up! Let's move that payload. Go, Gladiators!"
"So, you are not even playing this video game? You're j
剧是好剧,但是网飞的翻译真的气死我了。
尤其开头那一段。
英文原版:
“Shields up! Let's move that payload. Go, Gladiators!"
"So, you are not even playing this video game? You're just watching these other nerds playing the video game?"
"This is the Overwatch League. It's the the world's top e-athletes."
然后是简中版:
“护盾!去掉这些负载 前进 角斗士们!”
“你现在连电子游戏都不玩了?你在看这些宅男玩电子游戏?”
“这是守望者联赛 世界顶尖的电子竞技联赛”
—————————————————————————————————————————————
我的天,专业的名词没有翻译出来就算了吧,外婆那句话的翻译简直逻辑不通。我不知道网飞哪里找的翻译,态度十分不认真,极大地破坏了我们观众的观看体验。
顺便解释下这里面的名词吧(十年角斗士老粉!(大鹅脸))
Overwatch League——守望先锋联赛。 是暴雪娱乐为电子游戏《守望先锋》举办的职业联赛。 共有20支队伍组成,这一集提到的Gladiators是指其中的洛杉矶角斗士队(Los Angeles Gladiators)。
Shields Up——洛杉矶角斗士队的应援口号。联想一下古时角斗士拿着长矛,举着盾牌的样子。在比赛现场还经常有粉丝扮成角斗士给选手呐喊助威。顺便一提Elena身上穿的就是角斗士队的队服。
Move that payload——运送运载目标。《守望先锋》的游戏模式之一。进攻方负责运送运载目标(推车),防守方阻止运载目标。
最后附上一个繁中版(相比之下比简中要良心很多,但还有问题):
“防守!移动装备,加油!角斗士”
“所以你甚至不玩这个电动游戏?你只是看这些阿宅打电动?”
“这是斗阵特攻(台湾那边的游戏译名)职业电竞联赛 世界顶尖的电竞运动员”