A / 人物既是环境中游离的视点又被嵌入环境的中心在前者中人物悄然飞升形成一种突破肉身的透视或鸟瞰在后者之中环境成为沾染人物目光的景语这一独特的观看结构又使得观众没有办法栖身于某个固化的位置万相之王必须不断地调整思索与人物的距离从而使人物保持不断重构的鲜活状态对传统好莱坞叙事的颠覆策略不在于反讽或是角色翻转而在于让它接续于浓稠的现实而保持敞开
Ingmar Bergman may have meant the tank rumbling down the empty night street in The Silence as a phallic symbol. But if he did, it was a foolish thought. (“Never trust the teller, trust the tale,” said Lawrence.) Taken as a brute object, as an immediate sensory equivalent for the mysterious abrupt armored happenings going on inside the hotel, that sequence with the tank is the most striking moment in the film. Those who reach for a Freudian interpretation of the tank are only expressing their lack of response to what is there on the screen.
娃娃乐冲剂🥳:182.81.16.79
这个世界的每个角落都充满着死罪我们只能一味的容忍because that is the life BY the way万相之王似乎叫jhono的人都是天才的杀人狂想想电锯里的那老头也是叫约翰杀人手法也是那么高明