We are always entangled in history, always participating in the events of history, and in fact, sharing and bearing this history. Returning to the sharing I did earlier, I said that this is the most touching part for me. In a very similar period, China had a similar type of writing, which was also about collective memory. But at least in my generation, when I was growing up, the Italian director Bernardo Bertolucci came to China to make a film called "The Last Emperor".
When he was shooting "The Last Emperor", he gave a speech at the Beijing Film Academy - I was still a young instructor at the time - and he used a phrase that became a key interpretation in China. What did he say? He believed that he understood Pu Yi, the protagonist of "The Last Emperor", and how he understood Pu Yi's story. He used a description called "an individual is a hostage of history".
Each of us is held hostage by history, detained by historical violence. Pay attention to what is expressed behind this rhetoric: when we become hostages, it means that we no longer have the ability to take action, we no longer have the possibility of independent action, and we cannot take responsibility for the historical events that have happened to us. The premise has been canceled.
At that time, we really liked this phrase. We used it as a clue, an interpretation, a way to write our own history. In this logic of writing, we are related to major historical events, but we cannot take any responsibility for the history that has happened.
This is a type of Chinese writing that I have experienced. So when we write about grand history, individuals are often written as innocent victims or imagined as heroes who stand up against oppression. We rarely write about perpetrators, and even less about individuals who may be victims in one stage and perpetrators in another, individuals who have the ability to reflect and introspect.
I have a saying, which may be a bit intolerant. I say that the most common thing we do is to refuse reflection in the name of reflection. We often say that when we engage in reflection, what we actually achieve is a rejection of reflection, because we place ourselves outside the object of our reflection. And when everyone removes themselves from the history being reflected upon, we must answer: where is the subject of that history that has happened? Who actually created that history? Who participated in that history?
I've said enough, so I think this story is very important. For example, in the first paragraph, we see the protagonist who has become homeless, living at the bottom of society in a slum, and even his wife doesn't open the security chain to let him see his daughter. And at this moment, he cries for those who became the lowest class when he went bankrupt. It seems that he will never become a perpetrator, he is just someone destroyed by a force he cannot overcome.
In the next paragraph, we see that he becomes a perpetrator, a cruel perpetrator. Then we see how he transforms into a victim of structural and systemic violence, and once again becomes a victim.
We are not in a situation where we play different roles as perpetrators and victims in different stages of history, and there is no judgment of right or wrong in history. On the contrary, in Li Cangdong's cold, delicate, never condescending discussion, the historical narrative and character portrayal he achieves, together with a deep understanding of history and individuals, I think they collectively form a threshold for us to enter. We place ourselves in a historical context, not for forgiveness, redemption, rejection, or affirmation, but to truly reflect on history and individuals, to truly reflect on different eras, different historical contexts, and the impossibility of being detached from history and the changes of the times and society.
The multiple connections of individuals. At the same time, it shows us how individuals who refuse reflection or have no ability to reflect are destroyed in the process of history. In my view, Li Cangdong's work uses a very unique approach to create a 1960s-style theme of growth, or the rules of growth. It shows us how a soul that once embraced dreams eventually becomes (sorry) a pile of shit, a pile of garbage, a person full of resentment and hatred towards society with nowhere to vent, and his own life has collapsed, shattered, and overturned with no possibility of redemption.
Another thing to share with you all, you may have noticed that many people discuss Li Cangdong's work from a literary perspective, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the kind of feeling we have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to the fact that this reverse structure has a detail, whether it is a visual element, a prop, or an inducement, trigger, and catalyst. Only Li Cangdong's version of the story editor can say why the film uses this structure, why the film must reverse. Li Cangdong always answers, because he was inspired by Marcel Proust's novel "Remembrance of Things Past". Students with a literary background immediately know what that inspiration comes from. It is almost a cliché in the study of foreign literature or literary discussions, like a Magritte cake, just a detail, a small prop that touches your memory and opens your memory, so that memories flow in like a tide.
In this film, you may have noticed that the train and the railway tracks are the most important elements that trigger memories. It is not only the opener of the trend of time flowing backward, but also appears in every segment. Sometimes it doesn't appear as a visual image, but as an environmental influence. Every time the sound of the train wheels and the train whistle come, the protagonist is in a state of shock and fear. Not to mention that he dies on the railway tracks. And in the scene of the youth and prime years, the distant sound of the car's wheels and the whistle do not carry any movement or intimidation, because everything has not happened yet.
So I say that it becomes a theme of growth in the 1960s, not because it wants to replace it, but because it is an extremely extreme theme called "refusing to grow up". I refuse to grow up, I refuse to grow, as a young person who still embraces dreams, I don't want to grow up to be like you adults, those filthy, polluted people who have lost any true character and state they once embraced in endless compromises and compromises. I say Li Xiangsong is such a character, such a counter-writing of a growth theme. He shows us how a pure young life grows into a (sorry) pile of shit, a pile of garbage, a person full of resentment and hatred towards society, and his own life has collapsed, shattered, and been subverted.
Another thing to share with you, you may have noticed, but I can only give a hint and not go into more detail. Many people use literature to discuss Li Cangdong, especially those who know that Li Cangdong was a well-known writer. They try to interpret Li Cangdong from a literary perspective. Because in Li Cangdong's films, we rarely experience the feeling we usually have when reading excellent novels, the delicacy, the layers of revelation about human nature. So people say that Li Cangdong's films are full of literary qualities. But wait, your understanding of that literary quality is actually more of an emotional and thoughtful understanding when watching the film, rather than the formal characteristics of Li Cangdong's films. Li Cangdong's films are achieved through highly cinematic, highly original, highly intelligent, and delicate expressions.
Therefore, under this premise, you should pay attention to