movies seems to be a very natural topic. Because the cinema is the perfect collection of the two arts of film and architecture, it can also be said that the cinema is the "most cinematic" building. It can be said that the cinema is an excellent narrative space. The dark place is full of temptation and drama. For example, in police and criminal films, we often see criminals talking privately in movie theaters and making ulterior transactions.
In romance films, the cinema has become a public and private place for sex. The hero and heroine went from touching their fingers, to kissing, and even caressing. When it comes to horror movies, the depression and anxiety brought about by the closed movie theater permeates the entire space, the smell of death is brewing, and the screams are only waiting to be triggered...
Next, I will recommend 9 movies that include the "cinema". A film where the scene is perfectly utilized in the movie. Of course, I also think this is the most interesting old movie with a plot.
"Sherlock, Jr" (Holmes II)
Director: Buster Keaton
Screenplay: Clyde Brookman/ Jean C. Havez
Starring: Buster Keaton/ Catherine McGuire/ Joe Keaton
Genre: Comedy/Fantasy
Country/Region: United States
Language: No Dialogue
Release Date: 1924-04-21
In this short film shot in 1924, the cold-faced comedian Buster · Keaton plays a theater worker who wants to be a detective. This is a comedy with a strong avant-garde color, and the "cinema" in the movie undoubtedly provides a perfect stage for Buster Keaton's performance.
After struggling with a rich young master to be jealous, Keaton, exhausted, took a nap in the screening room. At this time, the theater was full of bustling audiences, and a pair of well-off couples were on the screen. The stunned bridge. The sleeping Keaton suddenly came out of his body, and the restless soul rushed to the screen involuntarily, and jumped into the movie. When the scenes in the play are undergoing rapid scene switching, Keaton's soul also experiences hard and amusing adventures again and again.
"The Purple Rose of Cairo"
Director: Woody Allen
Screenplay: Woody Allen
Starring: Mia Farrow/ Jeff Daniels/ Danny Air
Genre: Comedy/Love/Fantasy
Production Country/Region: USA
Language: English
Release Date: 1985-03-01
Since Keaton's "Holmes II" is available, Woody Allen's "The Purple Rose of Cairo" Naturally indispensable. Because they all show a high degree of self-consciousness about the medium of film, but at the same time their storylines are just the opposite. The former is going into the movie, the latter is going out of the movie.
When Cecilia, a housewife bored to real life, went to watch the same movie for the fifth time, the actor Tom in the movie suddenly walked out of the screen, crossed to Leah’s side, and then eloped with her from the cinema. Tom "ran out" of the movie, which frightened the real man who played Tom, the big star Jill. He has to find a way to get Tom back into the movie. The story ends in a circular structure and returns to the cinema again. The film confuses reality and virtuality, is full of absurdity, and Woody Allen's usual rap-like self-deprecation.
"Au Revoir, les Enfants" (Goodbye, kids)
Director: Louis Mahler
Screenplay: Louis Mahler
Starring: Gaspar Mannis/ Francis Bellland
War Type: Zz
Drama/ Production country/region: France/Italy/West Germany
Language: French/German/English
Release date: 1987-10-07
1987, in LouisSeven years before Mahler's death, he returned to France from Hollywood to film his childhood secret "Goodbye, Children". Based on the director's personal experience, the film tells of his friendship with a Jewish boy when he took refuge in a monastery school at the end of World War II. Before the tragic ending that is not difficult for today's audience to understand, when the audience's eyes are on the long stretch of that mortal fate, a scene where children collectively watch Chaplin's silent film "Immigration" appears in the film. After the paragraph.
In that simple screening without a "cinema", everyone laughed, and the camera scanned the characters in the movie one by one: the group of teasers, the brother who secretly kissed his sweetheart, and the unsmiling priests in ordinary days. , The "informer" Joseph and Julian and Jean sitting shoulder to shoulder. The hidden power of the movie appeared at this moment, and wars, fears, races, and beliefs were resolved in the eyes of everyone.
"Dust in the Wind"
Director: Hou Xiaoxian
Screenplay: Wu Nianzhen/ Zhu Tianwen
Starring: Li Tianlu/ Xin Shufen/ Wang Jingwen/ Ke Yulun
Type: Taiwanese
zLanguage: Taiwanese 3zzz
Type: Regional 0/ Romance 0 Mandarin Chinese / Cantonese / Hokkien
Release date: 1987-09-13
The movie theater is a common element in Hou Xiaoxian's works. In "The Wind Cabinet", the teenagers sneak into the theater from the back door to watch "Roco Brothers" and "Lian Lian Feng Chen" In ", A Yun and A Yuan also spent an uninteresting afternoon in the theater. When movie elements reappeared in the film, Hou Xiaoxian placed the scene in a more open space: the curtain at the entrance of the village was raised, and the wind-blown corner was tied back to the tree by the projectionist, and the open-air movie was ready for the opening.
open-air cinemas are different from screening halls. Compared with screening halls that isolate the real world, open-air cinemas are closer to the definition of public space, and there is no entry threshold to provide opinions and interaction. In a specific era and environment, the open-air cinema is a supply of people's barren cultural life, a window to explore a different way of life, and the best reason and opportunity to gather people.
In "Love in the Wind", the blanket-like open-air curtain is blown up by the wind from time to time, and the villagers are indignantly discussing the mine and the strike. The world inside and outside the curtain does not disturb each other, and happens in parallel. Then it stopped in Hou Dao's usual "power outage", making noise and disappearing. The function of screening is weakened, and the documentary of villagers' lives is enlarged.
"Les Sièges de l'Alcazar" (the seat of the Alcazar Theater)
Director: Luc Murray
Screenplay: Luc Murray
Starring: Olivier Maltinti / Elizabeth Moreau
Genre: Comedy country z/0 Region: France
Language: French
Release date: 1989
Luc Moulay made a strong nostalgia with "The Seats of the Alcazar Theater", but you can’t see the movie theater in this film. "Because you are in the "movie theater" with the camera. This medium-length work illustrates the interdependence between the "Cinema Manual" and "The Feature Film" at the time: reporters belonging to the two magazines will watch movies together, but the barriers are clear; they will copy notes at the same time, but their opinions are opposed; When they discuss movies, they always conceal the truth. The
film still maintains the minimalist (or even "poverty") style of Murray’s past, and he is stingy to show you the whole picture of the movie theater. Even if the scenes are almost all in the movie theater, you can’t watch the entire movie director. What it looks like, especially, you can never see what they are looking at-from this point, Abbas is more than ten years behind! Watching activities is more important than the object being watched, because if you turn your attention to the screen, it will be easier to miss a certain corner, and love is happening—this is how you happen to the movie. feeling.
"After Life" (next stop, heaven)
Director: Hiroshi Edifice and
Screenplay: Hiroshi Edema and
Starring: Shin Iura/ Terajima Shin/ Oda Erika/ Naito Takashi/ Tani Kai
Genre: Drama
Producer Country /Region: Japan
Language: Japanese
Release date: 1998-09-11
In "The Next Stop, Heaven", the director Hirokazu Kee provides people with such a strange setting: there is another place between the earth and the heaven The place where you live is like a transit station. People will stay here for a week after death to select a piece of the most precious memory in their lives, which will be filmed by the staff of the kingdom of heaven to show the memory of the dead. So in the film, the strange public space of the movie theater becomes the last stop for every passerby before entering the kingdom of heaven.
However, it is not a simple matter to select a memory that I want to take away the most. No one can tell you what you have loved and missed in these decades, and why you have tears in your eyes. The whole movie is slow and gentle. It is Hirokazu Edema using a form of interview similar to a documentary to help the deceased search for the precious share in the human memory.
On weekends, the deceased lined up to walk into the cinema and "live" with their most unforgettable memories. After the screening, the protagonist of the film-the deceased sitting on the seat, will take this memory with him and get on the train to heaven.
"Desperado Square" (Garden of Lost Heart)
Director: Benny Toraty
Screenplay: Benny Toraty
Genre: Story
Producer Country/Region: Israel
Language: English / Hebrew 3z
zz if spoken and released date 34z
z 34zz0-05244 In Keaton’s "Holmes II", the country cinema is a time of dreams that penetrate reality; in Vertov's "Man with a Camera", the cinema becomes the medium, allowing the audience’s gaze to talk to the naughty robot-like camera. It is looking towards the future; the classroom-style cinema in Scola’s "We Are So In Love" is not only about watching movies, but also a space for intense debate of neo-realism, and it reshapes Italy and its movie’s fateful past—then, the name In the little-known Israeli film "Garden of Lost Heart", the small theater that has come back from the dead is compatible with the past, present and future.
In a small village outside Tel Aviv, the only theater is a tomb of memory. It has witnessed the golden age of "Sangam" and other Indian musicals that swept the streets of Israel, and buried the love triangle between two brothers who are co-owners of the theater and a woman. Twenty-five years after one of the brothers died and the theater closed, the younger generation of brothers reopened the theater because of their father's request. The entire village has been accustomed to the decline of human relationships, intergenerational relations have broken, and all beings are bored. With the rebuilding of the theater, everything is revived. The
movie theater is not only a space for conflict performances, a place for love awakening, family restoration, and community reconstruction, but also the incarnation of the group fascination complex.
"Goodby, Dragon Inn" (not scattered)
Director: Cai Mingliang
Screenplay: Cai Mingliang
Starring: Li Kangsheng/ Yang Guimei/ Shi Jun
Genre: Drama/ Comedy
Producer Country/Region: Taiwan
Language: Mandarin Chinese
Release date: 2003-08-29
When asked how to use the lens to express time, Cai Mingliang said that it is very simple, just point the lens at the person's face and shoot. Time will leave marks on people's faces, and it will also leave clues in a movie theater. In the film "Won't Disperse", Tsai Mingliang used the same method to cherish the memory of a "Fuhe Grand Theater" that was about to close. The
camera takes us into this decaying and lonely theater, which is at the endOne screening of the film "The Dragon Inn"-this pivotal film in the history of Taiwanese film, carries the screen memory and experience of a generation. Cai Mingliang’s signature long lens witnessed the obstruction of space in the most simple way, and the camera seemed to be "trapped" in this space by memory.
In these lengthy shots, there are men and women with different minds. The lame conductor, the indifferent projectionist, the weird Japanese, watching his tearful stone shining on the screen, and Miao Tian with his grandson...
"รักที่ขอนแzzzzzz3่น19) Director: Apichatpong Weerahagu
Screenplay: Apichatpong Weerahagu
Starring: Jenjira Pongpas / Banlop Lomnoi / Jarinpattra Rueangram
Genre: Drama
Country/Region: Thailand/UK/ French and other
languages: Thai
Release date: 2015-05-18
In the film, the volunteer aunt and the waking soldier stand quietly in the cinema, and their cinema happens to be seamlessly connected to the cinema I am in: the same red The seats are exactly the same cramped space. The screen and the first row of seats are very close, making the movie space suck the audience into it all at once. The
camera swings behind them, and the entire theater space becomes an endless box. In Thailand, all people stand up to play the national anthem before the movie opens, and the king’s loving image will appear on the screen. However, they are obviously standing up for the national anthem, but they are facing darkness...
Conclusion: These films all have a certain year, they can bring back emotions, memories and thoughts to us. A kind of "plural" gaze, the kind of effort that tries to "share" the same screen, the same story, and the same perceptual experience with others. Those who silently meet a distant gaze in their hearts even when they are staring alone. world.
