疯狂一整晚 正片

分类：纶李片 地区：台湾年份：1980

主演：内详

导演：内详

更新：2023-09-17 22:45

简介：{if:"From my personal reading, “pure film” does not necessarily merely indicate replacing the benshi’s narrative function to the images of the films, even Gardner defines it as “encourag(ing) the ideal of self-sufficient film narrative that did not rely on the narrative skills of benshi” in the early part of the article. (p.61, and similarly on p.66) Making a step further, “pure film” may include the attempt to eliminate the narration in films, as the citation goes “The sake of telling stories is gradually passing away.” (p.66) The early films made by Lumiere brothers only include a short piece of “life” from routines or some segments of performances. Gunning once introduces the concept of “attraction.” Similarly, the narration may become irrelevant or at least insignificant in the “pure film” such as “A Page of Madness.” As Gardner introduces, the audiences have “freedom in the story and its interpretation.” Roland Barthes’ “Death of the Author” also mentions this plurality of meaning decided by audiences. Therefore, I will examine several elements in “A Page of Madness” that accord to this “disappearance of narration.” (Apparently, there is no need to reiterate the lack of intertitles. )The lack of spatial demonstration in this film is a trivial point that I want to elaborate. Except several shots showing the whole view of the cells and the corridor (where the fight takes place), most scenes only have plain or dark walls as backgrounds, sharpening the figures in the foreground. Audiences rarely have a clear concept of the asylum’s structure, such as the relative position of the handyman’s office in relation to the dean’s office or the cells. In opposition to the traditional concept of theatre, no matter Kabuki or Noh, the “stage” (a settled space that audiences have complete visual access) seems to disappear in “A Page of Madness.” This anti-narrative transition may switch the audiences’ attention from the concrete movements and gestures to the abstract feelings and intense emotions, avoiding extra distraction for the viewers to “feel”. As Emily writes in her post, the rapid switching montage both in the beginning and throughout the film enlarges the sensational elements. Although parts of the film are still missing, I perceive the later half of the film as anti-chronological or non-linear in time dimension. The handyman’s plan of escaping her wife is chaotic from my view. His dream and the “displayed” reality seem to amalgamate, making the narration unreliable. Memories frequently enter the figures’ minds and are displayed to the audiences. Viewers may also understand these memories as the subjective hallucinations of the figures, who are “mad” and mentally abnormal. Therefore, this adds another layer of the invalid narration. Borrowing the concept of “light” in Gerow’s writing (p.2), the “pure cinema” may have to be aware of the usage of light in its images and scenes. As Gardner frequently brings the European modernism artistic schools into discussion (Expressionism, Futurism, Dada etc.), the “pure film” is parallel to it. When Clement Greenberg defines “modernism” in painting as the self-consciousness of the medium. Appropriate this concept on cinema, light is definitely the essential medium for capturing the movements, projection and contrast etc. As Gerow cites a review that treats “A Page of Madness” as “the play of light, the melody of light, the speed of light” (p.2), this film indeed contains a lot such scenes: the repetitively occurring shadows of the bars, the figures immersed in darkness, the lightnings, the high contrast in dark and white. "<>"" && "From my personal reading, “pure film” does not necessarily merely indicate replacing the benshi’s narrative function to the images of the films, even Gardner defines it as “encourag(ing) the ideal of self-sufficient film narrative that did not rely on the narrative skills of benshi” in the early part of the article. (p.61, and similarly on p.66) Making a step further, “pure film” may include the attempt to eliminate the narration in films, as the citation goes “The sake of telling stories is gradually passing away.” (p.66) The early films made by Lumiere brothers only include a short piece of “life” from routines or some segments of performances. Gunning once introduces the concept of “attraction.” Similarly, the narration may become irrelevant or at least insignificant in the “pure film” such as “A Page of Madness.” As Gardner introduces, the audiences have “freedom in the story and its interpretation.” Roland Barthes’ “Death of the Author” also mentions this plurality of meaning decided by audiences. Therefore, I will examine several elements in “A Page of Madness” that accord to this “disappearance of narration.” (Apparently, there is no need to reiterate the lack of intertitles. )The lack of spatial demonstration in this film is a trivial point that I want to elaborate. Except several shots showing the whole view of the cells and the corridor (where the fight takes place), most scenes only have plain or dark walls as backgrounds, sharpening the figures in the foreground. Audiences rarely have a clear concept of the asylum’s structure, such as the relative position of the handyman’s office in relation to the dean’s office or the cells. In opposition to the traditional concept of theatre, no matter Kabuki or Noh, the “stage” (a settled space that audiences have complete visual access) seems to disappear in “A Page of Madness.” This anti-narrative transition may switch the audiences’ attention from the concrete movements and gestures to the abstract feelings and intense emotions, avoiding extra distraction for the viewers to “feel”. As Emily writes in her post, the rapid switching montage both in the beginning and throughout the film enlarges the sensational elements. Although parts of the film are still missing, I perceive the later half of the film as anti-chronological or non-linear in time dimension. The handyman’s plan of escaping her wife is chaotic from my view. His dream and the “displayed” reality seem to amalgamate, making the narration unreliable. Memories frequently enter the figures’ minds and are displayed to the audiences. Viewers may also understand these memories as the subjective hallucinations of the figures, who are “mad” and mentally abnormal. Therefore, this adds another layer of the invalid narration. Borrowing the concept of “light” in Gerow’s writing (p.2), the “pure cinema” may have to be aware of the usage of light in its images and scenes. As Gardner frequently brings the European modernism artistic schools into discussion (Expressionism, Futurism, Dada etc.), the “pure film” is parallel to it. When Clement Greenberg defines “modernism” in painting as the self-consciousness of the medium. Appropriate this concept on cinema, light is definitely the essential medium for capturing the movements, projection and contrast etc. As Gerow cites a review that treats “A Page of Madness” as “the play of light, the melody of light, the speed of light” (p.2), this film indeed contains a lot such scenes: the repetitively occurring shadows of the bars, the figures immersed in darkness, the lightnings, the high contrast in dark and white. "<>"暂时没有网友评论该影片"}From my personal reading, “pure film” does not necessarily merely indicate replacing the benshi’s narrative function to the images of the films, even Gardner defines it as “encourag(ing) the ideal of self-sufficient film narrative that did not rely on the narrative skills of benshi” in the early part of the article. (p.61, and similarly on p.66) Making a step further, “pure film” may include the attempt to eliminate the narration in films, as the citation goes “The sake of telling stories is gradually passing away.” (p.66) The early films made by Lumiere brothers only include a short piece of “life” from routines or some segments of performances. Gunning once introduces the concept of “attraction.” Similarly, the narration may become irrelevant or at least insignificant in the “pure film” such as “A Page of Madness.” As Gardner introduces, the audiences have “freedom in the story and its interpretation.” Roland Barthes’ “Death of the Author” also mentions this plurality of meaning decided by audiences. Therefore, I will examine several elements in “A Page of Madness” that accord to this “disappearance of narration.” (Apparently, there is no need to reiterate the lack of intertitles. )The lack of spatial demonstration in this film is a trivial point that I want to elaborate. Except several shots showing the whole view of the cells and the corridor (where the fight takes place), most scenes only have plain or dark walls as backgrounds, sharpening the figures in the foreground. Audiences rarely have a clear concept of the asylum’s structure, such as the relative position of the handyman’s office in relation to the dean’s office or the cells. In opposition to the traditional concept of theatre, no matter Kabuki or Noh, the “stage” (a settled space that audiences have complete visual access) seems to disappear in “A Page of Madness.” This anti-narrative transition may switch the audiences’ attention from the concrete movements and gestures to the abstract feelings and intense emotions, avoiding extra distraction for the viewers to “feel”. As Emily writes in her post, the rapid switching montage both in the beginning and throughout the film enlarges the sensational elements. Although parts of the film are still missing, I perceive the later half of the film as anti-chronological or non-linear in time dimension. The handyman’s plan of escaping her wife is chaotic from my view. His dream and the “displayed” reality seem to amalgamate, making the narration unreliable. Memories frequently enter the figures’ minds and are displayed to the audiences. Viewers may also understand these memories as the subjective hallucinations of the figures, who are “mad” and mentally abnormal. Therefore, this adds another layer of the invalid narration. Borrowing the concept of “light” in Gerow’s writing (p.2), the “pure cinema” may have to be aware of the usage of light in its images and scenes. As Gardner frequently brings the European modernism artistic schools into discussion (Expressionism, Futurism, Dada etc.), the “pure film” is parallel to it. When Clement Greenberg defines “modernism” in painting as the self-consciousness of the medium. Appropriate this concept on cinema, light is definitely the essential medium for capturing the movements, projection and contrast etc. As Gerow cites a review that treats “A Page of Madness” as “the play of light, the melody of light, the speed of light” (p.2), this film indeed contains a lot such scenes: the repetitively occurring shadows of the bars, the figures immersed in darkness, the lightnings, the high contrast in dark and white. {end if}详情