FILM 279 Lecture Notes - Lecture 7: Fill Light, Tsui Hark, Martial Arts Film
30 Oct 2018
School
Department
Course
Professor
Document Summary
Focus very close into the ear and then cuts to a blank scene. We are just watching representation of people, (cid:449)at(cid:272)hi(cid:374)g (cid:373)a(cid:374)ifestatio(cid:374) of people (cid:271)ut the(cid:455) a(cid:396)e(cid:374)(cid:859)t (cid:396)eal people the(cid:455) sta(cid:374)d i(cid:374) fo(cid:396) people that we ourselves image: the actors are sort of like simulations that keep the film going. The house in the opening scene is located 5 minutes away from tokyo. We are unaware of the geopolitical realities: none of the names are distinctly slavic, thus it was very deliberately done to create this sense of dislocation. Thus, we are not even sure that the spa(cid:272)eship (cid:449)as(cid:374)(cid:859)t the o(cid:396)igi(cid:374)al lo(cid:272)atio(cid:374) of the plot: multicultural whiteness. Glo(cid:271)al waves: the explosio(cid:374) of (cid:858)classi(cid:272)al fil(cid:373) for(cid:373)s(cid:859) The movement-image -> the time-image (1955-1975) -> international art cinema. Gu(cid:374)(cid:374)i(cid:374)g: (cid:862)the great train robbery (1903) does point in both directions, toward a direct assault on the spectator (the spectacularly enlarged outlaw unloading his pistol in our fa(cid:272)es(cid:895), a(cid:374)d to(cid:449)a(cid:396)d a li(cid:374)ea(cid:396) (cid:374)a(cid:396)(cid:396)ati(cid:448)e (cid:272)o(cid:374)ti(cid:374)uit(cid:455).
