Film director and author film

Author: Wang Fang
Publisher:
Publish Date: 2006-10-01
Features: This book indulges in thought. Thought is its pursuit. This kind of thought is not a profound and mysterious rational system, but the agility and leaps of thought. Sometimes it is a flicker of thought sparks, but when scattered points form a line, they become the guiding beacon of the book's thought. For example, regarding the personal style of the author's films, Wang Fang summarizes it as follows: These highly personal films always pose questions—both to the author herself and to the audience. However, almost all the questions remain unanswerable, only leading to more complex and contradictory ones. In fact, this is also where the joy lies for film authors. This summary is precise. Film authors and their author films share a common logical and artistic expression that never believes in standard answers to human nature and life. Therefore, they persistently dig deeper into the depths of human nature, unwilling to give people various apparent truths that are actually falsehoods. In truth, the human nature of the individual often contains the human nature of humanity. The individual is the world. This book indulges in description. Wang Fang is willing to think but unwilling to overthink. She often gives names to the fruits of rational thought before shifting to the descriptions she enjoys. Rationality is a converging generalization, requiring serious and rigorous temperament. Description is a sweeping expression, allowing thought and personality to soar freely. Wang Fang likes to think freely and express freely, which forms the writing style or personality of this book. She almost places all her interests in "the individual" and "cases," deliberately avoiding generalizing the particular into the general, the individual into the collective, or the into the rational. Description is fragmentary, using the most economical words possible to describe the artistic personality and life details of each director. Description is meaningful, as behind it, she always hints at their various pursuits and the inspiration these pursuits provide to people. Description is emotional. You can feel that the author is familiar with and fond of the directors and films she writes about, and her genuine respect is evident in every word. For those explorers, whether victorious or defeated, people should always maintain such respect. To casually or even recklessly judge the success or failure of art and its artists has become the fashion of the times, a twisted psychological need for critics to maintain a self-satisfied, pseudo-superiority. It can be said that this is a meaningful book. It brings to the readers' attention a large number of active directors within the "auteur cinema" community, their representative works, and the spiritual values they embody, allowing readers to examine them one by one, forming a map to understand their thoughts and art. At the same time, it preserves the author's rich insights and vivid personal writing. Good writing should be a showcase of the author's thoughts and personality. This is what makes this book outstanding and a compelling reason to read it. Film movements in different periods and countries have revolutionized the audiovisual language, narrative methods, and the relationship between film and audience, giving rise to a group of names that have always shone brightly in film history: Renoir, Godard, Louis Malle, Alain Resnais, Antonioni, Bu?uel, and Nagisa Oshima. These are only a part of them, and they are all beacons in the tide of film movements. With their lenses as pens, they write personal deep reflections, life insights, and revolutions in the very essence of film—they are the "authors" of cinema.