Article from WeChat public account:Interface Culture (ID:BooksAndFun), author: Zhang Qi, editor: Huang month, Panwen Jie, head from FIG: Oriental IC
After the 2016 “Billie Lynn’s midfield battle”, Ang Lee once again expressed his dedication and enthusiasm for film technology with the new film “Gemini Killer”. Film critic Europa believes that the propaganda rhythm of this film still does not get rid of the dilemma of Billy Lynn, “except for 120 frames, technical vocabulary such as 3D, 48 frames or 60 frames, except for Li An HD II. In the degree test, everyone criticized, please be careful, the story of the agent of “Gemini Killer” is almost old-fashioned like the bones of the dead in the basement of Budapest.” On the social network, netizens also around the “Gemini Killer” is not a good one. Movies and seeing Ang Lee are more about reading stories or watching technology to debate again and again.
In November 2016, when Billy Lynn was released, the interface culture chatted with Peking University professor and famous film scholar Dai Jinhua about Chinese movies. How does she evaluate the 120-frame, 4K, and 3D technologies of Li An’s new film? When the technology fills up the screen so that every picture is full and smooth, what can the audience get from it? How does digital technology change the way we look at movies and the meaning of it while restructuring the society as a whole?
Dai Jinhua believes that a movie that incorporates the “secret recipe” of big data and other technologies may “become a means of circumventing the mind and mind to soothe you or manipulate you. The audience is moved to no longer need a movie to create tear gas on the plot.” As long as you follow a formula of audio-visual light and shadow, you can touch people. She went on to say, “I think this is terrible. The film really becomes a stimulant, a placebo, and it is increasingly dependent on technology, big data, and more and more away from culture.”
At the time of the release of “Gemini Killer”, the interface culture was re-issued, with the hope of starting with technical films, thinking about the impact of the more severe technological revolution we face, and the increasingly diverse human society. And the absence and dislocation of history and culture in China.