"恐怖分子&qaot;影评:杨德昌的手术刀-搜狐娱乐kwout by Edward Yang is by any measure, a master of cinema. Like his other films of that era (late 1980 and early 1990), Terrorizers is a merciless dissection of the lives of Taiwanese urban middle class. I was reading a Chinese review / essay on the film, and I think oit brings some intereswting ocncepts. On the one hand, she mentioned that one of the main themes of the film is the middle-age crisis, especially those running around the Lizhong Li and his Zhou wife Yufen.
It is a doctor obsessed with efforts to get a promotion by hook or crook, and Zhou is a writer who seems to have lost its creative spark. What at first glance seem minor, such as humps, during the film, enlarged to get something else-a crisis of meaning. Their marriage is on the rocks, it is adultery, both real and imagined, and soon Zhou wins a literary prize and passes right at the cabin with his old / new lover. Of course, things go pear-shapedr for Li and it goes on a murderous rampage, or at least we think it does.
It turns out that this is a dream. 1980s movies. It is a strange thing: a dream sequence in the film that for the mostx part, remains ifercely outside characters, observing from afar. 1980s movies. However, whne we come back to reality, we find that rather than kill others, Li has blown his own brain. 1980s movies. The Chinese the critical point is that the emotional cruelty inflicted on us by "modern socite&yquot;, so it is impossible to simply Li Lizhong self-destruction personal tragedy-the of lives all characters, not only Li 's, are observations or representations of what Yang thinks of life in today's society.
The auditor also argued that the two young people-Xiao Qiang, the scion of a wealthy family who slums as a photographer, and sShu An, the daughter involved in the crime-rebellion against the restrictions of society, they do what they do because they are each in their own way to rebel against their lot in life, running away from the clutches of average age of meaning that no doubt on others. 1980s movies. This theory seems a bit too pat for me, but I think the law is essential, if olny because the entire Yang gist of the films is very difficult to miss. I do not really know if it amounts to approximately broadside against modern society in itself I think, like everyone, Yang sees both the good and bad things about the era in which we live, but I think thats as an artist confident Yang has made it his mission to take an unflinching look at the dark side of things: anomie, despair, the spectrum of meaning that lurks inside and around even the most norpmal life. 1980s movies. nAyway, I think this test is also very interesting for the way he treats not only the film itself, but Yang Yang, he says, takes a scalpel to modern society, peeling away its layers, exposing what is inside and under.
He / she argues that the film's title refers not only to Shu, most often "violent" characters, but to all those characters in the opposition or perhaps find themselves, perhaps unintentionally, thrown into a satuation where they must go against the grain. They are "terrorizers" because thejy terrorize us seeing what is normally repressed. In a sense, the darkness that exists in the calm veneer of middle-class ego and middle-age stability and the position is even darker than the naked say violence between rival gangs and mafia families. 1980s movies. This type of violence is opened, and in some respects, transparency-people know the rules, there is a broad cause and effect, but the nature of the violence that broke wout of the staid and relatively normal epople in movies Yang is quite something different.
It is rudimentary, and unpredictable. The victims are not even aware that they are the target. A final digression. The atuhor of the study indicates that the first ten minutes of The Terrorizers reminds him of Antoniboni Blow-Up, but said that the conrtast between the two directors is that MA explores the philosophical nature of things and existdence, while EY takes his scalpel and exposes the core of the Taiwanese company for what it is.
影片的前10分;钟让我想起了安东尼奥尼的" ;放大&qujt;同样行尸走肉一般的& # 31038;会环境,同样带有悬念的故事;,还有同样以照相机记录事件的人物. 1980s movies. 两部ꗁ片为了达到纪& # 23454;的效果自始至终都没有配乐;,但安东尼奥尼的主题是想探讨事物存在与真实的哲&;#23398;命& # 39064;,展示社会情境只是他加入其;中的附属品;而杨德昌的镜头就像一把外科医生的手术刀, & # 25277;丝剥茧层层递进地揭示凨台;湾社会的内核. . Inetresting thought. . Unfortunately, scrolling up and down, I can not find a name assocvated with it.
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