Yet I believe that reality is subjective and as such it is relative, not so much in its perception, but in his own right consistency. The artistic expression as such can not simply be a reflection of a size that is in constant progression. " Life is a state of mind " as is recited at the end of Being There - Being There (1979 film directed by Hal Ashby).
why I would like to speak of memory, and the way in which cinema can represent a possible visual pathway on / in the mind. Basically it is the exploration of the mind that we can rebuild or re-establish our relationship with things.
Memento (2000 film directed by Christopher Nolan); Spider (2002 film directed by David Cronenberg); Altered States - Altered States (the 1980 film directed by Ken Russell); Inland Empire - The empire of the mind (2006 film directed by David Lynch; Shining (film directed by Stanley Kubrick, 1980).
The comparison is in the content, but also interesting is the styling approach of the authors. in the first film outside the movement is the character and back. from the end of the events the viewer finds himself at the end of the film the story of human character. In the second film is the view inside and out. The character comes out of himself and look back at the viewer with the main phases of its existence. in the third film's point of view is external and Chinese boxes. The events are described objectively, but at different point of view of different characters in the story also changes the consistency of the event itself (dream, memory, regret, fear, and even reality, fiction, illusion). The character of Ken Russell (a scientist dealing with a scientific experiment) proceeds with a development objective and back to the time, his goal is to find their biological origin, regression to the primeval matter until the time of formation of the Big bang. Interesting transformation physical character. The last film needless to say is the most significant, the mind is a place. a lost property (Overlook Hotel). inside man tries to re-cover itself, but is lost in a maze. In this case of death and terror. Only at the end the viewer seeing a picture of the protagonist on the wall conceive its existence as a movement that has no beginning and no end (emblematic of the final sequence made with a Steadicam, technically truck ahead, then plays what could be the true perspective of the viewer).
The memory is not stable, as well as possible ways to represent it are not. Its object is not constant. We could say that changes to changes in the way it is represented. But it is not easy to tell if something slips through his hands.
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