就像那一身红色的罗拉疾走在大街奔跑在三个时空里一样,现代电影的交叉跑位方式也大大地革命了。对叙事方式的探索,实际上一直是现代艺术的一个重要课题,尤其是在叙事艺术领域,尝试着把一个传统的故事打碎,在结构上更符合现代性也更符合人性,这是电影大师们时常想玩的把戏。黑泽明晚年的《梦》,已经把电影玩到了极致,也使那种交叉跑位的方式又回到了单刀直入。不要扯动不要掩护也不要照应了,只需要各个故事元素(进攻点)有所衔接,但不要天衣无缝,即使露出缝来也是自自然然的一线天,没有匠意。这就可以了,再也没有且听下回分解了,连电影人也不知道下回是什么,在哪个片场,跟谁合作,资金来自哪里。作为观众作为欣赏者,看一看芸芸众生,想一想我们自己的经历,所谓的人生比如爱情都是无始无终的,是那种来无踪去无影式的。一面之交、一夜之欢,擦肩而过,错进错出……于是也有了这样的电影,它由片断组成,片断之间或相互有关联或独立成章,有时是两条平行的直线,有时突然相交,有时交叉跑位,边后卫直捣龙门去了,或者由一两个人物贯穿始终。 Just as the Red Roller was walking in the main street in the same space and time, the crossing mode of modern film revolution has also been greatly revamped. The exploration of the narrative mode has actually been an important topic of modern art. Especially in the field of narrative art, it tries to break a traditional story and is more structurally in line with modernity and humanity. This is the film master They often want to play the trick. Kurosawa’s “dream” in his later years, has been to play the film to the extreme, but also the kind of cross-moving way back to a single-handedly. Do not tweet Do not cover and do not take care of, and only need all the elements of the story (offensive point) have some convergence, but not perfect, even exposed stitching is a natural thread, no intention. This can be, no longer and hear the next time decomposition, and even the movie people do not know what is the next time, in which studio, with whom to cooperate, where the funds come from. As the audience as a viewer, take a look at all mortal beings, think about our own experience, the so-called life, such as love is endless, is the kind of come and go without a shadow. One side of the turn, one night’s love, pass by, wrong into the wrong ...... So there is such a movie, which consists of fragments, fragments or related to each other or independent, sometimes two parallel lines, and sometimes suddenly intersect , And sometimes cross the position, straight guard hit the gantry, or by one or two characters throughout.