What's the story in the diary of the sea street?

The story in the story is a poetic film, which moves the audience rather than understanding. Yuri Knotsky fully demonstrated the characteristics of animation in his works. He abandoned narration and used the interweaving of audio-visual images to reach a new height in the creation of poetic films. We can only analyze the structure of the text and feel the emotion with our heart, but we can't expect to pursue entertainment by watching drama films, otherwise we will burn the piano and cook cranes and spoil the scenery.

The story in the story, in a free and non-narrative style, combines animation techniques such as animation, paper-cutting and painting on transparent media, and finally integrates with multi-layer photography platform to create rich depth of field and image texture. Highly symbolic visual images: little gray wolf, train, street lamp, fallen leaves, abandoned car, dancer, death notice, Picasso-style Minos cow, Pushkin-style figure, boy eating apples in the snow and alcoholic father ... all these images are arranged repeatedly in the film, forming a complex and beautiful system like lyrics. The choice of these elements is also carefully arranged, full of metaphors and symbols from the author's personal memory. The realistic abandoned cars and houses in the works come from the photos of the Moscow block where Yuri Noskin lived as a child. And the father of the boy who was eating apples in the snow. In the same scene, his hat suddenly became the style of Russian military hat in the 18th century. At first glance, unrelated elements, carefully arranged by Yuri Noskin, have formed an amazing poetic rhythm and rhythm. When telling his own works, Yuri Noskin thinks that he is concerned with the so-called visual memory, that is, the images from personal memory. Through tracing visual memory and careful arrangement, the story in the story points directly to people's hearts, and the audience can't help but think of the fragments in memory when watching this masterpiece.

The recurring musical themes in Story Club also play a vital role in creating an atmosphere. The story in the story quoted the music of J.S. Bach and Mozart, forming a nostalgic and elegant atmosphere. Bach's baroque music and Mozart's classical music properly set the tone for this film. There are two pieces of music in the whole film, one is "Burned by the Sun" in the jazz style in the 1930s, and the other is a ballad adapted from a Russian lullaby. The neutral voice sings repeatedly: "Go to sleep, son, don't sleep too close to the bed, or the little gray wolf will steal you while you are sleeping and take you to the dark forest ...". Go to sleep, baby, but don't lie too close to the edge of the bed, or the little wolf will steal you while you are sleeping and take you into the dark forest. This lullaby plays an outline role in this film without dialogue. Yuri Norskein also said in an interview that the protagonist of Story Club is the little gray wolf, or, I think, a lullaby. The film begins with a lullaby, and the little gray wolf looks at the sleeping child. At the end of the film, the little gray wolf stole a glowing scroll and the scroll became a baby. In the jungle, the little gray wolf sang a lullaby to put the children to sleep. In the last paragraph, the legend that has long been forgotten by us adults, the realistic past and the faint memories of childhood are intertwined, which makes people cry.

The visual and auditory fragments are connected together, forming Yuri Knotsky's Russian memory in the Soviet Union. Yuri Norskein didn't elaborate on the general structure of fugue. He just thought that "the story in the story" was a visual expression of his childhood memory. It is precisely because the film looks full of metaphors and symbols that there are many speculations about the theme of the film, such as anti-war and anti-autocracy, which I think cannot cover the rich connotation of the film. This kind of speculation is actually due to the lack of vague understanding of the development of film history from French avant-garde films and Russian poetry films to Takovski and Yuri Noskin. I will explain it in detail from this angle below.

In the process of making "Story in Story", the same speculation about the theme was also recognized by the Soviet authorities. The possible metaphor of such a film made the relevant authorities very nervous at that time. The first script was not passed, and the production of the second script was forced to be shelved for a year after it was passed. After the film was made, it was not approved because the original title of the film was Little Grey Wolf. Later, Yuri Northken adopted a poem "Stories in Stories" by the Turkish poet Nadhim Hikmet, and the film barely passed.

Yuri Norskein mentioned the relationship between "language" and "image" when discussing his concept of visual memory. He believes that language is the superposition of a series of images in personal memory. When we say such a simple word as "chair", the image of the chair will come to everyone's mind. Based on this idea, Yuri Noskin believes that movies, unlike literary works, lose the unique visual interpretation of the content of each reader. Therefore, in his films, what is more reflected is the tradition of Soviet poetry films, and even the concept of avant-garde films.

Poetic Film and Artistic Conception

During the period of 193 1- 1934, the most representative debate in the film history was set off among the film workers in the Soviet Union. The two sides of the argument exchanged views on poetry. The argument occurred between the proposer of the film "Poetry" and the spokesman of the film "Prose". The representative figure of "prose film" is C. Youtkevich, and the advocate of "poetic film" is Eisenstein. Eisenstein pointed out in the Third Five-Year Plan (1924- 1929) that "movies should get rid of the simple drama and drama structure and fully master the methods of epic and lyric poetry". This debate announced the establishment of the school of "poetic film". "Poetic film" masters, including Eisenstein, pudovkin and Du Purenko, believe that films can be divided into two different genres: prose films and poetic films. Advocates of "poetic films" believe that the difference between poetic films and prose films is not the difference in rhythm, or that poetic films only rely on rhythm, but that the formal elements of poetic films are above the meaning elements, which determines that the composition of works is form, not meaning. In other words, "poetic film" pays attention to the "composition" of images and sounds to construct complex structures such as poetry or music as "time art".

"Poetic film" is actually an inheritance from the avant-garde of French left-wing film directors in the 1920s. The avant-garde also thinks that "movies are the most powerful and poetic means" (Jean-Epstein: watching movies at Mount Etna in Paris, 1926). Avant-garde tried to find visible changes in form and rhythm from pure film means (movement and space) which were divorced from literature and drama. The "poetic factor" in the film is considered as the author's psychological association. The purpose of the film is not to reflect the objective picture of real life, but to carefully arrange some images of real life in the mind of the film author.

The concept of "poetic film" is actually similar to the concept of "artistic conception" in China's traditional aesthetics. Tangible and intangible, virtual and real, poetry and painting. It is important to use artistic images to arrange and create artistic conception and express the author's temperament. "Poetic film" turns to people's inner world and even unconsciousness, pursuing lyricism and philosophical thinking. Unlike traditional or commercial films, it pays attention to the integrity, image and typicality of the story, but only exaggerates a mood, an atmosphere and an emotional appeal, and pursues the rhythm of human life in its works. The story in the story is like this. Through the various images in the author's memory, a tension field is established to make the audience aftertaste and have an epiphany. Isn't the realm pursued by "poetic animation" the unity of poetry, art and philosophy pursued by China's aesthetics?

Yuri Norskein's concept of "visual memory" is also derived from some concepts of "poetic film" and "avant-garde". Russian movie master tarkovsky inherited and developed the tradition of "poetic film" in seven films in 1970s and 1980s. On the other hand, Yuri Norskein used animation to explore another direction.

This form of animation, compared with the real film, may be more able to complete the pursuit of "poetic film." The image in animation can be mastered more freely by passive painters, and many elements such as color, composition, action and time can be mastered at will. Animation is actually a better choice for the writers of "poetic movies" who pursue artistic conception. As an art based on recording machine, film has its recording nature after all. Animation, on the other hand, can become a pure expressive art, which is more convenient for poetic film writers to carefully construct the image world piled up with memories.

The core elements of "poetic movies" are often time and memory, because the meaning of life is developed in the dimensions of time and memory. The Story in the Story is also such an autobiographical work, which tells the story of an artist's childhood experience and growth. Yuri Noskin freely expressed the most important memories in his life with movies. This is the understanding of "story in story" after grasping the development context of "poetic film".