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Lives in Miranda July’s Camera with Their

2020-07-24 来源: 51Due教员组 类别: Essay范文

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下面为大家整理一篇优秀的essay代写范文 -- Lives in Miranda Julys Camera with Their,文章讲述在大多数情况下,电影具有三个组成部分-开始,高潮和结束,但是对于那些独立的电影来说,这可能并非正确。米兰达·七月(Miranda July)的独立电影《我与你和我们所知道的每个人》就是一个很好的例子,因为它几乎没有高潮。 Miranda July在这部电影中运用她的录像艺术作品来介绍这些角色,作为电影的转折,并在她的故事中营造出疏远的氛围。

Lives in Miranda Julys Camera with Their

In most cases, a movie has three components—a beginning, a climax, and an end, but for those independent movies, this might not be true. Miranda July’s independent movie, ME AND YOU AND EVERYONE WE KNOW, is a good example, because it has hardly a climax. Miranda July employs her video art pieces in this movie to introduce those characters, to serve as the turning of movie, and to create alienated atmosphere around her stories.

To begin with, ME AND YOU AND EVERYONE WE KNOW has a plain start. Two people are watching sunset, motionless and calm, and came a voice of a girl, Christine Jesperson. It successfully arouses viewers’ attention and as they listen carefully they will find it is a scene about ritual, a vow of coming togerther. This video gives a strong sense of the lonely circumstance of Christine. And what is clever is that after Christine closes her camera is the “silent” breaking up of Richard Swersey, which indicates the breach of his former vow. Thus, this video, as implication, reveals to audiences that the life situation of the two main characters, Christine and Richard, in a correspondent way.

As the movie spreads, as what is introduced, though several lines of stories move on, there is no evident climax in this movie. However, one of the video art of Christine, or say, of Miranda, does act as a tone-changer. After the owner of the exhibition hall, Nancy Herrington, accidentally switches on this video, little magic happens and the tone of this movie becomes warmer. As Christine speaks, she actually reveals the deepest fear in Nancy Herrington’s heart—the fear of awkwardness of greeting (meeting) strangers. This video strikes Nancy’s heart, she starts to rethink about Christine, whether she is up to the standard of the show and to reflect on herself, what she is hiding of. This video has deepened the meaning of this movie. It leads characters and actually every one of us to rethink about ourselves, what we are afraid of in nowadays society in relationship with the others.

Overall there are around 6 pieces of video art pieces exist in this movie, completely or just implied. No matter they have complete story or theme or not, as whole, they keep audiences away from sympathizing with characters in this movie. Every time when one starts to feel for one of the characters, the early-maturing 7-year-old boy, or his numb elder brother, the girl who denies her own fancy of future family in front of her friends, the two lesbian “sisters”, or the pathetic guy who can only telling obscene words but fail to face himself, or poor Richard or lonely Christine, a video pops up, alienating the situation of characters, gives an indifferent view to audiences.

To conclude, these videos are sometimes abstract, funny, lonely, or weird but they knit those plots together and complete this movie instead of stories but emotions. Miranda exploits video art to give this movie a special taste that is different with other commercial movies.


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