How to evaluate the animated film Crushing Mobile Team 2: Innocent?

In 2004, Ghost in the Eggshell, an upgraded version of Crushing Mobile Team 2: Innocent, was selected as the main competition unit of Cannes Film Festival. It should be said that being shortlisted is a pertinent evaluation of the quality of Mamoru Oshii's animated novels. However, the film finally became a spectator in Cannes (nothing). In my opinion, there are many reasons for this. First of all, the film culture has a strong humanistic flavor, but the idea of "Smash Mobile Team 2: Innocence" can be roughly summarized as "inhumanity"-this is as embarrassing as making Asimov a master of art, not because of anyone's fault, not all the way. Furthermore, although the Palme d 'Or award in this film festival has made many people feel unreliable, although the picture and plot of Smash Mobile Team 2: Innocent look more "cinematic" than Fahrenheit 9 1 1, Fahrenheit 91is still a movie made with a camera, which is the problem. It is gradually formed in the hundred-year history of image shooting, so this concept includes not only the ideological and cultural accumulation given to it by the producer, but also the forms and skills produced in the production technology. Comics, on the other hand, are divorced from the mainstream history of movies in history, and their form and content tend to be "non-cinematic" (especially in form). So the reason for not winning the prize is outside the "movie".

Interestingly, it is not uncommon for GIS to encounter embarrassment in movies, and the movies themselves have similar embarrassment-as Dai Jinhua, a film scholar, said, movies "have become a sunset industry". If we look up a little, we can still hear the novelist Ma Yuan say that "the novel is dead", and the words of science fiction researcher Yanwu are even clearer: "Science fiction has basically completed its own historical journey". Of course, we should remember the second half of the expert's sentence: "Like other ancient arts, movies will find their own specific position in today's world structure and continue to survive"; "(Science fiction) is a phased theme produced in a certain period", "The disappearance of science fiction means the disappearance of this literary form ... Science-related literature will not disappear because of the disappearance of science fiction". In other words, what really dies out is the importance of the unique material basis that produced these concepts in human society.

Before focusing on the film itself, talking about winning awards is not like many film critics trying to inject water into film reviews with lace news, because I don't make a living from film reviews at all. I discuss this topic because I think it is quite similar to the theme of the movie. -I try to observe movies with the historical process of movies. In my opinion, it is all the information in the historical process that defines the film, that is, the specific material basis and development process of the film define the film (like Dai Jinhua's film, Ma's novel and Wu's science fiction), from which all concepts originate. On the other hand, Mamoru Oshii observes people from the angle of information.

On the plane to Thousand Islands, Mamoru Oshii made this remark through Bart: "If the essence of life is to spread information through DNA, then society and culture are just a huge memory system, and cities are just a huge external memory device". It seems that people, cities, society and culture can be simply regarded as carriers of information. People can be defined as individuals because some information is organically gathered together through some connections-there is no doubt that the most basic and fundamental connection is people's material body. Jin, who is completely materialized, said: "The lack of human cognitive ability leads to the incompleteness of reality"-and the so-called "unique material foundation" is precisely this "lack of cognitive ability", which is the locality of the material foundation of all individuals relative to the whole material universe.

Compared with most Japanese animation works, the plot of GIS is very weak. Even when Kim confronted Bart, he was still making a long speech:

"Things that look alive on the outside are really alive, or vice versa, that is, are inanimate things alive instead. Why do dolls make humans feel uneasy? It is because dolls are the embryonic form of human beings, that is, human beings themselves, and they are afraid of whether human beings are reduced to simple substances and systems, that is, whether human existence is useless ... In order to enhance their own functions, human beings actively continue their own mechanized road ... showing their will to transcend nature ... Fantasy about equipping life with more perfect hardware is the source of this nightmare. "

It can be seen here that the audience is not bored, but feels that the theme of the whole movie has come out. On the one hand, human beings try to control and use more information through externalization and become more powerful (it is this huge interest that tempts Jin, and he/she can even claim that "the flesh doll agrees with death and continues to live"); On the other hand, people who get more information try to maintain the historical process of natural persons. Unfortunately, information will not be used simply as people wish, and it will also participate in shaping new "people", which will inevitably lead to fear of self-awareness. It is under the theme of "human alienation" that Mamoru Oshii made a gorgeous image expression: the face of a gorgeous doll suddenly opened, revealing the internal electronic components; The ancient Greek statue-like sculpture under the dome of the hall lost its arms and head, revealing mechanical devices; The overload of grass seeds caused his arm to tear, revealing the artificial prosthesis inside ... These pictures are reminding the audience that under the appearance of "people", people have been alienated. It is also for this reason that the doll that Togusha finally gave her daughter was even more horrible than "The Bride of Chucky". The director's favorite Hong Kong-style street night scene creates a landscape full of information in space, which just echoes the observation perspective of "information".

From this point of view, it is more meaningful for the director to set Bart, the protagonist of the story, as an investigator in Class 6 of the Public Security Bureau. As an investigator, what is the truth that Bart and others want to investigate? Perhaps we can say that Bart needs to inquire about the truth of "people" before investigating the truth of the crime. As a sci-fi movie, the world displayed in GIS has no ethical practical significance, but those dazzling pictures are worthy of reflection by every "humanist", which really corresponds to Yanwu's sentence-"Science fiction is actually the most real".