The significance of stream-of-consciousness movies

The works of stream-of-consciousness movies presented by the global film industry are extremely distinctive, and the rise of movies has the following characteristics: stream-of-consciousness movies often break the boundaries between time, time and center, and distort time and center freely, because the directors of these movies believe that when a person thinks about a topic, without the concepts of time and center, his ideological activities are often unorganized and regular, and they also believe that it should be "truly". The tactics of mixing time with the central government are also presented in regular movies, and sometimes "flashbacks" and "flashbacks" are presented, but they are all governed around the theme and core things of the past. "Flashback" and "flashback" in stream-of-consciousness movies are different. They do not serve the core things, but are integrated according to the irregular activities of people's subconscious, thus playing a role in deepening the theme. The famous modern film Old Gun is a successful example.

The film Old Gun was directed by the famous French director Robert Angligo in the 1970s. He successfully combined the film tradition formed in 1930s and 1940s with the exploration and innovation presented in 1950s and 1960s, which made the film achieve admirable results, so he won the first French highest film award 1976- Cé sar Award for best film, best actor and best sound. The most obvious feature of this film is the extensive application of flashback. "Flashback" appeared in the film 10 many times, accounting for two-fifths of the total shooting time, which is rare in general films. This film has formed two temporal and spatial levels from flashback, namely, realistic temporal and spatial level (objective temporal and spatial level) and psychological temporal and spatial level (subjective time). These two levels clearly divide the film into two parts and describe two skills: at the end of World War II, French Chinese doctors even avenged their wives and daughters, holding old guns and destroying the remnants of Germany alone. On another occasion, Julian and his wife Clara fell in love at first sight and gave birth to their daughter Frohring before getting pregnant. The two skills developed at these two levels are organically combined, mutually causal, and promoted in both directions. The realistic level leads to the development of the psychological level, and the psychological level needs the motivation of action at the realistic level. The two levels are in direct proportion and set each other off as interest, which constitutes the homestead skeleton of this film and television drama. It is worth mentioning that the "flashback" in the stream-of-consciousness movie Old Gun really played a role. The important role of "flashback" in traditional movies depends on work or what to make up for. The narrative technique of the film is complete and complete, and it is rarely used to express the hearts of characters all over the world. The most important function of flashback in Old Gun is to penetrate the black box into the characters' hearts and reveal their mentality, thus creating a vivid image of geometric figures, thus greatly enhancing the depth and breadth of the film theme. For example, the realistic level in the film develops in chronological order, and the psychological level is presented by the mind of the witness Julian, but it is not the same as the real time. The first "flashback" is Julian's "imagination": his wife and daughter were dismembered into "charcoal" by Deco with a flamethrower. The imagination used in Lian here allows the audience to personally see Lian's psychological activities at this moment and experience his anger. The following scene flashbacks let the audience see a happy family life and a sweet love life from his psychological standpoint. From these "flashbacks", the audience saw the deep imprint of the army on a man's psychology, and also saw the real hero. All this comes from the efficacy of the "flashback" technique. Therefore, The Old Gun is a successful film depicting the army by virtue of "stream of consciousness". This feature shows that since the 1950s, people have attached importance to showing the substantive reaction of troops to people, while an anti-traditional military film reflects the stereotype of troops from the outside.

Let me mention Love in Hiroshima, which completely abandons the traditional techniques and linear narrative structure. It transcends a lot of flashbacks and voiceovers, breaks the boundaries of time and space and the external description of content, interweaves the descriptions of past and present, experience and experience, and expresses the nightmare brought by the army in the exploration of the goals of impression and forgetting, experience and time. The hope for the past in the film is not only a memory of the past, but also deeply embedded in today, which constitutes a metaphorical structure with today. In the film, the black box on the streets of Hiroshima is connected with the black box on the streets of Naville. This fusion of the past and the present forms the theme of temporality in the film, and "she" in the film is a special person as "the past". Obviously, the love between two owners who both have their own happy families cannot be understood in the sense of ordinary life, but is a symbol. The ordinary experience of girls in Naville can't be compared with the catastrophe in Hiroshima. However, Director Renai deliberately linked the two worlds with great disparity, exaggerating the brutality of the troops in a strange proportion. These two things presented in different places can rise again in time (when "she" won the revolutionary victory, it was the day when Hiroshima suffered the disaster), thus further breaking their time boundaries and changing the impression of mankind forever.

The Swedish director Bergman's Wild Strawberry is also free from the characters' consciousness, nourished by the real matchmaker, completely breaking the boundaries of time and space, and even summing up the life of the old professor Polga. After Polga told the audience about his skills, the film once became his nightmare. In his dream, he saw a hearse walking alone in the street, the coffin was opened, and the dead inside reached out and pulled him in. He realized that the dead man was himself. The fear of death contained in the dream prompted him to reflect on himself. Bolger's visit to his mother is a realistic image suggesting his self-exploration. Another dream in the movie symbolizes his interrogation, revealing the old professor's subconscious denial and self-blame, which is directly proportional to his once-new reputation in reality. At the end of the film, the old professor had another wonderful dream, which showed his desire for a new life. In his films, Bergman not only uses a lot of direct psychological pictures to express his reflection on the past, but also goes beyond the regulations on real scenes and characters, making them closely linked with the past to strengthen the subjective feelings of the characters. These realistic images not only provide a basis for Polga's psychological activities, but also make the past and present, dreams and reality form a once-coupled whole. In 1930s and 1940s, Hollywood's skill films reached their peak. These skill films were all dramatic structures, so they were called drama films. In the long history of art, there was drama first, then there was film, and the early film studied drama. Therefore, as a genre of skill films, movies have been influenced by drama since their birth. They always follow Aristotle and Ibsen's script creation method and stage management method, that is, the five-stage construction method of beginning, development, early tide, ending and epilogue, or the three-act drama method, that is, the first act begins, the second act develops and the third act begins. The director of stream-of-consciousness movies thinks that the laws and construction methods of such works do not conform to the characteristics of movies, and the characteristics of movies are that they can open up a micro-world, so that tools invisible to the naked eye can be seen outside the lens. Therefore, according to the principle of evidence, they think that movies should express people's inner psychological form, unless they oppose drama, content and abandon the "fabrication factor of making up plays", their temperament "truthfully expresses" what they want to express.

Therefore, whether it is Wild Strawberry, 8 1/2, or classic stream-of-consciousness movies such as Love in Hiroshima and Marion Budd's Last Years, their structures are anti-content, anti-drama and anti-traditional stage play structures, which do not require a complete drama to run through the whole film, but break the order of time and space.

Instead, I feel that "it embodies a philosophy deeper than ethics."

Philosophical prejudice means that there are many film directors in all kinds of films, especially in the category of ethical themes, which has opened up a strange road for ethical films. They have always exaggerated the "depth of philosophy" and tried to deepen the exploration of themes and philosophy. In the 1920s, the former Soviet Union filmed a stunning work "No.41", which was re-adapted and put on the screen in 1950s, showing the director's ingenuity. Now movies continue to stand the test of time. Also in the 1950s, the French photographic work "Love in Hiroshima" shocked the global film circle. On the topic of love, it combines the disaster brought by troops to Hiroshima with the tragedy of French actresses, and puts forward philosophical topics such as troops and peace, human love and national feelings. From the standpoint of pure human beings, the voluntary love between French girls and German soldiers this year is pure, but from the perspective of race, the girl's behavior is guilty to the French race. According to the director of the stream-of-consciousness film, "The film of concierge ethics only tells the audience who is a good person and who is a bad person, and what should or should not be, but it embodies a kind of philosophical film, which makes people understand life and think about the true meaning of life" (quoted from Luo Huisheng's "Outline of the History of Global Film Aesthetics", Shanxi National Tass Society).