5 months, 4 weeks ago

In the construction of audio-visual language and text symbols, I can give full marks to parasite, but in the arrangement of plays, there are many things that make me quite critical. On the whole, fengjunhao's new work gives people the impression of being cut apart, but it is not a complete knife and two halves, but involves each other. For example, although there are many problems in the drama, many of the plot nodes are either hastily taken, or they are just conventional and lack of the logic of the drama, on the contrary, the structure and rhythm of the drama are so impeccable. The film's lens movement and editing are top-level, but there is no hint image, and all the connotations are basically open and straightforward. 

This film proves once again that Feng Junhao is an undoubted master of contemporary genre films. But at the same time, we can fully understand the worldwide dilemma faced by the genre film through the example of parasite. When the experience of entertainment is exhausted, when the paradigm of the text is constantly imitated, and the inherent creation policy cannot satisfy the type expression, how do the directors and writers who cultivate this field reorient their forms and contents? 

Nowadays, the entertainment appeal of genre films is basically monopolized by "high concept", and superhero is the most representative example. This has left the medium-sized film market in ashes. The current common phenomenon is that in addition to independent, low-cost films and hundreds of millions of super productions, it is difficult to see medium-sized qualified films. Young directors who have just started their career either step by step, directly participate in the super masterpieces of Disney and Warner, or continue to wait for opportunities at the bottom, shoot some cheap and cheap low-cost, hoping to be favored by the entertainment empire one day. This also indirectly leads to the Matthew effect of popular culture. Interestingly enough, these phenomena are consistent with the problems revealed in parasite. 




It's undeniable that "parasite" is a good-looking movie. It should be the best movie of all kinds this year, but is it a good movie? I can't come to a conclusion right away. What hinders my judgment is not the contradiction between the allegorical narration and the realistic logic, but the lack of polysemy. Parasite is a movie with a clear direction, just like most types of movies. But before fengjunhao's "memories of killing", "mother", "the monster of Han River" and even "kidnapping the dog at the door", all have distinctive and polysemy ideographic features. The lack of polysemy will certainly lead to the lack of enough afterrhyme. Introspection and warning have all been shouted out by the film, so what remains to be interpreted and discussed by the audience is all things other than the film. As a result, the work itself became a topic, and the audience, after examining the topic (watching the movie), enthusiastically began to write a proposition composition. 

I don't take Xiaojin's "the film decides to win or lose with aftertaste" as a standard. Xiaojin's sentence is just a metaphor, just like many people compare their subjective feelings of art to food, to express some kind of difficult meaning. Comparing movies to food, in particular, is the rhetoric of lousy streets. It is boring in terms of language beauty and novelty, but it is also accurate and appropriate. In any case, the rest of the movie is there. Art films like Xiaojin give the audience an emotional aftertaste. Works like fengjunhao resonate with the audience with drama. But the latter is more difficult to achieve meaningful, even if it is an open ending, it is only a suspense pleasure, unable to further improve the ideographic system through the audience's mind. 

In the same way, I don't have much antipathy to this kind of "throwing a brick to draw a jade" movie, but this kind of completely thorough movie is sometimes so good that I have nothing to say. If only the formal analysis is carried out, it will inevitably destroy its smooth and tight structural theme, and it will appear pale and lose one thing or another. If we express our opinions on the theme, then with clear directivity and straightforward metaphor, all people are just saying the same words. For parasite, my micro words are not enough for me to deny its excellence, so as to stand on the opposite side of most people and criticize why it is not worthy of the golden palm. However, even in a positive position, its outstanding points are almost said. Because the symbols and metaphors in the film are very clear in the constant emphasis of fengjunhao, no more intermediate interpretation is needed. 

Many symbolic audio-visual skills are as clear as the theme of the film. For example, the downward movement of the beginning and the end is to highlight the underlying depression with action. The names of kize and Zhongshu pun on the word "parasitism". The props lucky stone, from the time when Minhe sent it, to the time when the rain night floated on the water, to the time when it was used as a weapon, to the time when it sank at the end of the water, although its meaning is constantly changing, its symbolism has always been quite clear. Rainstorm night is the watershed of the two parts before and after the film and the peak of narrative rhythm. The curve of the whole movie is a high mountain peak, the biggest climax is in the middle, the front and back slopes are sometimes steep and sometimes gentle. On a rainy night, President Park's family came back. The scene, action, light and lens scheduling and editing were the most wonderful places in the film, and indeed the effect of cockroaches was photographed. 




The second half of the film just goes on as it should, and the tragedy runs through all the time, so there is no so-called reversal. The chaotic and bloody birthday party is the inevitable result of the long-term parasitism from the bottom to the top. There are two plot points in the film that hit the audience's heart violently, one is the unveiling of the basement, the other is the vendetta at the party, which is just a tool to speed up the narrative and does not undertake any function of reversing the plot. The ending can not be regarded as an open ending in a strict sense, but as a semi open ending at most, because the characters concerned in the play have their individual destiny settled temporarily, and there are no other outstanding issues. (song Kanghao's underground life, whether his son can earn money to save his father, President Park's widow and children, which do not form part of the film itself) the narrative structure of the film is completely closed. 

In view of the real logic problems criticized by many people, my view is that the most essential core function of image from the beginning to the present is to reach greater truth through lies. Images can never truly reflect reality, nor can they take it as their own duty. Realism is just a kind of style, which cannot be equated with reality. However, images are constantly reproducing reality, creating reality, and there are essential differences between authenticity and reality. Sometimes they have something to do with each other, sometimes they have nothing to do with each other. In parasite, the allegory of the film is revealed after the entire family of Keizer and President Park. Fables do not pay much attention to the so-called realistic logic. Once fables are formed, the pattern will be fixed, the content and situation will be elevated, and the characters and plots will all be transformed into vehicles in order to explore some profound phenomena and philosophies. Tragic, satirical, and warning. 

That's why, in the second half of the film, the narrative space is almost built around the mansion. After a rainy night, President Park's home has become a miniature model of class society. The iron doors of the anti void and basement become the barriers of the upper and lower layers. The image of stairs is also perfected here, and becomes the reality of the narrative in the image, not just the symbol of passing by. Thus, the metaphors such as the Indians, the Morse code, the water, and the huge windows on the ground are unified by the allegorical space. However, these do not need to be re mined, and the film has made all the information explicit. Including the theme of the text, the whole process is around class opposition, which exudes some evil of the weak, high-class hypocrisy and resentment culture, also can not disperse the idea of the tightness. 

Of all the vehicles, smell is the most original setting of the movie. In this film, the invisible smell becomes the "original sin" of the bottom population to the upper class society. President Pu's speech on rainy night showed the essence of smell as identity, wealth and status. At first, Dorson, the youngest son, smelled the same smell on them. President Park also disliked the smell of kitzer, which was similar to the smell of boiled rags. It was like people on the subway had the smell of subway crowds, and people living in the basement had the smell of the basement. Although the lower level people can control their words, deeds and expressions not to cross the boundary when they contact the upper level people, the smell will easily cross the boundary eventually. To some extent, the upper class smell becomes the Maggie Finn of the parasite. It doesn't exist in the image, but it is the goal of the Keezer family. Therefore, kiting's sentence "the poor and sour taste of the basement can never get rid of without moving out." It's the finishing touch. 

Besides smell, stairs are another very important symbol. Several wide-angle lenses show the process of people going up and down the stairs, which is to visually reveal the social dilemma caused by class solidification. At the climax of the film, Kizer and his children eavesdrop on the dialogue in the air raid shelter, but their feet slip to expose everything. A series of events before and after the contact, from their eating and drinking in the living room while the president's family is out, to the sudden thunderstorm, to the sudden visit of the former housekeeper, the secret of the basement, the reversal of the confrontation between the host and the guest, until the president's family suddenly returns. The dramatic conflict is not only a series of accidents, but also seems to show the instability and danger that the lower class will inevitably cause after breaking through the class through improper channels. 




Fengjunhao's brilliance lies in showing the class as an objective form, and then discussing the class's alienation of human beings, the division of groups and the phagocytosis of human society. As a result, the members of the president's family have no edges and corners and do not depict any arc. It would be a great failure to write such a character in other films. But in parasite, the president's wife, the president who fell in love with the English teacher, the little son with psychological problems, and the president himself became the reflection of the upper class. This is a rare technique of genre films. They are willing to abandon their emotional motivation, eliminate the individual differences of characters, and highlight their group representation. 

In addition, fengjunhao did not leave any room for the "class". President Park's family is not a masked landlord / capitalist image. They did not do any evil. Although they despised people and were hypocritical, there was no obvious reason for them to attack them. This is the design intended by fengjunhao, which does not give the audience any excuses on emotion, morality and values. Instead, it flattens the upper class into ordinary people without any stain, while the lower class is crafty and instinctively covets each other's living space. 

Fengjunhao has not set up a distinctive

Comment

No Comment Yet.