d*d
2 楼
【 以下文字转载自 LeisureTime 讨论区 】
发信人: desmond (葱油饼), 信区: LeisureTime
标 题: 《爱在午夜降临前》：时间的艺术（9/10)
发信站: BBS 未名空间站 (Thu Jul 25 22:08:34 2013, 美东)
Before Midnight（2013）is not a single film, but an organic part of a "grand
film." Also comprising Before Sunrise(1995) and Before Sunset(2004), this "
grand film" could continue endlessly, and the later serial can be added
effortlessly to this organic whole,just as life goes on, and each unique
stage of it partakes its wholeness. The film is not just about love, but
offers a deep reflection on time: the time of an image, of a film, and, of
life.
Featuring Ethan Hawke and Julie Delpy as two lovers from their romantic 20s,
to their rational 30s and bored 40s, the "grand film" spans an astonishing
18 years, both in film diegetic time and in real time. The director Richard
Linklater could have finished these three small-budget films within three
years, but he insisted being faithful to the real time passing through, for
the protagonists and for the actor/actress as well. Such faithfulness seems
cruel to the audiences, who have been accustomed to be escaping into the
safe haven of the eternity of love. The film,however, tries to foreground
the mark of time in love, in image, and in the film itself. There seems an
irretrievable point that human can never go back, as love ages and is no
longer as fresh as that in the good old days. Sadly,time is the ultimate
obstacle and human beings are tossed into death in the unstoppable flow of
time.
Deleuze distinguishes two types of images: movement-image and time-image.
The movement-image based on sensory-motor correlation is the dominant mode
for Hollywood films, which use different narrative tricks(such as flashback
and flashforward) to subordinate "time" for the purpose of smooth plot
construction. Time-image, on the contrary, presents time itself and use
action to emphasize the being of time. I think Before Midnight is as good as
Yasujiro Ozu's films (Deleuze's favourite) to exemplify the power of time-
image. In the film, action is less important than time. And human being's
attempt to stop the flow of time through the idealized eternity of love is
doomed to fail.
发信人: desmond (葱油饼), 信区: LeisureTime
标 题: 《爱在午夜降临前》：时间的艺术（9/10)
发信站: BBS 未名空间站 (Thu Jul 25 22:08:34 2013, 美东)
Before Midnight（2013）is not a single film, but an organic part of a "grand
film." Also comprising Before Sunrise(1995) and Before Sunset(2004), this "
grand film" could continue endlessly, and the later serial can be added
effortlessly to this organic whole,just as life goes on, and each unique
stage of it partakes its wholeness. The film is not just about love, but
offers a deep reflection on time: the time of an image, of a film, and, of
life.
Featuring Ethan Hawke and Julie Delpy as two lovers from their romantic 20s,
to their rational 30s and bored 40s, the "grand film" spans an astonishing
18 years, both in film diegetic time and in real time. The director Richard
Linklater could have finished these three small-budget films within three
years, but he insisted being faithful to the real time passing through, for
the protagonists and for the actor/actress as well. Such faithfulness seems
cruel to the audiences, who have been accustomed to be escaping into the
safe haven of the eternity of love. The film,however, tries to foreground
the mark of time in love, in image, and in the film itself. There seems an
irretrievable point that human can never go back, as love ages and is no
longer as fresh as that in the good old days. Sadly,time is the ultimate
obstacle and human beings are tossed into death in the unstoppable flow of
time.
Deleuze distinguishes two types of images: movement-image and time-image.
The movement-image based on sensory-motor correlation is the dominant mode
for Hollywood films, which use different narrative tricks(such as flashback
and flashforward) to subordinate "time" for the purpose of smooth plot
construction. Time-image, on the contrary, presents time itself and use
action to emphasize the being of time. I think Before Midnight is as good as
Yasujiro Ozu's films (Deleuze's favourite) to exemplify the power of time-
image. In the film, action is less important than time. And human being's
attempt to stop the flow of time through the idealized eternity of love is
doomed to fail.
P*s
3 楼
开始用英文写作了，牛啊。
So sad but true.
人生若只如初见；
何事秋风悲画扇；
等闲变却故人心；
却道故人心易变。
“心变”可以有很多外在内在的原因，时间是最大的杀手。时间可以治愈，也可摧枯拉
朽。与王家卫的Ashes of Time倒有异曲同工之妙。
最后一张照片真切题--两个人的后面，是一片荒凉。
So sad but true.
人生若只如初见；
何事秋风悲画扇；
等闲变却故人心；
却道故人心易变。
“心变”可以有很多外在内在的原因，时间是最大的杀手。时间可以治愈，也可摧枯拉
朽。与王家卫的Ashes of Time倒有异曲同工之妙。
最后一张照片真切题--两个人的后面，是一片荒凉。
d*d
4 楼
你纳兰的诗也用得很好啊。我英语不好要多练，在雷版已经被指出有好几个语法错误了。
【在 P*****s 的大作中提到】
: 开始用英文写作了，牛啊。
: So sad but true.
: 人生若只如初见；
: 何事秋风悲画扇；
: 等闲变却故人心；
: 却道故人心易变。
: “心变”可以有很多外在内在的原因，时间是最大的杀手。时间可以治愈，也可摧枯拉
: 朽。与王家卫的Ashes of Time倒有异曲同工之妙。
: 最后一张照片真切题--两个人的后面，是一片荒凉。
【在 P*****s 的大作中提到】
: 开始用英文写作了，牛啊。
: So sad but true.
: 人生若只如初见；
: 何事秋风悲画扇；
: 等闲变却故人心；
: 却道故人心易变。
: “心变”可以有很多外在内在的原因，时间是最大的杀手。时间可以治愈，也可摧枯拉
: 朽。与王家卫的Ashes of Time倒有异曲同工之妙。
: 最后一张照片真切题--两个人的后面，是一片荒凉。
P*s
5 楼
有电版么？
语法啊；好难，最讨厌的就是语法了。
了。
【在 d*****d 的大作中提到】
: 你纳兰的诗也用得很好啊。我英语不好要多练，在雷版已经被指出有好几个语法错误了。
语法啊；好难，最讨厌的就是语法了。
了。
【在 d*****d 的大作中提到】
: 你纳兰的诗也用得很好啊。我英语不好要多练，在雷版已经被指出有好几个语法错误了。
d*d
6 楼
电版是什么？
【在 P*****s 的大作中提到】
: 有电版么？
: 语法啊；好难，最讨厌的就是语法了。
:
: 了。
【在 P*****s 的大作中提到】
: 有电版么？
: 语法啊；好难，最讨厌的就是语法了。
:
: 了。
P*s
7 楼
雷电不可分啊；有雷则有电。:P
【在 d*****d 的大作中提到】
: 电版是什么？
【在 d*****d 的大作中提到】
: 电版是什么？
d*d
8 楼
豌豆太高妙玄乎了，没看懂。
【在 P*****s 的大作中提到】
: 雷电不可分啊；有雷则有电。:P
【在 P*****s 的大作中提到】
: 雷电不可分啊；有雷则有电。:P
P*s
9 楼
我有一种深深的挫败感。。。
雷电不可分--你说雷版，我就问你那有电版么？
【在 d*****d 的大作中提到】
: 豌豆太高妙玄乎了，没看懂。
雷电不可分--你说雷版，我就问你那有电版么？
【在 d*****d 的大作中提到】
: 豌豆太高妙玄乎了，没看懂。
d*d
10 楼
明白了，我以为你问我要电子版的迅雷链接。
【在 P*****s 的大作中提到】
: 我有一种深深的挫败感。。。
: 雷电不可分--你说雷版，我就问你那有电版么？
【在 P*****s 的大作中提到】
: 我有一种深深的挫败感。。。
: 雷电不可分--你说雷版，我就问你那有电版么？
m*n
11 楼
这儿也发了啊。
语法错误其实没关系的。不是母语，先把意思表达出来，语法再慢慢改。其实美国小
本的语法错误更多.... 我觉得已经表达得很好了
可是情节党想看剧透...
语法错误其实没关系的。不是母语，先把意思表达出来，语法再慢慢改。其实美国小
本的语法错误更多.... 我觉得已经表达得很好了
可是情节党想看剧透...
n*w
12 楼
牛逼。
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