The basic idea Tsai was to film a so-called human "medium", which the gods is in contact. He had hoped to be, it can capture with the camera. Aesthetically, a simple, realistic video camera view: the camera as the eye. Sitting on a scooter, he begins to film, and on his way through the city at night is done all sorts of unexpected: he is stopped by a ritual procession in which a young man by Flagellation in a trance-like state device or a karaoke game house, which turns out the light, etc. In the second half of the film is quiet and he focuses on details: The leaves, bugs, dead fish in the grass. He films empty road underpasses and rotten fish at the river bank, and finally the medium that expresses in a fascinating way spastic and blessings in a trance with a brush full of pictures smears (which are probably hawked later). Handling like a conveyor belt.
What will we say it all? You just do not always accurately, and sometimes looks like a holiday video. Then again, in both the film framing "contacts" very fascinating. But here is the camera position, the box beside and one, the other looking over your shoulder.
" I decided to use the most basic and simple way of filming. This changed the way I saw things. Filming the underground passage, I did not consider it to be filming but rather using the camera as my eyes. "
So he stays here his realism prescribed project, an interminable search for the filmmaker to deal with the inevitably mediated reality. Even in his 1992 debut film released REBELS OF THE NEON GOD he formulated his aesthetic program: this was an attempt "[to] make a feature that was even more documentary, even more real , about everyday life in Taipei. "So the film is but it is also entirely in the tradition of art cinema, more questions than it answers. The contact with the audience but, unfortunately, likely to fail the most part.
0 comments:
Post a Comment