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Essay代写:Rob grier

2019-10-19 | 来源:51Due教员组 | 类别:Essay代写范文

下面为大家整理一篇优秀的essay代写范文- Rob grier,供大家参考学习,这篇论文讨论了罗伯·格里耶。罗伯·格里耶是著名的法国新小说运动创始人,在20世纪60年代开始转向电影创作,如今也已成为法国新电影的代表人物,无论是他的小说还是电影,他都坚持认为作品并不反映社会现实,而是反射叙述自身,与传统的现实主义作家不同。罗伯·格里耶认为读者或观众并不仅仅是接受一个已完成的作品,而是要求他的读者或观众参与到作品的创作过程中去,这种观众参与式的创作,是理解他的电影的一个关键所在。

Rob, is a famous French new novel movement founder, turning to the film creation in the 1960 s, France is the representative figure of new movie, his novels and films, he has insisted that the work does not reflect the social reality, but reflect narration itself, different from the traditional realism writer. Rob grier believes that the reader or viewer is not just accepting a completed work, but asking his readers or viewers to participate in the creation process of the work, which is a key to understanding his film.

When rob grier turned to filmmaking, he conducted a series of artistic experiments, including experiments on narrative techniques, montage and picture cutting, which undoubtedly made his films difficult to understand. The film "beautiful girl" written by him in 1983 adheres to his bold innovation and experiment in novel creation. It is an experimental and explorative work that integrates elegance, suspense, fantasy, vampire and conjuring, which makes people confused and reflects rob grier's usual difficult and obscure style. This highlights his use of multiple narrative techniques and multiple narrative traps.

As a versatile writer of novels and films, rob grier makes his novels and films influence and permeate each other, forming interwoven intertextual relations. In his novels and movies, intertextuality relationship is like interwoven network is alive and well, literature, architecture, painting, sculpture, music and other similar name, situations and objects, and even some sentences interact with each other, such as symbols, from his early works frequently appeared in his novels and movies, while in the film "the beautiful NvFu," painting "the beautiful NvFu" is not only a mutual Wen Yuansu, even has become a vital meaningful, become the key of narrative producer, in the film "beautiful NvFu string up the imagination and the connection of death.

Generally speaking, there are two modes of narrative generation, language generation and situation generation. The narrative of language generation mainly appears in the novel text, which mainly relies on the use of language, sentences and paragraphs, etc. The narrative of situation generation can be either a metaphorical event and story, or a montage editing picture, etc. They are presented in different ways in the text to promote the process of narrative. Therefore, context-generating narration can be found in both novels and movies. Of course, the difference between the two is not absolute, the context-generating narrative can be formed independently without the aid of language reinforcement and image, and exists as a pure function. In the film beautiful girl, rob grier breaks through the two methods of narrative production and boldly adopts the image-generating narration under the dream-making machine. That is to say, grier has another image-generating narrative embedded in the film's second narrative, the dream-machine narrative, specifically, using footage adapted from magritte's painting "the beautiful captive" and Sarah on a motorcycle in black leather. Through image processing and using a new movie "text", in this text, by calling a seems to be no associated with previous narrative paintings "beautiful NvFu", seems to be an external break in the image to generate a narrative, as a result, dreaming narrative and paintings as well as the image of the machine are intertwined and nested.

Beautiful NvFu in the film, began a series of lenses to switch back and forth between the two scenarios, one is driving the motorcycle, and then the lens is a lens frame on the beach, through the lens, we can see the distant part of the sea, the second lens for no more than one seconds, immediately aroused the few, Margaret also known as "the beautiful NvFu" picture. Thus in the paintings, Margaret and a dream machine from external established visual contact between each of the painting, Margaret will evoke images of interaction, on the screen, a frame holds up a curtain, followed by the sea and the sky, as if the curtain open they will appear, paintings and make the connection between the dream machine has been a series of switching between two lenses strengthened, until the third camera "I" and the emergence of the blonde nightclub scene, and later through an upward sloping lens and lens show that the rider wears a black leather jacket is a woman of her hair, Sarah, the hero's boss.

Freud put forward the famous theory of personality structure in his later years. He assumes that the personality structure consists of the id, the ego and the superego. The id is a deep part of the personality structure, which is composed of human instinct impulses and desires. It follows the "happiness principle" and blindly seeks satisfaction. The ego is the surface of the personality structure and the intermediary between the id and the external world. It represents human rationality and pursues the "reality principle". On the one hand, it suppresses the blind impulse of id; on the other hand, it makes some of the id impulse be satisfied in a form acceptable to the real world. The transpersonal development from the ego, on behalf of all the first restrictions and social and cultural norms, mainly consists of conscience and self-ideal, which ACTS in accordance with the principle of "perfection" and leads people to the ideal spiritual realm.

Influenced by Freud's psychoanalysis, rob, "under the robots build dream narrative, for the audience to portray a full of romantic dreams, stimulation, according to the theory of Freud's interpretation of dreams, the dream machine that made sexual dream is the hero of pent-up instinct impulse and desire, is the" I "in Freud's personality structure, is a principle of the pursuit of pleasure and satisfaction" this me ". From the beginning of the film, "I" and the blonde, the black biker Sarah, the painting "beautiful girl" always accompany each other. Almost every scene in which "I" is with a blonde is necessarily accompanied by the scene of Sarah on a black motorcycle and the painting "beautiful girl capture" in whole or in part. These sets of images in the film respectively represent different desires and different worlds in the human subconscious.

The third narrator is rob grier himself. Rob grier once said that his works do not reflect real life, but reflect themselves, referring to the creation itself and the narration itself, that is, the film involves the production process such as narrative construction, narrative strategy, and so on, having a clear awareness and deliberately presenting these manipulative processes in front of the audience. In the process of watching the film, the audience is sometimes separated from the film, aware of the existence of the director and the existence of the narrative itself, and participate in the construction of the film.

The self-reflection in the film beautiful girl is first embodied in the extensive use of recognizable intertexes. Rob grier depends on objects, paintings, music and so on in his previous works to form intertextuality with the film. Greek legends, for example, "Collins bride" by rob Gerry and reworked the dreams of the hero into the "I", the early and the cooperation of the novel, Margaret pretty captive cover is looming in the movie, the brown suitcase is on the cover of the book three times appeared in the films of different scenarios, "beautiful NvFu" music works in the film "beautiful NvFu" also mentioned. Most important of all is "the beautiful girl", which appears frequently in the film. On the surface of the intertextuality look like something ridiculous, such as the brown suitcase three appear in different places, but with the help of the dream background, and makes everything seem less absurd, more important is the intertextuality everywhere embodies the rob Gerry and personal traces, as if to remind the audience jump out from the story, always self expose its narrative fiction.

Secondly, rob grier deliberately presents the process of manipulating the narrative in front of the audience, and uncovers the trap of the narrative face to face, making the audience aware of the imaginary reality and reminding the audience of the imaginary and imagination of the story. When rob grier shows viewers a scene where the hero's head is covered with electrodes, he is essentially self-revealing his narrative strategy, dispelling the dream-making machine's narrative.

Rob in the works, including his fiction and film all have an inner source structure, which is derived from his understanding of the world and imagination, he often combines the understanding of the science and art of perception, so his works often can form a double seemingly contradictory phenomenon, a kind of cognitive construction seems to be in another kind of cognitive, cognitive down in such witness rob Gerry "created by the world as if is a fantastic world. This also makes his works reflect not the reality but his subjective imagination and surrealism. Meanwhile, it also makes his works' narration on the one hand construct and on the other hand destroy the structure. Imagination creates everything, and imagination destroys everything.

Therefore, in the end, when the audience is rob Gerry debunked the self made dream machine after digestion all fiction, rob Gerry and surprised everyone again to make the hero's dream into reality, realized his construction of dispelling the narrative of the game at the same time, once again to play with, subversion, and challenges the imagination of the audience, the audience in his narrative trap carefully constructed and mystery. On the other hand, audiences have to pay attention to and think about the narration itself, and participate in the narrative construction process of the director. Participate in its narrative experiment, in this process completed the audience's narrative construction.

All this is not lost. Rob grier has already hinted at the end. When the hero walks into Collins' house, he is found dead, and looks exactly like the hero, implying the hero's fate. When the audience sees the ending and then turns back to push the whole narrative process backward, they will participate in the elaborate narrative trap created by rob grier to speculate on the hero's fate. If the audience can see through rob grier's identity as a narrator, it will be found that the hero always imagines his own death. It is grier who is imagining his own death, and the subsequent scenes of execution constantly confirm and reinforce this imagination. At the end of the film, it seems reasonable that the hero is executed by a group of men in black under Sarah's supervision.

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