her answer was "nothing.." but it is not like she didn't say anything...she has said..."nothing...no-----thing...",.....therefore her slience would not be mute...
Lear is about sight and truth,and how devilish charms (derived from the audience's participation and perception) bend sight and truth。So it (and the similarly placed `The Tempest') are naturals for film,especially self-referential films about films and filmmaking。
“他们说我即一切,实为妄言”,总感觉戈达尔在每一次解构行为的最深处,都是遥望肃穆的深深叹息。本片有些许其后期影像论文的雏形,不过作为框架的莎士比亚,的确足够强大,毕竟桀骜如戈达尔,依旧未能彻底摒弃前者的慈悲,电影人杀死了剧作家,但影像终究复活了。
插入剧情的论文电影,相当于在美国制片体系中,用莎翁典故套拍一部反好莱坞的真人版《电影史》。相对而言,在引用图像的过程中更突出关联性的凝聚感,叙述与感知的方式也会容易进入一点。
电影可以是基于元命题的头脑风暴~包括多声轨在内的一些处理方式(电影史雏形)实在太有魅力了!不能自持
戈达尔的电影大致分为两种,纯爱的和看不懂的,这个大概属于后者。。。其实开头还挺不错的,觉得很牛啊还能这样,结果后来感觉智商有点跟不上了555 今天还见到疙瘩脑残粉Richard Brody了,他生动形象地展示了什么叫“平时口吐莲花,说到爱豆的片子马上语无伦次” 哈哈
又是什么鬼[再见]还以为伍迪艾伦主演[再见]感觉再也不会看戈达尔了[再见]不过朱莉·德尔佩年轻的时候真是可爱。
her answer was "nothing.." but it is not like she didn't say anything...she has said..."nothing...no-----thing...",.....therefore her slience would not be mute...
这个语言啊。。真是挺莎翁的。。
happy birthday kiss kiss kiss
Lear is about sight and truth,and how devilish charms (derived from the audience's participation and perception) bend sight and truth。So it (and the similarly placed `The Tempest') are naturals for film,especially self-referential films about films and filmmaking。
茉莉姐姐居然在里面!